,music as a ,human ,need ,a ,,plea ,,for ,,free ,,national ,,instruction ,,in ,,music4 ,,by ,alma ,webster ,powell1 ,a4,m41 ,mus4,b41 ,,ll4,b4 ,submitted in ,partial ,fulfilment of the ,requirements ,for the ,degree of ,doctor of ,philosophy in the ,faculty of ,political ,science ,columbia ,university4 ,,new ,,york #aiad ,this work is gratefully dedicated to my husband1 ,mr4 ,a4 ,judson ,powell ,copyright1 #aiad1 by ,alma ,webster ,powell ,,table ,,of ,,contents ,,page ,preface #e-ag ,,part ,i4--,,the ,,thesis4 ,,chapter ,i4 ,music as a ,human ,need #ai ,,chapter ,,ii4 ,music and ,motion #ca ,,chapter ,,iii4 ,group and ,individual ,reaction to ,music #da ,,chapter ,,iv4 ,toneurology3 ,a ,new ,branch of ,study #ef ,,part ,,ii4--,,the ,,inter-,,reactions ,,of ,,music ,,and ,,national ,,life4 ,,chapter ,v4 ,italy 7#ahjj-aiac7 #fa ,,chapter ,,vi4 ,england 7#ahjj-aiac7 #fh ,,chapter ,,vii4 ,germany 7#ahjj-aiac7 #ga ,,chapter ,,viii4 ,france 7#ahjj-aiac7 #ha ,,chapter ,,ix4 ,united ,states 7#ahjj-aiac7 #ia ,,appendices4 ,appendix ,a4--,questionnaire #ig ,appendix ,b4--,sources of ,statistical ,material #ii ,appendix ,c4--,tabulation of ,foreign ,state ,subventions #aja ,appendix ,d4--,notes on the ,tabulation of ,foreign ,state ,subventions #ajc ,appendix ,e4--,communications #aab ,appendix ,f4--,bibliography #ach ,vita #adc ,index #add ,,preface ,it will be observed that in the following pages political and economic events are presented in their aspect of emotion-producing forces in social pressure1 with but scant attention to their other values4 ,an artificially selective process must also be acknowledged in that1 of those events only such as seem to have produced a direct emotional reaction upon a people have been considered4 ,those long continued economic movements which produced no sudden changes have not been taken into account1 because what may be termed their disturbing effects were too gradual to allow of their being included among specific emotion-making forces#a2 slow changes are not sensed by whole peoples4 ,uneducated masses1 especially1 do not become conscious of progressive movements until their effects are so apparent as to require consideration by reason of aroused emotional reaction4 ,the history of a slow transition1 therefore1 may be for the scientific purposes of this investigation unimportant as compared with the somewhat dislocated perturbance1 which resulted at the moment when the events under consideration were happening1 and calling forth a reaction definitely emotional4 ,moreover1 at such a precise moment1 the events may have been raised to social consciousness1 not as they appear to us in the clear afterlight of scientific attitude and historical accuracy1 but as popular concepts of the moment1 having power to arouse intense national emotional reaction2 similar recent popular waves of feeling1 due not to facts as they are1 but to popular conceptions of such facts1 will readily occur to each reader4 ,with this warning that not the dignity of history1 but the intensity of public emotionalism is within the purview and area of our investigation1 we may proceed to a statement of the method and of the general thesis4 ,the method to be pursued1 is to examine contemporaneous and concurrent public events and emotion products1 as expressed in ,music4 ,the results indicated may be given a preliminary statement as follows3 #a4 ,agitation is a cause of pulse disturbance4 #b4 ,sufficient agitation produces fatal disturbance of bodily rhythm4 #c4 ,all strong emotions are disturbers of rhythmic motion throughout the body4 #d4 ,rhythmic motion1 too often disturbed1 leads to abnormal mental and physical conditions4 #e4 ,civilization constantly 8disturbs0 the bodily rhythm4 #f4 ,the political and industrial troubles of a nation are signs of national 8disturbance0 of rhythm4 #g4 ,music1 closely expressing the emotional life of each period1 is the unconscious application of a remedy to a human need of rhythmic stimulus4 ,these points are part of the general thesis1 which may be stated in the following terms3 ,,music ,,is ,a ,,human ,,need1 ,,increasing ,,and ,,decreasing ,,with ,,social ,,pressure4 ,the tendency of a group in each stage of human development1 is to produce ,music fitting the character of the social disturbances of its time1 and communities which most fully meet this need of rhythm by national culture of ,music1 tend to preserve for longer periods1 the serenity of the public mind4 ,thus it will be seen that national control and support of ,music may be assumed to be a national duty4 ,this control and support will aid in the preservation of a healthy state of the public mind4 ,such a condition will make more effective all other efforts for the abolition of discontent1 disease1 vice and criminality4 ,national culture and support of ,music are effective means of exercising social control1 because of the calming influence of ,music upon disturbed thought4 ,such an influence is a most necessary one at the present stage of mental agitation4 ,established within disturbed zones1 national institutions for free musical instruction would place a check upon strained intellectualism1 with its brood of idea-monstrosities1 since ,music would cause a relaxation of mental concentration4 ,it is a matter of experience1 that relaxation of tension generally accompanies the yielding of the excited mind to musical rhythm4 ,furthermore1 there are other and not inconsiderable arguments for the national support of ,music4 ,on account of the great expense of a musical education1 much promising ,american talent is now deprived of cultivation4 ,to all persons evidencing marked musical ability1 and showing themselves worthy of aid1 this rich country should give national support4 ,american national instruction in ,music is also a duty to ,american industry because such instruction would open the employment field in ,music to ,american wage earners4 ,some idea of the amount of private business along this line may be gained from the following3 ,,music ,,in ,,the ,,west4#b ,if music seems a needless luxury to some1 what will they think of the cold economic fact of ,chicago spending #cj1jjj1jjj in one year for musical instruments of all kinds1 sheet music1 music-books1 musical supplies1 and music lessons8 ,this figure is 8based on reliable information10 says ,mr4 ,d4 ,a4 ,clippinger1 in ,the ,musician 7,boston71 and he intimates that this yearly expenditure of one ,western city is only typical of what the great expanse of our country beyond the ,appalachians is doing4 ,it will be observed that this sum does not include what is spent to hear music1 but to gain instruction in it4 ,at present ,america is obliged to depend both for her best ,music and musical instruction largely upon foreign talent4 ,with national support of her own talent1 this deplorable condition would soon cease4 ,this would also free ,americans from absolute dependence upon private institutions4 ,music has also become an important industry1 employing a vast number of agents4 ,it is high time that this employment were placed within reach of ,american labor4 ,such an end can be attained only by furnishing adequate training for this skilled work4 ,at present foreigners are the agents for the satisfaction of this need for rhythm in orchestras1 bands1 hotels1 restaurants1 church choirs1 studios1 clubs1 steamships1 operas and at social functions4 ,an important wage earning occupation is thus out of reach of our own talent4 ,it may be argued that considerable expense is already incurred by municipalities and states1 for training in musical appreciation in the form of concerts1 public school instruction1 park bands1 etc4 ,these expenses are admittedly very large and yet what is their productive value along the line of musical instruction8 ,what is the real value1 for instance1 of the many thousands of dollars annually expended upon public ,music in a city like ,new ,york8 ,the educated listener finds the programs faulty1 falling far short of a true expression of a composer's idea1 while to the uneducated hearer1 it is principally a diversion of his attention1 without teaching him anything4 ,the establishment of musical departments in colleges will never be able to meet this crying need4 ,the majority of the institutions which depend even in part upon tuition-fees received from their pupils1 reach the least needy of our people1 and sometimes the least talented4 ,where the industrial shoe pinches the hardest1 there is where the national social or political danger lies1 and there is where the need is greatest4 ,where the social pressure is most felt1 there is formed a mine of musical diamonds4 ,neither the city nor the state can so control musical development1 as to produce a national type in musical composition4 ,music is a universal need1 passionately craved by the nation's children4 ,hence our federal government should attend to this demand1 which is becoming more and more insistent every day1 indicative of a national want4 ,we venture the not idle prophecy1 that the whole ,american nation would cheerfully bear a tax1 for so good a work as the establishment of national free schools of ,music all over our land4 ,that ,european countries have recognized this need is shown by the statistics which will be found below4#c ,these statistics were very difficult to procure1 and are rather surprising in content4 ,a copy of the questionnaire sent out will be found in ,appendix ,a4 ,the nations from whom we expected the least expenditure for musical culture1 were found to be the most lavish4 ,the ,united ,states stands apart from the world's array of musical patrons4 ,the recent interest in ,indian and ,negro ,music may1 however1 prove an entering wedge to a wider cultivation of our national musical resources4 ,our ,state universities and our public schools are institutions of which the nation is justly proud4 ,why not open your arms a little wider1 generous ,america1 and take into your embrace your own fair musical child1 now so weak and puny1 but full of promise for the future8 ,the hope of the writer is1 that this cry will be heard by the nation's head4 ,with such national support in view1 we have gathered our statistics4 ,city ventures are not considered2 park bands1 military bands1#d new buildings for national musical academies1 in short1 all outlays for ,music not tending to contribute directly toward the musical education of the people under consideration1 are omitted4 ,thus the large contributions of cities for public entertainments are left out of our calculation entirely4 ,the ,united ,states has not fallen into line with ,european countries in national culture of ,music1 but probably this is simply because the attention of our nation has not hitherto been called to ,music as a health measure4 ,too much ink has flowed in describing ,music as a diversion1 as an amusement1 as an ideal1 as a superfluous luxury1 whereas no greater physical and mental need exists1 than the unconscious physical need of rhythm1 the conscious physical need of ,music4 ,the world1 it is true1 may not at once accept the theory of 8rhythm0 herein set forth4 ,an investigation of it1 however1 would bring about some new and interesting discoveries1 in regard to unsuspected effects of ,music upon the nervous system4 ,in any case1 ,music is a wonder worker which should now occupy the attention of sociologists1 psychologists1 and physicians4 ,music has been generally regarded as the language of the emotions1 but it has never been determined why these emotions1 having art1 poetry1 the dance1 and many other means of partial expression1 so insistently require sound for complete self-realization4 ,the beat of the pulse and the measure in ,music are similar rhythmic expressions1 but the close relation of one to the other has heretofore been ignored4 ,yet groups have a pulse2 history has a pulse2 the phenomena of the physical universe have a pulse2 all life manifestations are demonstrations of pulse action4 ,what becomes of the countless millions of musical sound vibrations sent into space by the orchestral performances in a great city8 ,are they all impotent1 reaching only to the auditory organs1 and dying there8 ,or do they actually enter the human system and set to their own perfect rhythm1 all of the discordant motions therein encountered8 ,do they not 8act as stimuli on the sensitive psychoplasm and effect changes in its molecular composition80#e ,all rhythm1 however divided1 is perfect motion4 ,rhythm1 acting upon a disturbed motion1 tends to impose its own motion upon the discord1 if stronger than the disturbance encountered4 ,this theory not only imputes a higher mission to ,music than has heretofore been realized1 but also accounts for phenomena of organized sound vibrations1 and for the craving of all human life for ,music4 ,this passionate desire for ,music is an established fact1 and it remains but to show the need of this inspiring sound stimulus1 in order to place ,music in the list of recognized national necessities4 ,the willing response of ,austria1 ,bavaria1 ,belgium1 ,denmark1 ,england1 ,equador1 ,france1 ,holland1 ,hungary1 ,italy1 ,norway1 ,russia1 ,saxony1 ,sweden and the ,united ,states to the author's request for musical statistics merits special mention4 ,prussia alone of the nations applied to for statistics appeared either unwilling1 or unable to furnish the same regarding her national support of ,music4 ,the author shared the general opinion that ,prussia led the world in this field4 ,but although requested through proper official channels1 from several influential quarters1 no response was obtained4 ,a cable from the ,united ,states ,consul in ,berlin says that the musical 8statistics are unavailable40 ,the letter from the ,minister of ,saxony may give some insight into the real condition of ,german musical support1 and as such it is added in ,appendix ,e4#f ,the ,appeal in this work is for a system of public musical instruction upon the principles governing our public school management4 ,this would be a step in advance of the systems of governmental support of musical institutions1 as represented in the statistics included in this work1 which systems generally place a small charge upon those pupils who are able to pay4 ,all of these institutions admit to full privileges free of any charge1 the exceptionally talented among the poor4 ,the object of each such institution as we advocate1 should be the support1 by the government1 of native musical talent1 without regard to profit or loss in the management4 ,music is one of those sciences which do not attract the untalented to their study1 and1 this being the case1 little loss of instruction is involved4 ,the proper study of ,music includes so many of the regular public school studies1 and so much of the elements of higher education1 as ,psychology1 ,biology1 ,sociology1 ,physics1 ,economics1 ,social ,legislation1 ,history1 ,languages1 ,literature1 ,physical ,training1 ,self-,control1 to say nothing of the mathematical studies included in such branches as orchestration1 harmony1 counterpoint1 etc41 that a model musical college would furnish an education and culture1 far more beneficial to individuals and the group1 than is offered by some of the present systems of education4 ,the immediate cost would be immense1 but the author is convinced that this outlay would bring quick returns1 in decreasing costs for the protection of the native individual1 from many of the effects of nerve derangement in children and in adults1 in lessening discontent1 riots1 antagonism between labor and capital1 and many manifestations of partial insanity4 ,in short1 such a system is a prime factor in social control1 to the lack of which may be ascribed in some measure the present peril to civilization4 ,we take this opportunity to express our indebtedness for the statistics furnished in each case to the following gentlemen1 who1 either in their official or in a private capacity1 replied to the questionnaire submitted1 and whose co-operation has been invaluable in our attempt to present the most recent conditions of ,state-aided ,music abroad3 ,wilhelm ,bopp1 ,director of the ,imperial and ,royal ,academy of ,music and ,fine ,arts1 ,vienna1 ,austria2 ,m4 ,steiner1 ,minister of the ,interior for ,religion and ,schools1 ,bavaria2 ,m4 ,phillis1 ,minister of ,arts and ,sciences1 ,belgium2 ,j4 ,clan1 ,danish ,consul-,general in ,new ,york1 and ,cornelius ,rbner1 head of the ,music ,department of ,columbia ,university2 ,olmedo ,alfaro1 son of the ,president of ,equador1 and the ,directors of the ,conservatory of ,quito1 ,equador2 ,a4 ,w4 ,twenlyman1 of the ,english ,education ,board1 ,london1 ,england2 ,i4 ,philipp of the ,paris ,conservatory2 ,th4 ,heemskerk1 ,minister of the ,interior1 ,holland2 ,luigi ,credaro1 ,minister of ,public ,instruction1 ,rome1 ,italy2 ,ole ,olesen1 ,military ,inspector of ,music1 ,norway2 ,wm4 ,thackara1 ,american ,consul-,general1 ,berlin1 ,germany2 ,alexandre ,lyssakovsky1 ,first ,secretary of the ,russian ,embassy1 ,washington1 ,d4 ,c42 7,graf7 ,vitzhum von ,eckstaedt1 ,minister of the ,interior1 ,saxony2 ,bror ,beckman1 of the ,royal ,conservatory of ,music1 ,stockholm1 ,sweden2 ,l4 ,a4 ,kalbach1 ,chief ,clerk of the ,united ,states ,bureau of ,education1 ,washington1 ,d4 ,c42 ,mr4 ,wm4 ,h4 ,taft1 ex-,president of the ,united ,states2 ,naray-,szabo1 ,secretary of ,state1 ,hungary1 and ,dr4 ,paul ,majewsky1 ,chief of the ,fine ,art ,section of the ,royal ,hungarian ,ministry of ,public ,worship and ,education1 ,budapest4 ,gratitude is due also for the inspiration found in the courses of studies pursued under the direction of the following ,columbia professors3 ,dr4 ,f4 ,h4 ,giddings in ,sociology1 ,dr4 ,henry ,seager in ,economics1 ,dr4 ,s4 ,mc,c4 ,lindsay in ,social ,legislation1 ,dr4 ,e4 ,r4 ,a4 ,seligman in ,economics1 ,dr4 ,j4 ,b4 ,clark1 ,dr4 ,a4 ,a4 ,tenney in ,sociology1 ,dr4 ,r4 ,e4 ,chaddock in ,statistics1 ,dr4 ,c4 ,ruebner in ,music1 and ,dr4 ,v4 ,g4 ,simkhovitch in ,economics4 ,not one of these courses has proved superfluous in the present dissertation1 and we are proud indeed that ,music1 so long considered as a luxury1 can show the relations to the interests which they represent4 ,especially great is our obligation to ,professors ,giddings1 ,seager1 ,chaddock1 ,lindsay and ,ruebner4 ,our sincere thanks are due1 in the gathering of these statistics to ,commendatore ,eugenio di ,pirani1 ,president of the ,american ,philharmonic ,academy4 ,,footnotes3 #a ,long labor movements which are conceded to be slow emotion-making forces are not included4 #b ,the ,literary ,digest1 ,january #aj1 #aiad4 #c ,appendix ,e4 #d ,reference is to hired bands1 not made up of musicians trained for the purpose by the ,federal ,government4 ,such training1 as in ,england1 constitutes an important form of vocational training4 #e ,riddle of the ,universe1 by ,ernst ,haekel1 p4 #aaj4 #f ,the highly prized originals of the foreign ministerial letters are preserved and in the writer's possession4 ,,part ,i4 ,,the ,,thesis4 ,,chapter ,i4 ,,music ,,as ,a ,,human ,,need4 ,our thesis contemplates a new phase in psychological and sociological study1 one wherein we must endeavor to estimate the part played in mental and environmental development1 by vibration as the acting force4 ,in whatever direction we turn1 ,music is met with in one form or another4 ,the undoubted fact that ,music is not confined to the human species1 but is a part of bird and other animal life1 is strongly indicative that there is something more in ,music1 than its apparent pleasurable quality1 and that beneath its array of superficial forms1 there must lie some great fundamental necessity for its existence and functioning4 ,upon it may depend the preservation of the life of certain complex living organisms4 ,darwin's theory as expressed in 8,the ,descent of ,man0#g seems to us not to touch the real source of the phenomenon1 and in ,spencer's 8,illustrations of ,universal ,progress10 the latter's theory of the ,origin and ,function of ,music#h seems to us to omit the greatest factor in ,music4 ,spencer's idea is that all ,music is an idealization of the natural language of passion1 but the nature of passion does not in reality lend itself to ,music1 because passion's spontaneity of action forever forbids the exercise of that control which is needed in the performance of ,music4 ,wallaschek1 in 8,primitive ,music10#i claims that ,music is the result of the original rhythmical impulse in man4 ,this last mentioned theory approaches more nearly the theory advanced by us in the present work1 namely1 that ,music originates in man's need of rhythmical sound-vibrations1 for the re-establishment of rhythmical motion in his own nervous system1 disturbed by the evolutionary increase of mental action not rhythmically employed4#aj ,in order to view the subject fully1 and in all its implications1 we must retrace the path of evolution to that point1 where the living thing which later developed into the man of today1 first found itself in possession of locomotion agencies and prehensile appendages1 and first began to move about in search of energy materials1 with which to satisfy an inward need of integration4 ,the first thing that moved began to dissipate its motion1 and to 8need0 corresponding integration4 ,rhythm marked this primitive inward action1 undisturbed by ideas2 rhythm also governed the external stimulus4 ,this prehistoric atavus ate when hungry1 or when he could get food1 his need being rhythmical1 at the time when fruit and nuts offered easy satisfaction of a rhythmic hunger2 he awoke at daybreak1 and slept with the sun2 rhythmic at all times4 ,now1 therefore1 this early man's circulation and pulse must have been relatively rhythmic1 yet there is no record of ,music as an invention1 until a new factor arose in his environment4#aa ,the needs of life began to suggest partnerships1 children cemented parenthood groups1 family groups met and associated with other family groups1 still others were added and the ,tribe was formed4 ,much of the ,tribal life of prehistoric times is a matter of conjecture1 but enough can be learned from the mores of later tribes1 to suggest with reasonable probability some of the earliest tribal customs4 ,music is a late invention1 but the elements out of which ,music is fashioned--rhythm1 motion and sound--constitute the first impulses1 the first responses to stimuli in themselves rhythmic2 and the oldest peoples exhibit traces of the love of sound in rhythmic action4 ,the probability is that association1 with man as with birds1 developed a need of communication2 from this need originated the acoustic formation of speech1 and speech in turn brought the first conscious interchange of ideas4 ,intense mental action causes disturbed physical rhythm4 ,physical functions are not yet adapted to the physical disturbance caused by such mental action4 ,the organs for the assimilation of the terrific stimuli of modern life1 are still imperfectly developed1 as is illustrated by the inability of the body to cope with increasing intellectuality1 and the consequent alleged increase of insanity in modern times4 ,as the eye has evolved from the sense of touch to its present power1 and may progress to a capacity for still clearer vision1 so has the nervous system evolved from its single cell1 to its present cell multiplicity1 and may develop new cell formations1 with which to support changing degrees of added stimuli4 ,a departure from established belief will be noted at this point4 ,ideas were wonderful and powerful stimuli to the primitive mind4 ,that extreme tension which causes modern minds to become unbalanced1 is not proportionately more intense1 than must have been the reaction of the primitive mind1 to the very first question and answer of primitive speech4 ,a new stimulus acting upon a new organ produced a new disturbance--a disturbance of a life heretofore purely rhythmic2 and a part of the internal organic family became separated for independent motion1 became differentiated with a rhythm of its own1 differing as a matter of course1 from that old established rhythm of the most ancient physical life4 ,right at this point of development1 the need of more or less conscious readjustment was instinctively felt4 ,internal rhythm had been disturbed1 and man immediately invented an artificial producer of rhythmic vibration3 i4 e4--percussion4 ,this sent into his nervous system uncounted thousands of rhythmic impulses1 which tended to reestablish his disturbed rhythmic motion4 ,to hold that the first rhythmic inventions are to be looked for in war songs1 in religious rites1 or in festal diversions1 seems to us to ignore1 not only all of the immensely important prior steps by which such comparative complexity has been attained1 but also to leave the phenomenon of rhythm-craving1 before the invention of the most primitive instrument1 entirely unaccounted for4 ,when the war element enters into tribal life1 there has already been some growth of institutionalization4 ,home life1 marriage1 inheritance1 government--these we find already in a certain stage of development1 in the very earliest tribes of which we have any positive knowledge4 ,the life of these tribes1 so similar in all parts of the world1 produced certain disturbances within the original rhythmic bodily motion4 ,the reaction to such disturbance was exactly expressed1 in the rhythm producers instinctively devised at each stage4 ,war was the only great disturber of habitual rhythm for ages1 and consequently ,music of a character to meet the need of this element was early invented4 ,for domestic rhythm-disturbing crises1 ,music--sound--was often employed by the tribes4 ,the ancient ,chinese#ab used to 8sound0 the house of a newly wedded couple1 under the impression that in this way the bride and groom would enter a home 8cleared of evil demons04 ,here we have a sub-conscious recognition of the actual driving force of rhythmic vibration4 ,so1 in ancient ,japan1 war songs were the old expressions of national agitation4 ,these1 accompanied as they invariably were1 by high sentiments of loyalty and patriotism1 steadied the rage of war-fever to a good fighting point1 and prevented impulsive1 or too reckless charging4 ,the ,hindus#ac believe their musical scale is an inspiration from ,heaven4 ,their ,music is an expression of religious rather than military agitation4 ,when we think of how primitive man at first must have wondered at all the unknown forces about him1 is it not possible to believe that religious1 rather than warlike emotion1 was the first to intensely agitate all early tribes8 ,the ancient peoples of ,aryan stock seem to have been highly gifted musically4 ,probably because of their roving habits1 their warlike spirit1 or their pursuit of culture1 the ,aryans developed early and highly1 this greater need of rhythmic stimulus in percussion4 ,persian agitation took the form of occultism1 as is shown in the devices on the walls of their fire temples4 ,their ,music was held to be symbolic4 ,they believed1 for example1 that ,music was like a tree1 and that its tones were representative of fire1 water1 air and earth1 of the signs of the zodiac1 of the planets and even of day and night4#ad ,music becomes combined with ideas in the expression of rhythm1 in direct proportion to the development of ideas in the culture of the several races4 ,when war ceased to be the chief factor in the disturbance of bodily rhythm1 and still later1 when periods of rest became usual between long wars1 the impetus already given to tribes by the decisive occupations of warfare1 and the consequent increased molecular motion of the organs1 turned tribal attention in times of rest to thoughts of love1 decoration and poetry1 but chiefly to the thought of recording the stirring deeds of their heroes in music of some kind4 ,the ,indians have probably sung their deeds ever in rhythm1 though often with an instrumental accompaniment in a differing rhythm1 which common practice must have filled the need of a mental state 8disturbed0 by the stimuli of ever present danger4#ae ,rhythmic music considered as a creation of mind and as a need of the body1 the measurement of the effect of musical vibrations upon human action1 is sure to lead the way to a surprising fund of new knowledge4 ,the number of vibrations caught by the ear in the simplest drum performance must be enormous1 and when it is realized that these vibrations represent a live force striking the tense nerves1 and that the effects are quantitatively measurable in a psycho-physiological laboratory1 a significant development of psychiatry may be confidently predicted4 ,it would be interesting to study the differing results of the same musical environment1 upon the nervous reactions of partially deaf1 and of normal beings1 to find out how far the subjective and conscious awareness of certain sounds1 affects the objective physical results of the vibratory force producing them4 ,animals are known to be sensitive to the sounds of ,music1 and birds even create that which is called ,music2 this creation on the part of birds1 seems to us nothing more than their instinctive effort to re-establish disturbed internal rhythmic action4#af ,at any rate1 vibration is the fundamental element of ,music as of life1 and where ,music exists there has ever been an antecedent excitement of some sort4 ,complicated intellectual stimuli being absent in tribal life1 the general rhythm was at most periods moderately easy to maintain4 ,events of sufficient newness to be exciting were rare4 ,tribal wars were felt to be the usual occupation of ordinary existence4 ,so that whether polygamy or monogamy characterized the marriage relation1 whether woman or man ruled the home life1 whether human or animal sacrifices were offered to one or to several gods1 the stimuli met in daily experiences were very similar in their monotony1 and very much the same in all tribes4 ,customs were handed down from one generation to another1 and carried from one part to another of the earth's surface1 but ordinary experiences varied little until1 under the stimulation of steam-driven engines and machines1 nations developed the industrial fever1 which seems to characterize modern times4 ,even today in localities where newspapers and railroads do not penetrate1 life tends to revert to primitive ideals4 ,the interests of the tribes lay in the raising of cattle1 in the birth of male offspring1 in the division of labor into the search for1 and the preparation of1 food1 and in the unification of a strong group hostile to all other groups4 ,these occupations coexisted with a simplicity of environment1 unexciting to the reposeful sense organs1 amid a scenic surrounding ever untouched by artificiality2 where village scenes of little variety took place2 where no reason existed to cause abnormal quickness of eye movements2 where occurred only rare shocks to the regular rhythm of the nerve cell motions4 ,thus there was little or no need of complicated rhythm in ,music4 ,it will be remembered that ,music is a need for that part of humanity or of any living organism which through reason of its prior reception of irregular stimuli1 has disturbed the natural internal and independent rhythmic motion1 imparted by the mother in the birth process4 ,an augmented heart action is not harmful at times1 even if it be above the normal1 but a heart action which is ever changing its beat1 now fast1 now slow1 now weak1 now strong1 tends to derange the normal rhythmic life motion of the cells1 a result caused by modern multiplicity of irregular stimuli1 and observable in modern civilized man4 ,great multiplicity of stimuli the tribal man rarely experienced4 ,his percussive ,music was not complex1 because the life stimuli were not complex2 the nervous system of the savage was disturbed by but few mental processes--the simple results of the few and unvarying stimuli offered by his tribal life4 ,approaching modern times1 let us see what role was assumed by ,music in the tribal life of the early ,germanic races4 ,in those times of war excitement1 when tribes fought like wild animals1 and the war spirit held full sway1 the ,germans on their march to battle1 helmets decorated with the heads of animals1 their big bodies clothed in the simple sagum1 chanted their war songs1 and kept up a rhythmic beating upon their shields4 ,this ever visible trend toward rhythmic sound indicates a subconscious need of it1 a need which often annoys us in our children's craving for the noise of percussion1--a noise1 it may have been observed by long-suffering parents1 which they love beyond all other diversions4 ,so long as war and religion alone occupied mankind1 and before the human need of rhythmic sound became so pronounced1 as to create the very complicated idea of producing vibratory impulse1 from pleasurable sound intervals1 combined with word pictures of human emotions--so long was mere rhythm in ,music sufficient to re-establish disturbed internal motion4 ,the ,gauls advanced a step beyond the ,germans toward musical organization1 by their maintenance of 8bands of barders10 who were described by ,tacitus as accompanying the ,gallic armies in order to cheer the warriors4 ,,footnotes3 #g ,part ,,ii1 p4 #cge3 8,the true song however of most birds and various strange cries are chiefly uttered during the breeding season1 and serve as a charm1 or merely as a call-note to the other sex40 #h ,vol4 ,,ii1 ,chap4 #ai4 #i ,chapter #i4 #aj ,if1 as ,haekel says in 8,the ,riddle of the ,universe10 p4 #aaf1 8,when the mimosa roots are shaken by the tread of a passerby1 the stimulus is immediately conveyed to all the cells of the plant10 may not the far stronger stimulus of musical sound be similarly transmitted to the human cells not directly concerned in hearing8 #aa ,the octave of half-tones sung by the ,hylobates ,syndactylus is merely an effort at speech4 #ab ,american ,history and ,encyclopedia of ,music4 #ac ,ibid4 #ad ,ibid4 #ae ,it will be noted that the reference to ideas as 8disturbances of purely physical1 molecular rhythm0 is used throughout this book1 for it is here claimed that just as the unconscious cessation of breathing for a few seconds during the writing of an idea1 expresses the check of mental action upon heart action and the circulation of the blood1 so also does the continual reception of new impressions into the mind1 affect the original regular rhythmic movement of the entire body4 ,hence thought is a real disturber of rhythm within the body4 ,similarly1 any burst of anger1 fear1 or joy is immediately registered in the pulse4 #af ,we are aware that ,darwin stresses the element of sexual selection in the bird's song4 ,,chapter ,,ii4 ,,music ,,and ,,motion4 ,music1 a recognized but still undirected agent for rhythm maintenance1 is sought and produced in accordance with the disturbance of a body politic or of a body individual4 ,the musical products of a nation mirror that nation's history far better than pen and ink can laboriously spell it out4 ,music reaches down into physiological and psychological needs1 and tends to reestablish rhythmic equilibrium1 whether applied to physical organs1 or to members of a national body4 ,and as the aggregates of matter and motion in human bodies combine all of their unequal1 complex1 and yet distinct rhythms under one mean rhythm1 which becomes the characteristic rhythm of the whole1 so do the musical products of a nation1 during a given time or age1 combine their unequal motions under a mean motion or characteristic1 which includes all rhythmic products and which we see as a characteristic 8color10 or 8temperament0 in the national ,music of that period4 ,and as the mean governing rhythm or pulse of one being1 individual or national1 cannot be mistaken for the mean of any other combination than its own1 so the 8color0 or 8temperament0 of the musical products of one country1 is clearly distinguishable from that of the ,musical products of other countries4 ,in like manner1 humanity1 that larger aggregate of human molecules1 shows a mean color in the united products or motions of its parts1 the nations4 ,the 8tone0 of the ,music of the ,nineteenth century1 is more complex than that of the ,eighteenth century1 although ,spain still re-establishes her ,eighteenth century disturbances with ,eighteenth century ,music4 ,england1 with few deeply disturbed emotions is satisfied with doses of early ,nineteenth century ,music4 ,france applies her own vivid intellectual sound pictures to her psychological and political disturbances4 ,germany finds the panacea for her disturbances in colors of soul tragedy and strong sentimentality4 ,italy1 until her recent steps toward modern methods in stimuli productions1 sipped her delightful comedy and her flowery tragedy1 from graceful old-fashioned musical cups4 ,nineteenth century musical productions in ,england1 ,france1 ,germany and ,italy are1 we may say1 pictures of their several national 8disturbances10 and exact quantitative measurements of the depth to which the mean national rhythm was disturbed4 ,all of these musical productions again react upon humanity's aggregate1 and are combined under what is known as the ,nineteenth century mean rhythm1 or age characteristic4 ,as has been noted above1 there are too few data indicative of the habits of primitive man1 for us to learn aught of his ,music1 but it is safe to assume that its comparative simplicity or complexity corresponded with the comparative simplicity or complexity of his mental and physical life4 ,undoubtedly1 the earliest group complexity arose with roving habits1 the entrance into new environments1 and the subjection of man's psycho-physical system to new 8strains0 of disturbing stimuli4 ,according to this theory we must define 8disturbances0 as1 such responses to varying stimuli as unduly accelerate or retard bodily pulse motion1 changing the normal rhythm of the pulse4 ,examples are to be found in sudden migrations1 outbursts of enthusiasm1 wars1 revolts1 and even in certain eager intellectual pursuits4 ,music is a phase of the evolutionary process4 ,musical evolution has also its order3 7a7 in appreciation1#ag when the primitive human mind becomes conscious of existing rhythm1 of sound combinations2 7b7 in utilization1 when its seemingly magical effect suggested its association with the festivities and rites of worship2 7c7 in characterization1 when it stands on a pedestal of its own1 recognized as a human necessity perfectly adapted to its environment2 and 7d7 in socialization1 when its end as an agent in self-realization shall be entirely comprehended4 ,characterization is the mode which ,music has reached today4 ,socialization is just beginning1 and is yet more fully to be developed with greater understanding4 ,again in ,musical ,evolution there has been an ideo-motor stage of development4#ah ,this forceful1 aggressive1 persistent motor stage was shown in the rude drums and other rough-hewn instruments of early man4 ,in its convivial imaginative aspect it has answered to the need of the ideo-emotional type4 ,the dogmatic emotional need has drawn forth from that type's resources the austere musical products of master genius4 ,do we not find today in ,france1 ,germany and in modern ,italy a national rhythm disturbed by critically intellectual#ai stimuli1 which in turn call forth critically intellectual ,music of the most distinct complexity8 ,music is both a social and a socializing force1 which1 although created by society1 reacts upon its creator4 ,reviewing the stages of ,musical ,evolution do we not discern concerted volition8 ,does not the mean tone of national musical types show concerted acceptance of that which answers to national tastes and needs8 ,the very applause which establishes the modern type1 is the outward sign of an inward intent to embrace that product4 ,cool and restrained judgment precedes that acceptance4 ,any audience manifests resembling sensations of resembling individuals in that oneness of criticism so generally exhibited4 ,clearly indeed in this latter case do we perceive that reflective sympathy which shows us how like to our neighbor we are4 ,then there is the evidence of organic sympathy which establishes that liking or disliking for certain ,music1 according as the mean motion or the rhythm of the ,musical sound vibrations1 correspond to a similar combination of motions and rhythms in our own systems4 ,and is not the affection for a rhythm similar to our own1 stronger than is our liking for one dissimilar8 ,can a dogmatic emotional#bj type experience a true affection for1 or feel a sincere need of1 ragtime ditties8 ,could ,italy in the early part of the ,nineteenth century feel affection for the ,music of a von ,weber8 ,could ,germany in the fever of ,franco-,prussian emotionalism feel affection for the works of ,verdi8 ,paris disliked ,wagner's operas until very recently4 ,lest this should seem like an attempt to stretch sociological terminology to cover territory other than its own1 let us continue our examination4 ,even in the progress from the homogeneous to the heterogeneous1 ,music1 in its national parts1 though highly heterogeneous like the integrated parts of the body1 is yielding to the social passion for homogeneity4 ,this is indicated by the increasing similarity of its ideals4 ,even ,italy in her new awakening is reaching out toward musical equality with the most complex modern ideals1 illustrating the tendency of all inequality toward final equality4 ,the ,music which answered to the needs of an ,ethnic ,society could not possibly re-establish the disturbed rhythm of political groups4 ,the 8gentile family0 system for a long time successfully counteracted the effects of heterogeneous motion attacks upon the calm nervous structure1 by a ,music suited to its needs4 ,only with the decay of the patriarchal system did groups come to demand complexity in the re-establishing agency1 ,music4 ,internal disturbances must have been rare in all clan life1 surrounding stimuli being relatively homogeneous1 simple and diffused4 ,paleolithic man1 with his unchanging external environment1 had little reason for internal disturbance4 ,what slight disturbances he suffered were probably remedied by simple rhythmic composition of some kind3 even babies create a pronounced sound rhythm with any instrument at hand1 and indicate real pleasure derived from what to us seems mere noise4 ,sounds produced by non-human beings are mere discharge of surplus energy1 in a creation of rhythmic stimulus1 and not conscious sound combinations in song4 ,music is a 8natural0 product of human society4 ,it must be as old as those integrations of parts in the human body1 which became aggregates of matter and motion1 to take care of new stimuli colliding with the motions already contained4 ,through lower1 middle1 and upper savagery1#ba even before the beginning of speech1 ,music must have been at hand1 although in its simplest conceivable form4 ,music kept pace with the comparatively simple external stimuli of each period4 ,with the use of fire and of the bow and arrow in upper savagery1 came a new heterogeneity in the stimuli entering the organism2 disturbances were still simple1 but with the domestication of animals1 with the cultivation of plants by irrigation1 with the use of adobe brick and stone in architecture1 ,music must have gradually increased in its complexity in order to cope with the new disturbances of bodily motion consequent upon those changes in man's reaction to his environment4 ,then1 with the use of iron in upper barbarism1 ,music began anew to exhibit its needed usefulness1 as in the ,grecian tribes of the ,homeric ,age1 and in the ,german tribes of ,caesar's time4 ,by these times ,music had passed well out of the stages of 8appreciation10 into those of 8utilization40#bb ,strongly rhythmic1 it contributed to the recreation 7re-creations indeed7 of bodily equilibrium6 ,it calmed intense inward motion1 or stimulated flagging circulation in its union with religious rites4 ,from such accomplishments of later barbarians as poetry1 mythology1 fine temple architecture1 walled cities1 ship building1 wine manufacture1 woven fabrics1 implements for grinding corn1 the side hill furnace for smelting ore1 and many other early mechanical contrivances1#bc civilization evolved its phonetic alphabet and its literary records1 building the rhythm-disturbing stimuli of civilization4 ,in the meanwhile the family develops to the point of monogamy1 and individual property rights usher in a new political system4 ,an advanced form of municipal life in fortified cities having already created the ideal of city treasure to be protected1 the step was ultimately taken from this to individual property rights distinct from those of the gens4 ,the fact that ,music as we first encounter it is already somewhat complex1 is not surprising when we regard it in terms of motion1 duplicating in principle the construction of the human body4 ,the latter may also be regarded in terms of motion2 for what are bodily organs but integrations of molecules in motion8 ,the rhythm of a bodily organ is like a note composed of periodic motions4#bd ,the various organs of differing masses and motions1 acting together under one chief rhythm1 are but chords of various notes1 while that average of averages1 the pulse1 registers the governing rhythm of all of these together1 as does the time in music4 ,with the differentiation of the ,aryan race from those barbarians who were not active in making and utilizing new inventions1 certain re-arrangements of bodily motions resulted which could not fail to 8disturb0 old life habits4 ,with artificial rhythm already at hand1 instinct alone would be sufficient to prompt its application4 ,appreciation of ,music at this stage would mirror only the satisfaction derived from the hearing of rhythmic sounds1 sufficiently varied to inflame or calm inward motion1 without carrying it too far from the norm4 ,the 8gens0 system as found in ,greece1 ,rome1 and among ,american aborigines1 as also among the ,irish sept1 and ,scottish clan1 would tend to restrain complex emotions4 ,such gentes1 being consanguine bodies1 descended from the same common ancestor1 and having a gentile name1 and held together by actual or fictitious ties of blood1 were compact bodies with institutions comparatively simple4 ,they were like primitive bodily forms1 consisting of motions contained within an outer crust1 and with few distinct inward integrations4 ,music1 as simple rhythm agreeable to the ear1 would fulfill all disturbance needs of that time1 and would itself be a mere contained motion1 with few integrated parts4 ,only with the beginning of 8rational0 thinking or the 8interposition of new ideas between stimulation and the consequent muscular action10#be does such complexity of mental effort induce the integration of new parts with new motions in order to meet the added strain4 ,,footnotes3 #ag ,giddings' ,descriptive and ,historical ,sociology1 pp4 #ahf to #bab4 #ah ,giddings' ,descriptive and ,historical ,sociology1 p4 #bcg4 #ai ,otherwise known as rationalistic4 #bj ,giddings1 op4 cit4 pp4 #bch-bci4 #ba ,morgan3 ,ancient ,peoples4 #bb ,giddings' ,descriptive and ,historical ,sociology1 pp4 #ahf to #bab4 #bc ,morgan's ,ancient ,peoples4 #bd ,helmholtz1 ,sensations of ,tone1 ,part ,i1 p4 #h4 #be ,giddings' ,descriptive and ,historical ,sociology1 p4 #cdf4 ,,chapter ,,iii4 ,,group ,,and ,,individual ,,reaction ,,to ,,music4 ,a ,brief ,record of ,experiments4 ,music tranquillizes human agitation4 ,we believe that enough of musical vibration will tranquillize all agitation1 whether it be such as is manifested in abnormal mental1 or abnormal physical movements4 ,music acts differently upon those low states of motion represented by the phlegmatic temperament and rural communities4 ,here music excites more than it does when colliding with agitated nerve motions4 ,these two marked effects of music were noticed by the author in the following experiences which extended over a period of many years1 among all of the classes which compose the civilized group3 ,from ,concerts through ,canada and ,western ,u4 ,s4 ,from three successive tours of the ,baltic ,province of ,russia1 with audiences of the ,ideo-,emotional and ,dogmatic-,emotional types4 ,from ,concert and opera tests in ,germany and ,england4 ,from ,concert and opera tests in the ,eastern ,states of ,u4 ,s4 ,from ,concert and opera tests among the revolutionary elements of ,new ,york ,city1 including ,coney ,island tent life for five months1 lower ,east ,side social work for five years1 ,brooklyn ,working ,girl tests1 church1 political1 and society study among actual audiences represented by these classes4 ,more than two hundred thousand people were observed during these tests as to the effects of music1 and the results suggested the following needs1 which the author believes may be extended to the treatment of many diseases of the mind4 ,abnormally heightened or abnormally lowered bodily agitation1 or inward motion1 8needs0 rhythmic stimulus from highly agitated motion1 as in music2 the like state of highly agitated motion in the body responds to the stimulus in calmed motions2 the abnormally lowered bodily agitation responds to the unlike stimulus in the highly agitated motions of music1 in excitation3 a perfectly normal body 8needs0 no music 7but such do not exist74 7#a7 ,those social and individual bodies manifesting abnormal states of agitation 8need0 contact with such a body of rhythmic musical vibration as will calm and impose a normal rhythmic motion upon the disturbed motion represented by the agitation4 7#b7 ,those social and individual bodies manifesting abnormal states of phelgma 8need0 contact with such a body of rhythmic musical vibration as will excite the low motion states1 and impose a normal rhythmic motion upon the sub-normal motion represented by the phlegmatic states4 ,above conclusions are offered as a result of the following types of experiments4 ,experiments ,upon the ,ideo-,motor to ,ideo-,emotional ,type4 ,desiring to try the effects of music combined with lectures of a political character1 among the lower elements of ,coney ,island dwellers1 we set up a #fj #ij ft4 tent at the foot of ,ocean ,parkway1 in ,may1 #aiji2 #fjj chairs1 a decorated platform1 a grand piano and gay flags of all nations were distributed in their proper places4 ,the subject of all lectures was ,woman's ,suffrage1 a theme most unpopular at that time and especially distasteful to a ,coney ,island mind4 ,the prevailing religion of the district was ,catholicism4 ,the first week was devoted to suffrage lectures without music4 ,crowds filled the floor space of our big tent each night1 and from the beginning we distinctly felt the murmurs of intended trouble4 ,our speakers were men high in public favor1 but one of these made the following unfortunate remark3 8,catholicism is the curse of the laboring class40 ,then a workingman stood up and hurled uncomplimentary epithets at us for trying to destroy the laboring man's only blessing--his faith4 ,a woman added tears for her beloved church1 and a socialist added oil to the flame by a bitter attack upon religion in general4 ,before we could make ourselves heard1 a fight ensued which attracted a large outside crowd4 ,several policemen finally dispersed the excited audience4 ,our broken chairs bore mute witness of the damage1 but no intention of giving up was entertained4 ,the certainty of serious trouble for the following evening hastened our institution of music in the program4 ,during the afternoon following our mishap1 we were informed by the police that trouble was brewing for the 8tent folks40 ,with some trepidation we entered the tent that evening4 ,a large crowd of the 8rowdy0 element had gathered by eight o'clock4 ,four policemen guarded the entrance1 but many very rough looking men crawled under the canvas at the sides and cast knowing glances at acquaintances4 ,our artists for this first program had been carefully chosen1 a soprano1 delicate in voice and personality1 a genial looking baritone1 an excellent 8cellest10 one of our best known violinists1 and a pianist of world-wide renown4 ,we all 8held our breaths0 in anticipation of what might happen4 ,the speaker began4 ,immediately cat-calls and horns drowned her voice4 ,the air was filled with foul epithets4 ,suddenly some one threw a stone which struck the speaker on the cheek4 ,the meanness of the insult quieted the mob1 and an officer removed the offender4 ,then in a few words the people were asked to reserve judgment until after the musical program4 ,a trio performance for violin1 8cello0 and piano was given4 ,whispering and excited murmurs continued all through this long number1 but when the soprano sang the old love aria1 8,ah1 fors' e lui10 from 8,la ,traviata0 by ,verdi1 a sudden hush fell upon the audience4 ,at the close of this aria1 emotional1 tuneful and simple in construction1 a storm of applause broke forth4 ,encores of ballads followed1 and when 8,the ,last ,rose of ,summer0 was given1 with the emotional addition of a genuine red rose1 whose petals were scattered in compliance with the text1 women wept1 and men settled down sullenly in their seats4 ,the irritation of the preceding three days had been reduced to normal rhythmic motion1 in less than one hour of musical treatment4 ,the rest of that evening was in every way a success4 ,this was not an unique experience4 ,musicless lectures were always more excitable in effect than were those combined with music4 ,so certain were the results of our combination1 that before the end of the summer1 we could discuss any 8views0 with a mob element1 by alternating an exciting subject with an artistically rendered musical selection4 ,at every step1 music proved its power to soothe1 and showed how great is the human need of its vibratory mission4 ,instances of similar effect of music upon mental agitation were observed in other situations4 ,during a trip across the ,atlantic on the old vessel 8,trava10 a dangerous accident occurred during a severe storm4 ,a panic threatened4 ,the first officer whispered to the author to sing a song4 ,she started the national hymns1 inviting the passengers to show their patriotism and nationality by joining4 ,first the 8,star ,spangled ,banner0 brought out a few voices1 then the 8,wacht am ,rhein0 swelled the chorus2 the 8,marseillaise0 was then responded to1 and when 8,the ,wearing of the ,green0 brought forth one lusty ,irish brogue1 such a laugh ran round the dining saloon as completely broke the strained condition and re-established normal rhythmic pulse motion4 ,the tension of nerve during strikes was reduced several times by musical 8benefits40 ,dangerous excitement at political meetings was often converted into harmless emotionalism under evenings of ,eighteenth century comedy opera tests on the ,east ,side of ,manhattan4 ,the establishment of ,the ,working ,girls ,club in ,brooklyn in #aiab afforded an excellent opportunity for testing the reviving effects of music upon tired brains and bodies4 ,one hundred and forty young and healthy working girls from department stores1 telephone offices and factories1 used the club house dedicated to their use and at first evidenced pleasure and benefit from the classes instituted4 ,but presently a depressing weariness of aspect appeared1 a 8trying to learn0 expression1 which promised little for energetic application4 ,the law class dwindled to two members2 the millinery class could not attract more than six students1 the cooking class began with thirty-five and ended with four1 the dress-making class held but three pupils3 the class in simple science was not attractive1 the language classes began well1 but the girls were too tired to study4 ,finally we gave them what they wanted1 and what they needed--music4 ,what a change came over the mental attitude6 ,monday1 ,wednesday and ,friday nights1 singing individually and in chorus was taught4 ,three hours of music swept away all traces of weariness1 and sparkling eyes and rosy cheeks exhibited anew the need of music4 ,all through the year #aiab-ac for twelve months1 the opera 8,martha0 by ,flotow was rehearsed1 and never was there occasion to complain of poor attendance1 wandering attention1 or lack of interest4 ,a public performance was given in the ,spring of #aiac at ,labor ,lyceum1 ,brooklyn4 ,notwithstanding long days of labor1 the girls did great credit to their leaders' work in training4 ,turning to individual experiments1 an instance of the strangely normalizing effects of music upon abnormal nervous conditions comes to our mind4 ,a noble minded woman1 lately deceased1 devoted her life to the ,sittig ,christmas ,tree ,celebration1 which annually gave a ,christmas feast of presents1 candies1 books and entertainment to about seven thousand of ,brooklyn's poor children4 ,she was so deaf that she heard with great difficulty1 even with the aid of electrical devices4 ,yet she could hear softly spoken words1 provided the speaker kept playing softly upon the piano during the conversation4 8,i do not need any artificial aid in hearing any sound audible to a normal ear1 while music is in the air10 she once told us4 ,another woman1 affected with continual trembling of the hands1 became perfectly quiet and normal in action while riding in a carriage4 ,in reply to our question as to the reason for this phenomenon1 she replied1 8,the noise of the carriage wheels resolves itself into regular #8beats' which ,i cannot help trying to imitate40 ,it may be that this is but another illustration of the 8need0 of disturbed or unrhythmic motion for 8regular beats0 or rhythmic motion4 ,a friend in ,berlin was painfully deaf1 yet he heard the slightest whisper over the telephone4 ,his similar normality when listening to music1 suggested to the author to class all rhythmic co-operated vibrations producing a continuous sensation in the ear1 under the name of musical rhythmic vibrations4 ,this would extend the realm of musical need to many highly active motions not generally included in the term 8music40 ,telephones1 railway motion sounds1 moaning of winds1 continuous washing sounds of waves1 do in fact produce results strangely similar to those seen in the application of music4 ,excitable people are quieter at sea-side resorts1 and restless in isolated mountain districts4 ,we have closely observed the types of individuals at water resorts in ,europe and ,america4 ,everywhere the same type prevails4 ,it is the highly strung temperament which needs and seeks the 8highly strung0 atmosphere4 ,we have observed like instances in nervous university students1 who study and memorize best in the street cars4 ,ideo-,emotional ,groups4 ,in our ,german experience1 the music which elicited the largest response seemed to be that which impressed emotional pictures upon the mind4 ,schuman lieder are of this character3 they are full of chivalric example1 suggestion1 symbol1 shibboleth1 and tend to awaken emotional reactions4 ,in the home circles1 the sentiment in music is strongly expressed4 ,no true ,german will allow you to heighten the seat at the piano with a volume of ,beethoven ,sonaten4 ,you cannot sit upon ,beethoven in a loyal ,german house4 ,even in the grand opera audiences of ,germany1 the public persists in manifesting a love for those musical ideas which awake emotions rather than cool critical judgment4 ,the simple ,kinder ,lieder can be counted upon to bring the emotions to view1 and unrequited love1 the romantic woes of a god-like hero1 or the dainty texts of sentimental ballads1 are as effectual now as they ever were4 ,russian audiences are still more responsive to the emotional element in music1 but their temperaments have a strong dash of the ,ideo-motor in them4 ,all through ,canada and the ,western part of the ,united ,states1 the ,ideo-,emotional type of music awakens quickest response4 ,old ballads like 8,coming ,through the ,rye10 8,home ,sweet ,home10 8,annie ,laurie10 will bring applause during the preludes1 and only in the most complicated environment is there a genuine response to the relatively complicated works of ,wagner4 ,in a concert test upon the stone-working ,italians at ,wappingers ,falls1 ,n4 ,y41 the home-sick ,italians were so affected by 8,santa ,lucia0 that they all closed their eyes and joined the singer1 weeping as they sang4 ,it was reported dangerous for a woman to go alone among these men1 but they sang song after song for us1 and escorted her five miles to the railroad station4#bf ,dogmatic-,emotional ,types4 ,the ,greek ,church music and the music of the ,catholic ,church acts specially upon the ,dogmatic-,emotional types4 ,it is a curious sight to ,americans to watch ,russian peasants and officials praying in the railroad stations before rough altars and highly gilded images4 ,the candles1 always burning1 suggest the strength of that command1 authority1 dogma1 belief1 which lies so heavily upon ,russian minds4 ,under such a burden1 the type of music must come within the restricted range of comprehension permitted to this type of mind4 ,yet this enforced religion does not act more sternly upon the choice of music in ,russia1 than does the free ,dogmatic-,emotionalism seen in ,ocean ,grove1 ,n4 ,j4 ,here you find response to the same musical type that satisfied ,russian audiences of a ,dogmatic-,emotional character4 ,ocean ,grove inhabitants do not pray in public stations1 but no car runs on ,sunday2 no wagons deliver goods on the ,sabbath1 the rules which govern conduct and musical production in ,russia1 are not more strictly obeyed than are those which frown upon ,sunday amusement in ,ocean ,grove1 or dictate its musical supply4 ,strange to note1 the ,catholic element is more open in its 8desecration0 of the ,sabbath1 than is the ,protestant element4 ,this may be accounted for by the larger degree of ,ideo-,motor activity among ,catholic groups1 notwithstanding the strength of the ,church hold upon the fidelity of its members4 ,the ,dogmatic-,emotional groups 8need0 a music to correspond to their type1 and only such music is successful with them4 ,many years in church circles have proved to us the real desire or 8need0 of hymns and sacred songs1 as a satisfaction of this type's yearnings4 ,the ,rationalistic ,group4 ,now we come to a class of comparatively few representatives4 ,it presents a nearer approach to symmetry in its curve of mental and physical poise4 ,it responds to stimuli appealing through knowledge to the higher intellectual processes4 ,ideals are stronger than their physical manifestations2 the idea is more important than the model2 the type is less affected by common stimuli2 it secludes itself in contemplation1 in more cool investigation of its own responses2 it seeks food for mental labor1 with time for detailed analysis of that work4 ,all this means a more normal equilibrium between periods of high motion and rest2 it means that a smaller chance of 8disturbance0 is encountered by this type1 and consequently a smaller 8need0 of rhythmic music4 ,the problem opera will satisfy it4 ,in less need of marked rhythm1 the analysis of new musical form will occupy these minds1 regardless of the lack of either rhythmic or harmonious effects4 ,the smallness of the ,rationalistic group is indicated by the unpopularity of rationalistic composition4 ,opera managements produce the new 8rationalistic0 works1 but they make up their financial losses by the ,ideo-,emotional works like ,faust1 ,carmen1 ,cavaleria ,rusticana1 ,madam ,butterfly and most of the beloved works of the popular operatic repertoire4 ,thus we see that if music is a human need1 it is a need greatest among the ,ideo-motor and ,ideo-,emotional types1 or among the lower and middle classes chiefly4 ,the ,dogmatic-,emotional type needs a music of its own1 and never fails to produce it4 ,the ,rationalistic type1 also needs its music1 because its rationalism has not yet extended to an absolute perfection of equilibrium between dissipation and integration of bodily forces1 and wherever abnormality of pulse exists1 there musical rhythm is 8needed40 ,even were this theory of musical need not admitted1 the genuine love of music constitutes a need4 ,so intense a yearning1 unsatisfied1 cannot be beneficial to the human system4 ,whether we admit music as a necessary part of human pleasure1 or as a necessary stimulus to human rhythm of bodily motions1 its 8need0 will scarcely be denied in the face of its constant demand and supply4 ,music reinforces human energy1 aids in the control and order of the mind1 elevates the conception of life1 and furnishes repose for the overstimulated nerves of urban communities4 ,placing music then where you will1 it belongs among those 8better materials for storing1 conveying and transforming energy0#bg and its wise application may lead to surprising results1 in the conservation of faculties1 now doomed to decay under the law of diminishing returns4 ,that some change in the bodily molecules takes place as a result of musical indulgence is believed by the author4 ,the change in the pulse rate before and after a musical performance indicates an effect upon the circulation4 ,the same time spent in listening to a lecture1 shows less freedom from tension4 ,this was shown in the #hd experiments with working girls4 ,the #ajc benefit tests upon revolutionary audiences showed marked effects in calming power3 ten years' experience in church choirs1 showed the vast superiority of service with music1 over service without music1 in calming excitable congregations and in rousing phlegmatic ones2 ninety-one consecutive experiments at ,coney ,island demonstrated that music can calm revolt1 and change irritation to tranquillity2 over three hundred concert studies in ,russia and in the ,united ,states have shown marked increase in the normality of expression in audiences1 after an evening of music1 and twelve years of experience in teaching music1 have shown so decided results in greater health and happiness in pupils1 that music as a human 8need0 appears to us to be established beyond doubt4 ,the ,federal government of our ,united ,states may not be able under its ,constitution to institute ,schools of ,music1 but the states should begin to give more consideration to ,state ,schools of ,music4 ,if the ,u4 ,s4 ,government is constitutionally unable to maintain ,national ,schools of ,music1 any comparison with ,european governments so licensed by their constitutions1 would be unjust and misleading4 ,the statistics given are intended merely to show what the various governments are doing along the line of national support of musical culture1 and no comparison is attempted4 ,our ,states and cities are expending vast sums upon music4 ,the contention of the author1 however1 is that ,state ,musical ,colleges will not produce a national type of music1 and that the highest ideal rests in a ,federal control of musical culture4 ,when music can be regarded as a national need1 and not merely as a social diversion1 the ,federal government may see its way clear to a ,federal support of musical education4 ,music as an important measure in social control1 and as an equally important factor in individual health1 belongs under the eye of the national head4 ,with the faint hope that this place will sometime be granted to music1 we submit this work4 ,,footnotes3 #bf ,an atrocious murder had been committed by one of this group during the week and the ,mission ,superintendent warned us by telegram of serious revolt and danger4 #bg ,professor ,giddings' 8,law of ,increasing and ,diminishing ,returns0 would apply here as elsewhere4 ,,chapter ,,iv4 ,,toneurology3 ,a ,,new ,,branch ,,of ,,study4 ,humanity then must maintain its pulse in a rhythmic-stimulation-and-repose-for-dist ribution system4 ,this can best be done by the greater exercise of the emotional nature1 and by the indulgence of romantic ideals1 for emotions are pulse-lifters1 dragging the stagnant life motions up to a normal mean rhythm4 ,the man or nation1 whose pulse is kept most constantly keyed up to the normal1 is the man or nation which achieves the finest results4 ,our four national examples1 ,england1 ,france1 ,germany1 and ,italy1 demonstrate these emotional products4 ,germany leads in her quality of musical 7or emotional7 output1 because she led during the century in her sufferings1 prepared1 as they were1 by so much of heart breaking experience during the preceding century4 ,france comes next4 ,her national emotions have been weakened in tragic elements by the love of the spectacular1 by the intellectual need of vivid pictures and colors1 and by the assertiveness and pride of an ancestral supremacy1 hard to subdue to the state of tender romance and heart tragedy1 which characterized ,germany's strong and sentimental temperament4 ,after ,france comes ,italy1 emotional1 poetic1 merry-hearted1 making a farce of tragedy because her century's life produced so little national sadness4 ,only in recent years has it come to be felt that the mean rhythm of ,germany can become like the mean rhythm of any nation1 even of ,italy1 if the depths or motions are sounded as were ,germany's4 ,england brings up the rear1 her century's mean rhythm being far below the high water mark4 ,this is shown by the delicate comedies1 and naive sentimentalism of her music1 which are the fit measure of her national pulse rate of emotionalism4 ,music1 as a human need1 carries us deep into the secrets of life1 and will in time open the way for a new science4 ,music is not the name for this new branch of knowledge1 as the study would involve an exhaustive investigation of nervous reactions in their social and individual relations to sound vibrations4 ,we would suggest the name 8,toneurology0 because tone is understood in all modern languages1 and 8neuros0 has the same advantage4 ,this study would involve research along entirely new lines1 such as an investigation of motions in bodily organs2 mathematical estimation of the vibration value of each pulse beat1 and of the sums of tone vibrations in chords1 upon one instrument and upon many1 as in an orchestra2 the rate of increase or decrease of the pulse after contact with tonal force1 with approximate computation of the time that the latter can maintain a normal pulse1 and the necessary frequency of its application4 ,the research student in this new science must have a working knowledge of physics1 biology1 psychology1 sociology1 harmony1 counterpoint1 musical history1 political history and physiology1 with a new study of the ,human ,will4 ,we should thus add a new science to the group of exact concrete sciences4 ,it is with no little diffidence that we suggest this as a new branch of study4 ,there are indications that universities adopting ,music into their lists of studies1 recognize the need of ,music's closer touch with scientific courses4 ,if ,music is ever to outgrow its swaddling clothes of sentimental and frivolous superficiality1 and mere amusement conception1 it must clearly manifest its scientific dignity1 and its inseparable connection with physics1 sociology1 biology and psychology4 ,it must take its place among those studies which encourage scientific tests and lifelong research4 ,it must leave its hitherto 8divine aspect0 on the rubbish heap1 along with the 8divine rights0 of kings1 magic1 ancestor worship1 and ghost theories4 ,we believe some secrets of life preservation will be found in ,toneurology4 ,the curious effect of ,music upon groups suggests a possible counterpart of such reaction upon individuals4 ,music1 once regarded in terms of motion1 with laws of motion likewise applied to the bodily integrations1 the path opens out clear and true4 ,the fact that men1 in spite of all the great scientific discoveries1 harden and fade with age1 tends to prove that the human body has not been completely envisaged by any or all of them4 ,we offer here a study which includes many of the abstract and concrete sciences but directed towards a new combination1 i4 e41 tone and nerve1 to be tested and quantitatively measured under the laws of motion instead of under the laws of perception and of appreciation4 ,we take ,music out of the field of ideals entirely1 and place it upon a level with rhythm establishers1 incident forces1 and pulse fillers4 ,our statistics#bh show the sub-conscious appreciation of ,music as a human need by the countries represented1 and those governments show a larger proportion of internal unrest where musical provision is small4 ,this test1 although indicative1 is far from satisfactory1 since no provision1 adequate to act constantly upon the life forces1 has as yet been made4 ,,footnotes3 #bh ,see page #ajb4 ,,part ,,ii4 ,,the ,,inter-,,reactions ,,of ,,music ,,and ,,national ,,life4 ,introductory ,note to ,chapters ,v-,,vii4 ,the following outlines of musical productions during the ,nineteenth century in ,italy1 ,england1 ,germany1 ,france1 and the ,united ,states1 are intended to show how precisely the depth and nature of disturbances are measurable by the ,music of each country4 ,each musical type pictures the 8need0 of the nation in question1 and is peculiar to the character of each human aggregate4 ,the statistics received by us and presented later in this work1#bi indicate not only the extent to which ,music is now regarded in its utility aspect by different nations1 but also show the protection given to this as-yet-misunderstood force4 ,in this day of general culture1 the reader's acquaintance with the main outlines of the political and economic history of these peoples may be assumed4 ,the ,music of each nation will be seen to picture closely the national emotions consequent upon the national stimuli4 ,,footnotes3 #bi ,the statistics upon which these conclusions are based will be found in ,appendix ,c and ,e4 ,,chapter ,v4 ,,italy 7#ahjj-aiac74 ,national ,music is the language of national emotion4 ,the latter is the result and reflection of economic stimuli4 ,the ,music of a period exhibits the characteristics of national disturbances at every point in economic history4 ,italy1 subjected to a much lighter form of stimuli than ,england or ,germany1 has not yet ceased to manifest her short-duration-excitability1 her love of the merely sensuous in beauty1 which shows that the ancient intense disturbances of her real depths have not been repeated in recent times4 ,the period from #ahjj to #ahdh presents a mental state of little disturbance1 the ,italian social mind having not yet awakened from its ,eighteenth century submissiveness and inaction4 ,it will be interesting to analyze emotions of this period and their expression in ,music4 ,was tragedy the dominant factor in economic life8 ,no4 ,the social pressure of this period was light1 even merry1 with the lightness of lazy enjoyment in an unambitious mind4 ,curiosity was awakened but it was in its wonder stage1 acting slowly upon hints received from the cynicism of ,france1 from the power of labor ideas from ,england1 and from the disrespect for ,papal authority coming from ,germany4 ,like a mirror for the reflection of the sharp but shallow emotions produced by these stimuli1 were the musical works of ,rossini constituting the public emotional valves4 ,the 8,barbiere di ,sevilla10 with its witching humor1 its delicate satire1 its political allusions1 and its portraits of the life of the nation1 was a constant source of delight to unreflecting ,italian thought4 ,rossini's skill in the opera-buffa was marked4 ,for the party of the ,catholic faith he composed his 8,stabat ,mater10 equally fine1 but picturing even in these more serious emotion-valves1 those superficial moulds in which the public thought was cast4 ,the works of ,donizetti were no less bewitching and no less trivial1 while the soft and sentimental character of ,bellini's genius found answering echoes in every ,italian ideal4 ,dramatic passion was not lacking in 8,norma10 but the atmosphere of even this glimpse of future depth in ,italian emotionalism1 was never quite free from the weak traits of ,bellini's school4 ,vocalism extraordinary was the demand of the opera1 and the display in voice technique was remarkable4 ,this was not1 however1 out of place in comedy opera1 where depth of sentiment never reached the modern ridiculous spectacle of vocalized heart breakings1 tuneful murders1 and death gasps upon assigned tone pitches4 ,the over-dressed orchestrations of present day operas1 the senseless howling of a single voice above the combined vibrations of a hundred or more active instruments1 the absurd idea of profound vocal passion1 had not yet distorted the original operatic idea1 which still dwelt in the true realm of its effectiveness1 namely1 that of the presentation of the lovely1 the gay1 the pathetic1 the comic4 ,the supremacy of the human voice as a vehicle of expression was in no way endangered by the abnormal taste of our own day4 ,toward the middle of the ,nineteenth century1 as the spirit of the time deepened in intensity1 operas of a more serious nature held their share of public attention4 ,donizetti's 8,lucrezia ,borgia0 was presented in #ahdd1 after several others of dramatic color1 among which ,rossini's 8,william ,tell0 and 8,othello0 were works of real dramatic power4 ,for several centuries the ,state had exercised control over musical education in ,italy4 ,in ,rome1 from its earliest days1 institutions of ,music had existed4 ,music was regarded as a necessity rather than as a luxury4 ,such will be the attitude assumed toward ,music in the future1 when psychologists and sociologists shall have studied more deeply into the relations of artificially created rhythm to bodily rhythm1 and also into the need of re-establishing disturbed bodily rhythm1 manifested in the abnormal pulse during emotional states of mind4 ,during the ,eighteenth century each of the large towns of ,italy supported its own opera house and one cannot estimate to what extent these emotion valves were instrumental in the easy subjugation of the people4 ,were ,music to be banished from any one of the civilized countries today1 anarchy might very shortly result4 ,who can say that the frenzied license which followed ,cromwell's suppression of musical indulgence1 was not due in part to the closing of ,england's emotion valves8 ,the present craze for the violent action dances1 represented in the turkey-trot and the tango1 is1 in the opinion of the author1 a natural expression of the human need of pronounced rhythm4 ,it is a sub-conscious effort to supply the lack of pronounced rhythmic stimulus in economic life4 ,the late tendency in musical composition has also been away from the old rhythmic accent and in the direction of disturbed harmonies1 and lack of restful melodies4 ,thus the over-stimulated nerves of humanity have been exposed to an unchecked abnormality of their motions4 ,the dances above mentioned partly remedy this defect in bodily action1 and restore relative equilibrium--hence the craze for this form of amusement4 ,notice1 however1 that people will not take part in either of these dances for a moment1 without the ,music4 ,the movement alone is not the need2 the ,music is the chief factor1 the rhythm of which is merely accented and accentuated by the movements4 ,these dances may be saving the sanity of countless thousands4 ,why then the suggested ban on this human need8 ,if these dance forms are not desirable1 then sweep away the present musical abominations and bring melody and--above all--marked rhythm within reach of the masses4 ,we shall now proceed to take up the thread of ,italian musical life at #ahdh when social pressure was assuming a darker hue1 acute even in its short-lived terrors1 as befits the ,italian temperament4 ,this temperament1 unlike that of ,germany under tragic conditions1 must either die in despair or recover quickly4 ,it is ever in short runs between sobs and a jest1 ever in fiery moments and merry half-hours1 ever child-like at heart1 yet marvellously gifted1 beauty-loving and sentimental4 ,italy might not live through a 8,thirty ,years ,war10 but with the inspiration of the right leaders1 she might create a new ,roman ,republic1 under the forceful stimulus of oft-relieved bursts of enthusiasm4 ,the strenuous years from #ahdh to #ahfj1 sufficiently aroused the ,italian spirit to produce much that has since developed to the credit of the country4 ,a deeper tone had been struck in ,italian ideals1 though not sufficiently deep to revolutionize completely the nation's taste for those old forms of ,music1 so essentially a part of the melody loving race4 ,still tragedy shadowed the public mind1 and ,verdi pictured these gloomy years in the operas 8,rigoletto0 7#ahea71 8,la ,traviata0 7#ahec71 8,il ,trovatore0 7#ahec71 and 8,aida0 7#ahga74 ,verdi was the idol of the people1 because his genius fitted into the conditions of his time1 illustrating the theory of the present investigation4 ,the ignorance of the ,italians1 patricians and peasantry alike1 made the functioning of ,italy's really great literary works during the ,nineteenth century1 impotent as stimuli productive of national and contemporaneous reactions4 ,of late1 however1 a new educational impulse has been given by the establishment of the public school4 ,this is certain greatly to increase stimuli products in the ,italian nervous system1 and the ,italian need for a corresponding complexity in its ,music is even now being manifested4 ,with the installation of transport facilities to the new world1 a fresh and somewhat romantic stimulus has been given to the ,italian people4 ,the letters of absent relatives reflect world news1 and widen mental views for whole villages4 ,besides1 railroads have opened up new intercourse between the various parts of ,italy1 and the telegraph1 electric light1 new home inventions1 industrial occupations1 factories and so forth1 each in turn--or at times all together--have disturbed the bodily rhythm by increased stimulation1 so that the late demands for realism in ,france and ,germany did indeed find partial echo in ,italy1 in 8,the ,cavalleria ,rusticana0 of ,mascagni1 a spectacular but not profound opera1 which aroused amazing enthusiasm by its characteristic presentation of familiar forms4 ,these were new in their realistic color1 yet old in ,italian life1 and they pictured in their dramatic action1 the stronger taste of the day4 ,puccini mirrored the still deeper stimulus of his time1 in his 8,manon ,lescaut0 7#ahic71 8,la ,boheme0 7#ahif71 8,la ,tosca0 7#aijj7 and 8,madam ,butterfly0 7#aijd71 the latter inconsistent in its mixture of tragedy with soft ,italian tunefulness1 for even ,puccini fails to discard the characteristic tunefulness of his race1 in his too evident striving for such discordant effects1 as1 however1 unintentionally represent the discordant elements in ,italy's modern civilization4 ,these works show that ,italy has awakened from her lazy sleep under the rule of foreigners1 and that she is now beginning to feel the stir of larger economic disturbances1 in those depths of the social mind1 already so thoroughly stirred and active in ,france and ,germany4 ,the care given to the musical needs of ,italy by her central authorities is shown later in this book4#cj ,,footnotes3 #cj ,see ,appendices ,c and ,e4 ,,chapter ,,vi4 ,,england 7#ahjj-aiac74 ,the history of ,england during the ,nineteenth century presents but little disturbance at home1 along lines calculated so to move mental depths1 as to produce complicated re-establishing forms in musical rhythm4 ,labor troubles harassed the national thought in their usual superficial manner1 rarely causing the loss of a night's sleep1 or the disturbance of appetite1 and the many reforms in the interest of trade1 affected but slowly the depths of emotionalism4 ,it has ever been a noticeable fact1 that impersonal or distant calamities but slightly arouse the national emotions4 ,people read and comment upon the slaughter of women and children1 and at the same time pleasurably partake of a good dinner4 ,the fact is1 that emotions are not easily aroused by distant stimuli1 and people also respond with ever decreasing force to unchanging present stimuli4 ,present day labor agitations have already passed the boundaries of mild stimulation1 and are fast becoming emotional forces which are evidently driving headlong into governmental change4 ,capitalism has run its oppressive course1 and for the near future a genuinely soul-tearing agitation is preparing1 which1 if allowed to rip open the veins of the nation1 will produce the stimuli1 that eventually will endow ,english ,music with a richness and depth1 superior to that of any other country4 ,british emotions have been sleeping deeply under two centuries of mild emotional stimuli1 but when they do stretch their strong fibres for action1 then one may indeed tremble for the old systems of ,english government2 and then also the great musical triumphs of ,belgium and ,germany may be surpassed4 ,considering the mental attitude of the ,british community during the ,nineteenth century1 and at the present day1 it was to be expected that ,balfe's 8,lurline0 should represent the nation's rhythmic need up to #ahgj1 and that the musical works of ,benedict 78,the ,lily of ,killarney10 and the oratorios of 8,st4 ,peter0 and 8,st4 ,cecilia071 should have found popular appreciation up to #ahhe4 ,but the composer who best illustrates ,england's characteristic activity1--that of colonization1--its military and political aspects1 the clean minded and religious attitude of ,victoria's rule1 and the general lightly disturbing characteristics of ,nineteenth century economic stimuli1 was ,sir ,arthur ,sullivan in his charming works1 8,the ,mikado10 8,pinafore10 8,the ,pirates of ,penzance10 8,patience10 8,the ,yeoman of the ,guard10 8,iolanthe0 and 8,the ,sorcerer40 ,england did much in this century to advance the culture of ,music within her borders4 ,the ,royal head was patron of such institutions as ,the ,royal ,academy of ,south ,kensington1 ,the ,royal ,college of ,music1 ,the ,guildhall ,school of ,music and ,trinity ,college4 ,these are in general supported by government grants1 donations1 and subscribing patrons4#ca ,the national faith is still strongly expressed in the extensive cultivation of the oratorio1 while the secular ideal has not yet become sufficiently abnormal to genuinely encourage ,music of the present ,french and ,german schools4 ,this is probably because ,england's emotions are not in need of such representations1 since they are still adequately reflected in the lighter works of ,italian genius1 as expressed by ,verdi#cb and in her own lovely light operas4 ,it seems more than a coincidence that the ,music of a country so marvellously reflects the character of the economic stimuli of its period1 as does ,great ,britain's4 ,that ,england has a genuine care for the development of musical culture in her realm is shown by the letter from the ,board of ,education1 ,whitehall1 ,london4#cc ,,footnotes3 #ca 8,american ,history and ,encyclopedia of ,music10 volume on ,foreign ,music1 p4 #bjf4 #cb ,we leave out of account his 8,falstaff40 #cc ,see ,appendix ,e4 ,,chapter ,,vii4 ,,germany 7#ahjj-aiac74 ,the world today is still perceiving in ,germany's ,music1 the intensity of ,germany's emotions1 as aroused during the ,seventeenth and ,eighteenth centuries4 ,let us see if ,germany's tragic emotionalism has produced its likeness in ,music1 thus wisely furnishing an outlet for revolutionary energy1 and at the same time wielding a powerful and tranquillizing wand over a growing restlessness of spirit4 ,let us see whether the great tragic depths of emotional life through which ,germany has passed1 during at least two-thirds of the ,nineteenth century1 support our thesis by having resulted in the creation of a deep and tragic ,music1 with revolutionary harmony at its summit4 ,ludwig von ,beethoven's genius was such as greatly to influence the entire ,nineteenth century ,music4 ,he reigned supreme in the symphony and sonata fields1 where dignified composition found its most fitting musical forms4 ,the public was1 at the close of the ,eighteenth century1 actively supporting its own musical market through publishing houses and public concerts1 so that the exclusive patronage of the nobility could be largely dispensed with by composers1 to their own infinite advantage1 by making possible a wider psychic expression in their works1 and in the production of ,music of more pronounced national color4 ,pensions were still granted to noted composers1 but these did not fetter them as completely as they had formerly done4 ,that ,germany1 at that time1 could produce a character so simple and noble1 as was manifested by ,beethoven's life1 suggests the religious stimuli which acted upon his parents4 ,all of his early works exhibit this chaste adherence to the established ideals in ,music4 ,beautiful depths are revealed everywhere1 and a solemn earnestness pervades his lightest productions4 ,we love and revere ,beethoven1 unconsciously feeling some strong1 pure and noble influence which was awakening in the ,german mind4#cd ,the early years of the ,nineteenth century brought1 with their political disturbance1 a taste for the old knightly ballads4 ,these were1 with the 8,lieder10 which so closely pictured the newly rising fearlessness of the people1 beautifully expressed in the genius of ,franz ,schubert4 ,at this time the social position of the nobility was as insecure as was the political peace of all ,europe4 ,the rise of the people's voice was shown in the importance given to the 8folk-song40 ,great emphasis was now laid upon the texts of these songs themselves1 thus again subjecting ,music to poetry1 the people's speech1 as opposed to what was the rule in the ,eighteenth century1 when texts meant nothing to the empty-headed aristocracy1 and sensuous tones and bewildering technique held sway4 ,yet rhythm still remains marked1 and the tunes are still full of sentimental suggestion4 ,song is not the vehicle of intense emotion1 and indeed at this period1 emotion had not yet reached a point of intensity in ,german economic life4 ,the great emotional possibilities of ,germany were still subdued by petty powers1 and the 8,lied0 sufficiently expressed the social pressure of the time1 when the people did not care much who ruled them1 so long as there was enough to eat1 and so long as good beer accompanied their merriment4 ,tragedy was in action1 but had not yet dug her claws into the depths of ,german emotion4 ,it was not the time for deep dramatic opera4 ,the prevailing taste craved the romantic quality suggested by war heroes of the ,napoleonic type4 ,napoleon's almost unvarying triumph embellished his reputation with god-like1 impossible attributes4 ,finally his romantic sway and sad end awakened echoes of ancient chivalry in the thoughts woven about his name4 ,as a matter of fact1 ,schubert's works were not published before #ahba1 because the ,german musician was still dominated by the ,italian school4 ,the disturbed period before this date was unproductive of nationalism in any form4 ,the mental color of #ahba was essentially lyrical1 and ,schubert's songs struck the right note in public feeling from this date on4 ,new forms were arising on every hand4 ,classic themes had had their day4 ,schiller and ,goethe had inspired art and literature with new ideals4 ,carl von ,weber exhibited new methods in his epoch marking ,german opera 8,der ,freischutz10 in #ahba4 ,this opera sounded the death knell of the reign of ,italian ,music in ,germany4 ,in this work von ,weber dared to picture the real life of the ,german people1 and to give the folk-song a prominent position1 though he weakened the presentation by the introduction of supernatural effects4 ,note the public mind in this success6 ,germany wanted its own texts1 its own life1 its own style represented in the ,music it was to enjoy4 ,when had the ,germans ever dared to show so strange a tendency before8 ,then came the 8heroic0 opera with its silly plot1 sustained musical invention1 new method of treating the recitative as part of the melody1 and greater richness of orchestral effects1 in which one sees the first touches of real dramatic instrumental treatment4 ,von ,weber was the flag-pole for the banner of ,wagner1 and his genius is a true reflection of ,germany's social pressure4 ,up to #ahei ,spohr exerted a serious and dignified influence upon the violin art of ,germany1 but his heavier works did not reach the importance of von ,weber's1 which had truly illustrated the mental tendency of the time4 ,in works of great beauty and merit ,kreutzer1 ,lortzing and ,nicolai represented different phases of this social mind4 ,robert ,schumann did not contribute to the actual need of the people until #ahdj-ahda when he produced a large number of exquisite songs4 ,his piano works1 however1 exhibit more originality and greater strength and depth2 they indicate a greater mastery of the classic ideal1 show extended chord effects1 and present broadness of idea4 ,a new feature here was the syncopated accent4#ce ,this was the beginning of that breaking of the rhythmic effect which1 to our mind1 has not only been detrimental to the beneficial results of ,music as a rhythm-re-establisher1 but which has also been the forerunner of our ,american 8craze0 for 8ragtime0 ,music4 ,it was an 8out-of-order0 effect1 and came from an 8out-of-order0 mind1 for poor ,schumann died insane at ,bonn in #ahef4 ,schumann1 more than any other composer of his time1 connected economic stimuli with emotionalism1 and the titles he gave his piano works1 revealed his belief that ,music could be made to express definite conceptions4 ,schumann not only felt the need of rhythmic works1 but he also produced them1 and the richness of his harmony is more pronounced in effect than ,schubert's4 ,yet even ,schumann did not sound the depths of ,german tragedy1 because the social pressure was not yet charged with tragic stimuli4 ,the century had not yet wrung the ,german heart4 ,it was still submissive1 although in fearful contemplation of its possibilities1 nor had it as yet been aroused into active fury for national unity4 ,tragedy alone could fully move those much tried ,teutonic depths4 ,the interest manifested in ,schumann's musical periodical 8,die ,neue ,zeitschrift fr ,musik0 proved that the growth of musical knowledge in public culture was keeping pace with the increasing complication of economic life1 and with the growing intensity of its emotion-producing influences4 ,as complicated as the forces which succeed in arousing national emotions1 are the musical constructions which are contemporaneous with such forces4 ,mendelssohn reflected the reactionary feeling of one part of public thought1 but he did not dominate in his field as did von ,weber and ,schumann4 ,bach and ,hndel influenced his work1 and lent it the chief beauty evident in his many charming productions4 ,his own life of ease and wealth prevented his being subjected to those harrowing experiences1 so necessary to the soil of genius4 ,for these reasons he cannot represent more than a certain phase of that whole social mind1 which found its complete reflection in ,schumann4 ,during the period before #ahdi1 it is significant that the waltz and the operetta should have begun their shallow but necessary existences in ,german life4 ,progress and prosperity had given a kind of careless capacity for enjoyment to the people1 and a tendency toward unhealthy sluggishness of the national pulse4 ,but we must notice that the public demanded the most pronounced rhythm as a means of imparting to the body an excitation of a higher degree of rhythmic motion4 ,this was supplied perfectly in the waltz4 ,was this the first step backward to ,grecian rhythmic exercises8 ,the dance is as old as human life1 but the waltz is peculiarly sensuous and suavely rhythmic1 and its development by ,johann ,strauss came at an extraordinarily receptive moment in social desire4 ,one must attempt to place one's own consciousness in the imaginary body of a person living in those times1 in order to feel the need of the waltz4 ,as our own time is near enough in stimuli similar to that period before #ahdh1 the feat may not be impossible4 ,the younger ,strauss reflected most perfectly the restful period1 which followed the unification of the ,germans4 ,but ,richard ,wagner marks the highest point of ,german social pressure4 ,this master did not defeat our thesis in the least degree1 even in his early works1 which were as conservative as any others of the times4 ,until #ahdb his life was unsettled and his career doubtful4 8,rienzi10 given at ,dresden in this year1 proved a great success1 and in #ahdc is 8,fliegende ,hollender0 showed the first positive adoption of revolutionary ideas in ,music1 although 8,rienzi0 contained some significant references to freedom and to the power of the people4 ,wagner certainly held the radical convictions of the time1 and his later works were undoubtedly inspired by the stirring stimuli of then existing social pressure4 ,in #ahej 8,lohengrin0 was produced with great success4 ,many trials tormented the spirit of ,wagner until #ahfa1 when his 8,tannhuser0 was produced in ,paris amid the howling of radical mobs1 who literally forced it into failure4 ,all this time his operas had been a part of ,germany's operatic repertoire1 but his greatest strokes in musical revolution were yet unfelt4 ,humiliation and poverty1 malice and active enmity1 assailed him at every point4 ,yet bravely defiant1 truly reflecting the ,german temper of that period1 he succeeded in gaining the patronage of ,king ,ludwig ,,ii of ,bavaria1 and in #ahfe 8,tristan0 was produced4 ,this was a work which entirely overturned the traditional structure of operatic ideals and made it possible for his enemies to deprive him of his hoped-for refuge in the ,king's favor4 ,but in #ahfh 8,die ,meistersnger0 was performed at ,munich4 ,this work presented a genuine plea for greater freedom in art creations and exhibited a perfection of musical treatment1 combined with daring innovations1 which to this day constitute a lasting charm4 ,after many misfortunes1 but with a consciousness that his works had established ,german opera upon a new and ideal basis1 ,wagner realized his dreams in the production of 8,der ,ring des ,nibelungen0 in his own theatre at ,bayreuth1 in ,august1 #ahgf4 ,note how close in time was ,wagner's climax1 in his activity of revolutionary ,music1 and the triumph of united ,germany over the disdainful powers of ,europe6 ,at one and the same period 7#ahgf71 we see ,wagner established as the ,german emotional dictator1 and ,german solidarity in ,prussia's settled supremacy4 ,at this time also1 after a most distressing period of bloody warfare and mental torture1 all ,europe was at comparative peace4 ,does not our thesis hold good8 ,now in the years of progress and peace from #ahgf to #ahhb1 what happens to the mind of ,wagner1 as we behold him finally freed from toil1 poverty1 enmity and humiliation8 ,the same thing that happened to the social mind under the suave influence of constitutional government1 headed by a wise and good king4 ,stimuli became softer1 and the social mind became more complicated in sense-perceptions1 more sentimental1 with a dramatic expression less colored by earthly strife and blood1 more refined by spiritual and intellectual habits1 and lo6 in #ahhb 8,parsifal0 marks the last production of the mighty ,wagner4 ,this work presents a decided falling back from the standards he had created in spontaneity and thematic development4 ,the fact and the cause are plain4 ,the cause of the 8falling off0 is to be found in the absence of deeply stirring economic stimuli1 in the social pressure of the quiet years during which this work was in preparation4 ,let the historical facts speak for themselves4 ,assuredly the day will come1 when sociologists and psychologists will recognize as a scientific phenomenon1 and one admitting of quantitative psychiatric measurement1 the relation between social nerve disturbance in emotion1 and social tranquillization in ,music1 with its uncountable millions of vibrations which strike the nerves1 and act in ways now seemingly mysterious1 upon the life of a group4 ,with ,wagner's death1 attention descends the mount of achievement along emotional lines in ,germany4 ,brahms1 ,strauss1 ,bruch1 ,bruchner and other recent composers1 all cling to the robe of ,wagner4 ,here and there these composers attempted alterations which distorted his idea1 but succeeded only in picturing the milder intellectual stimuli which now ruled ,german thought4 ,,footnotes3 #cd ,even ,beethoven illustrates the progressive idea of the time1 in the evolution of free initiative in new forms1 exhibited in his symphonies1 which are progressive steps in greater freedom of treatment1 from the first1 to the revolutionary introduction of choruses in the ninth4 #ce ,beethoven's exquisite works for stringed instruments show syncopation effects1 but the hard1 syncopated 8accent0 seems first evident as sharp contrasts1 in the works of ,schumann4 ,,chapter ,,viii4 ,,france 7#ahjj-aiac74 ,france1 as a most progressive nation1 presents a splendid musical system and a correspondingly good product of musical culture4 ,the ,french national mind is peculiarly sensitive to modern social pressure4 ,let this pressure be relieved by musical rhythm and ,france will bound ahead in musical paths as she has in so many other lines4 ,in money expenditure1 she stands high1 but this expenditure is made largely in ,paris4 ,culture in a ,state must be considered in its relation to all of its inhabitants1 and while ,france shows a large absolute expenditure1 her per capita expenditure is relatively low4 ,this expenditure1 however1 is independent of private donations1 which have no place in ,state control1 and which are a detriment rather than a benefit to the general public1 representing as they do1 a control by the princely 8fads0 of a ruling class4 ,national musical genius is expressed in the degree to which the national emotions are aroused by national stimuli4 ,had ,france reacted to her social pressure in the same manner as did ,germany with practically the same stimuli1 our history might have properly closed with ,germany's triumph4 ,but ,france had received quite a different mental preparation from that which tortured the ,german heart in the #ahth century1 and the nature of ,french emotionalism was both far less sincerely tragic1 and far more highly intellectual at every phase1 than was ,germany's4 ,the common people of ,france were indeed subjected to genuine misery before the downfall of the monarchy1 but they were ever arrayed in the glory of a conquering nation1--a leading power1 conscious of its own supremacy in ,european affairs1 although the peasantry were ground down with taxes1 and made to be the overburdened supporters of a vicious royalty2 yet the tone of the public mind1 while somewhat critical1 was chiefly domineering1 and capable of great enthusiasm4 ,free thought was still in the freshness of youth1 so that oppressions1 as they came1 were analyzed and denounced even while endured4 ,germany had never thought of doing this until #ahdh4 ,the troubles of ,france were a direct consequence of the desires of the common people1 and were not so much brought upon them by outside forces1 as they were voluntarily encountered and even created1 by themselves1 in their conscious development of a new idea of popular rule4 ,france wanted to do great and new deeds before she was mentally ready for such achievements1 and her trials were of her own making4 ,this fact does not lessen her emotional response to her social pressure1 but it does color it with a certain control even in its deepest action4 ,thus it was with ,france1 ,napoleon draining her soil of its best blood1 but crowning the nation with laurels4 ,the philosophical spirit aroused by the genius of ,voltaire did not weaken even under this glory1 and the ,french mind1 although wearied by the revolution1 rested only a moment in the re-actions under ,napoleon4 ,the reckless ,republic was but the first sign of the new national temper1 and--although all ,europe united to subdue it1 and ,napoleon's ,empire patted it into momentary quiet with an encouragement of all forms of progress--the national mind had tasted freedom and the old tolerance of royalty was dying4 ,during the fourteen years of his reign1 ,napoleon gave substantial benefits to ,france4 ,continental ,europe bent in submission at his feet4 ,although the ,french people hated the old idea of monarchy1 they could not deny the advantages which ,france received from his powerful genius4 ,his death in #ahba left his former subjects in a bad way1 the people striving for constitutional government1 against the allies in favor of absolutism4 ,but little by little1 certain advances were made by the people1 in a gradual assertion of their opinions4 ,revolution was a constant menace in the social pressure of the half century following ,napoleon's downfall4 ,the rebellious fanaticism underlying each and all of civilized manifestations1 is certain to strike new and staggering blows at the commercialism of our times4 ,we feel as though terror and its causes in religion were lurking very near the surface of the world politics today4 ,along many lines ,france has not lost her old ascendency in leadership1 but her discipline has perhaps been too weak in the direction of dogged persistence4 ,her actions possibly have been governed at home and in her colonization efforts1 by too much of a fatalistic policy1 to give strong promise of any continuous establishment of power under the people's rule4 ,yet much is to be expected1 from the daring courage1 enthusiasm1 and intellectual splendor of the ,french mind4 ,the whole country has furnished a strange contrast to ,german social reaction1 for under the same stimuli the one wept while the other laughed4 ,during the first forty years of the ,nineteenth century1 the piano virtuoso1 with his superficial flourishes of finger technique reigned supreme over instrumental ,music in ,france4 ,the sonata1 so representative of dignity and noble sentiment1 was accorded only an obscure position during this superficial period1 and the short piano piece took its place4 ,on the other hand1 performers gave stimulus to improvements in piano manufacture1 as well as to composition of piano works4 ,liszt and ,thalberg dazzled the ,parisians1 and the public mind demanded no deeper expression of its emotional disturbance than that which was represented in pianistic display4 ,after #ahca ,chopin lived in ,paris1 and his works continued to express the ,french love of the dance1 of ornamental display1 and of delicate sentimentality4 ,but in #ahcj the romantic movement had made itself felt in ,music under ,berlioz1 who produced a ,music which suited perfectly the hot-headed revolutionary tendencies of this time4 ,orchestration attained a tone-color1 a new technical possibility under ,berlioz's manipulation1 and the bizarre aspects of the then economic life were exactly reflected in his revolutionary effects4 ,his book on instrumentation1 published in #ahdd1 became an authority1 and he influenced musicians to attempt new forms1 however these might be opposed to classical traditions4 ,berlioz desired to invent astonishing instrumental effects1 and did so1 but his efforts did not win him lasting popularity1 although he is the real founder of modern ,french ,music4 ,but it is in the field of grand opera that we must look for those amazingly accurate reflections of economic and social pressure1 as evidenced in the ,music of ,france during the nineteenth century4 ,cherubini contributed an earnest musicianship to ,french opera seria1 but he exhibits strong influences of foreign models4 ,napoleon encouraged only the most trivial of the ,italian operas2 his attitude was naturally disadvantageous to serious attempts in this field4 ,opera-comique began to exhibit dramatic color under ,mehul but it remained for ,spontini to reflect the ,napoleonic regime1 in opera which glorified the heroic in all its splendor4 ,his ,french works 8,la ,vestale0 7#ahjg71 8,fernando ,cortez0 7#ahji71 and 8,olympie0 7#ahai71 reflect the mental attitude of the time1 but true to this reflection1 also show the lack of real depths of emotions not yet touched in ,france by the social pressure of the time4 ,the opera-comique more truly represented public sentiment in the works of ,boildieu1 in 8,le ,calife de ,bagdad10 and 8,la ,dame ,blanche0 which manifest a more serious tone and refinement than had as yet been known in this field4 ,auber1 however1 knew best how to call forth ,french admiration4 ,his fame commenced about #ahbj1 when ideals were beginning to be colored by a darker hue of seriousness1 and his 8,fra ,diavolo0 and 8,le ,domino ,noir0 exhibit his fine gift of characterization4 ,herold's 8,zampa0 presented new orchestral elements1 and is still very popular in ,america and ,england4 ,grand opera of the heroic character received a strong impulse at the hands of ,rossini1 7who lived at ,paris after #ahbd71 in his ,french work 8,guillaume ,tell0 7produced in #ahbi74 ,dramatic expression finds here some scope1 although without any great depth1 and ,auber's 8,la ,muette de ,portici0 7#ahbh71 more nearly expresses the revolutionary feeling of the people1 for the subject of the ,music is popular revolt against tyranny4 ,the works of ,meyerbeer carry ,french grand opera to its highest point2 his 8,robert le ,diable0 7#ahca71 and 8,les ,huguenots0 7#ahcf7 fit into the expression of those years admirably1 while his last work 8,l',africaine0 7#ahfd71 shows all of that ferment in ,french thought which was so inevitably leading up to the ,franco-,prussian ,war of #ahgj4 ,the dramatic events of ,french ,nineteenth century history had produced the genuine histrionic instinct in musical composition2 and the complication of orchestral effects1 was a natural expression of the multiplicity of stimuli accompanying every economic impulse4 ,consistency in ,meyerbeer's ,music was as conspicuous by its absence as it was in the ,french economic world1 where the abnormal1 sensational1 religious and absurd were so inconsistently jumbled up with plans for a stable constitutional government1 and peaceful relations with ,europe4 ,simplicity was not to the taste of the time4 ,glaring colors and noisy effects much more nearly reflected the social mode1 and ,meyerbeer responded as the musician in him should have done1 to the prevailing social pressure4 ,the greatest development was exhibited in the orchestral dramatic expression1 and the action in a scene began to take a superior place above vocalization1 in the formation of the ,music drama4 ,this departure may be said to mark the beginning of the degeneration of the real purpose of the opera4 ,with the reign of peace after the ,franco-,prussian war1 a new element entered the musical productions of the time4 ,orchestral concerts abounded4 ,church ,music by ,dubois1 ,gounod and ,franck was of an excellent character1 in line with the increasing agitation over religious questions4 ,france needed rhythm1 as a hungry man needs bread1 and she found it in a partial return to ,bach1 and to the still earlier masters of sacred ,music4 ,popular concerts were instituted for the benefit of the people in #ahfa4 ,these have continued their useful mission to the present day4 ,france has demanded that life shall be actually pictured in her ,music4 ,this impossible demand is leading ,french ,music far from the relative characterizations as presented in ,guonod's 8,faust0 and ,bizet's 8,carmen10 and into the ridiculous 8tonal tears0 region1 where a printed program is needed to inform the hearers1 that the staccati of the piccolo are meant to indicate the rain drops on my lady's brow1 and not intended to announce the squeal of a pig4 ,without the program1 who would know8 ,towards the close of the century1 there is a decline in the sensuous and mystical elements1 both in economic and in musical affairs4 ,gounod's 8,faust0 in #ahei had reflected these qualities of the social mind1 and his 8,st4 ,cecilia ,mass0 in #ahef expressed the religious attitude of the people4 ,but the rise of the present ,republic gave the sceptre into sterner hands1 and the skillful use of ,music in characterization was vividly expressed1 in so far as it could be1 in ,bizet's 8,carmen0 in #ahgc4 ,saint ,saens and ,massenet show the intellectual refinement of the period now ushered in1 with its strong suggestions of dramatic feeling so exquisitely expressed1 yet clinging to ancient models in melodic construction1 and avoiding the harsh and bizarre effects lately manifested in ,french tendencies4 ,cesr ,franck1 in his beautiful oratorio1 8,les ,beatitudes0 7produced in #ahia71 demonstrates the real depth of religious sentiment existing under the intellectual adornments of the ,french mind at this period1 and the great depth1 and musical value of this work exhibit a fund of religious sentiment1 which we do not believe has been crushed by the recent separation of ,church and ,state1 and which will show itself in revolt at no distant period4 ,the very latest operatic works of ,french composers are exhibiting a mad desire for an expression of a national ,music1 which looks more like an effort to root out the musical supremacy of ,germany1 than like a plan to establish a genuine progression in ,french art4 ,france would like to have a ,music all its own1 be it ever so ugly1 distorted1 or bizarre4 ,she wants to lead in musical art1 to tear up old models1 to force a new-old scale upon her half distracted people1 and to over-dress the misshapen things in absurd orchestral exaggeration1 which so drowns the poor human voice1 that the helpless vocal organ is obliged to shout dramatic phrases to a deafened audience1 over the countless unrestrained vibrations of a hundred or more madly ringing instruments4 ,what a farce it is6 ,a grand opera presenting a modern girl of ,paris1 in a modern shirt-waist1 yelling common-place remarks to the accompaniment of a monster band6 ,but it must change4 ,the human voice will come into its own again1 when the over-excited modern mentality shall have calmed itself down to the normal4 ,the orchestra will shrink to its diminutive and correct position1 as a mere suggestor of the harmony which supports the voice1 and the emotions of life will find their true relief in accentuated rhythm1 soothing melody1 and noble harmonies4 ,france is still passing through1 and she certainly will not come out of1 her transition period with the thing she is now trying to call 8,music40 ,french pride in musical accomplishment is well exhibited in the aid extended to this culture by ,state activity4#cf ,,footnotes3 #cf ,the statistics will be found in ,appendix ,e4 ,,chapter ,,ix4 ,,united ,,states4 ,it is a matter for surprise and deep regret that the ,united ,states ,federal ,government should show a lack of interest in musical education4 ,but our young country is not likely to remain for long behind smaller lands4 ,our hope is secure in the fundamental generosity and wisdom of our national mind1 which now squanders vast sums upon musical diversion1 but spends nothing at all for the free musical education of its gifted citizens4 ,we have in this country a strange mixture of races and of ideals1 all contributing something of ,old ,world conditions1 and combining to form a new type4 ,the people who struggled so bravely through the ,eighteenth and ,nineteenth centuries were of various origins1 but all came to the struggle with tragedy of some kind or other implanted in their mental composition4 ,emotions beat the pioneers into their one refuge1 the ,church2 even the ballad1 simple as it was1 found but scant room where the prayer book lay4 ,pioneer life gave little ground for complication of stimuli1 until the ,nineteenth century opened the gates of our country to the industrial inventions1 and to the discontent of foreign labor4 ,a subdued and almost religious atmosphere stifled emotions during the first half of the ,nineteenth century1 but the waves of reform sweeping over ,europe found their way even here by #ahfa1 and the ,great ,civil ,war would have stirred us to our depths1 had not the mighty currents of feeling within us been kept in subjection by our ,church habits4 ,the few valves of relief permitted to our people in the primitive vaudeville and theatre productions1 were not sufficient to offset the irritation of quickly complicating economic stimuli4 ,at this period our immigrant population came from ,england1 ,ireland1 ,scotland1 ,wales1 ,denmark1 ,belgium1 ,germany1 ,sweden1 ,norway and ,switzerland4 ,these immigrants generally possessed cool heads1 and were of fine stern characters1 skilled in various crafts1 and they came to stay permanently4 ,they became one with our people1 and our struggles were their struggles4 ,italian opera and the higher intellectual diversions were later additions to the pleasures of the rich1 but the masses rarely shared in such amusements1 and the old-fashioned ballads1 and the splendidly developed hymnal ,music furnished our only relief for emotional disturbance4 ,yet this was endurable because of the beautiful hymnal exercise1 until the gold-fever and the oil-madness1 united with the agitation of the ,southern ,states1 set our emotional depths to new movements1 and the cry of the laborer for liberty and of the manufacturer for more power1 added fear and rage to our every-day emotions4 ,the rapid rise of our national power1 the enormous strides in public education1 and the incredible multiplication of stimuli upon every side1 twisted and stretched our national nerves until we now see ourselves confronted with an abnormal type1 which must soon find its normal calm in rhythmic pulse action1 or else go to pieces under the strain4 ,nowhere have we any outlet or re-establishing agency1 except in the dance1 and in such cheap shows as permit of but a partial relief4 ,the class of foreign labor arriving since #ahhc is from the south of ,europe1 illiterate1 fiery1 adding another element of danger to our tense nationality1 and still our blind government has not opened musical safety valves1 for the steam that is fast rising to the bursting point4 ,our musical talent is of the finest order1 but1 not having any governmental aid in free instruction1 is obliged to go to ,europe1 there to learn to compound a ,german1 ,french or ,italian medicine for an ,american disease1 when our peculiar social pressure demands a particular ,american remedy4 ,private schools1 having only their own financial gains in mind1 are farcical agents for carrying out any truly social functions4 ,the land cries out for its own musical culture1 as strongly in rural districts as in urban4 ,cannot the government see that musical employment in ,america is already covering a vast field8 ,scarcely any function is conducted without ,music4 ,restaurants1 hotels1 clubs1 opera houses1 plays1 churches1 funerals1 weddings1 social events1 parades1 steamboat service1 labor union meetings1 support hundreds of thousands of professional musicians4 ,yet practically all of this employment is given to foreign-born talent1 because only the well-to-do in ,america can study ,music1 and the common people who may possess the best talent1 and who may both love it and need it the most1 are denied this means of making a living1 while municipal governments spend useless thousands upon concerts1 and a few park bands which but whet the public appetite1 while our rich musical talent among the poor lies dying and neglected4#cg ,no wonder revolution knocks at the door6 ,the government is giving the eye-openers in its free educational plan1 so aiding the disturbance of human rhythm by sensational newspapers1 noisy streets1 high prices and too quick life1 yet closes the door to free musical instruction which would tranquillize the mind1 and restore equilibrium of pulse4 ,the churches nail down the natural impulses1 and society frowns upon 8new0 forms1 but nature will generate her energy nevertheless1 and pent up in the human system it will boil over at a certain point4 ,the ,united ,states is by no means lacking in prosperity1 sufficient for the maintenance of public musical instruction for the culture of a wage earning occupation4 ,our financial reports speak for themselves4 ,in comparing our prosperity and our neglect of musical culture with the activities along this line as carried on by other countries1 great and small1 the following letter from ex-,president ,taft may be of interest3 ,the ,white ,house1 ,july #crd1 #aiji4 ,washington4 ,my dear ,sir3-- ,i have your letter and ,i do not think it possible to secure from the ,american government any appropriation for the promotion of musical schools4 ,this must be done by private munificence if at all4 ,sincerely yours1 ,,wm4 ,h4 ,,taft4 ,america is mad for ,music4 ,the moving-picture shows are saving our sanity with their rhythmic combinations of light and sound waves1 their daily audiences amounting to #e1jjj1jjj people in #ad1jjj picture theaters1 and #d1jjj subjects annually placed upon the ,american market4#ch ,by this means we retain our rhythm1 but the higher remedies of the orchestral concert1 opera and chamber ,music performances are denied the people who have no wealth1 while the hundreds of thousands of paying positions in the bodies which compose these forces1 are likewise prohibited to our native talent1 because there are no free schools in which such talent can be developed4 ,only the well-to-do may study ,music in the ,united ,states and1 strangely enough1 our real talent often lies not in this class1 but outside of this charmed circle1 down among the elements of our foreign-born and the natives of foreign-born1 whose ancestral nerves have been fed upon nationally provided musical rhythm4 ,united ,states gold should be showered over the health-giving and joy-bestowing field of ,national ,music1 so fondly loved by the people1 and so necessary to mental and physical relaxation from the maddening strain of modern life4 ,a bright star will adorn the administration of the first ,president to take this need in hand4 ,,footnotes3 #cg ,the value of the musical instruction as given in public schools is not worth consideration beyond its diversion aspect4 ,the singing is a menace to correct voice placement and the remaining exercises are insignificant4 #ch ,american ,industries1 ,january1 #aiac4 ,,appendix ,a4 ,,questionnaire4 ,the exact form of the ,american questionnaire employed in the gathering of statistics is given below4 ,the inquiries sent abroad followed the same plan and had the same scope1 but were couched in somewhat more indirect and formal terms1 and of course each separate set of questions was sent out in the language of the country to whose officials it was directed4 ,for a statistical work ,i need some official information in regard to the following queries3 #a4 ,how much does the ,american ,government expend annually upon public conservatories for free tuition of pupils8 #b4 ,how much do the single states contribute annually for the same purpose8 #c4 ,is there any subvention for ,grand ,opera from the ,american ,government or from the ,states8 #d4 ,is there any subvention for ,orchestra organizations1 or for ,choral ,societies8 #e4 ,are there any prizes granted annually from the ,state for musical achievements to composers1 singers1 players8 #f4 ,are there any endowments from the ,american ,government or from the ,states to enable young gifted musicians to complete their musical education in ,america or abroad8 ,,appendix ,b4 ,,sources ,,of ,,statistical ,,material4 ,the sources of the statistics in this appendix are indicated in the first table below4 ,gladly ,i take this opportunity again to express my appreciation of the invariable courtesies extended in answer to my inquiries4 ,elsewhere#ci will be found the names of the officials whose painstaking and often detailed reports made it possible for the author to convey to the reader a picture of the relative support given to music by the governments of foreign states4 ,official or ,institution ,communication ,country ,furnishing ,statistics ,dated ,austria ,imperial ,academy of ,music and ,dec4 #ac1 #aiab the ,fine ,arts4 ,bavaria ,minister of the ,interior for ,apr4 #ba1 #aiac ,religion and ,education4 ,belgium ,minister of ,arts and ,sciences4 ,feb4 #d1 #aiac ,denmark ,danish ,consul-,general in ,new ,may #h1 #aiac ,york4 ,may #ac1 #aiac ,equador ,quito ,conservatory of ,music4 ,aug4 #ca1 #aiac ,england ,national ,education ,board1 ,dec4 #bd1 #aiab ,whitehall1 ,london1 ,england4 ,france ,paris ,conservatoire4 ,feb4 #i1 #aiac ,holland ,minister of the ,interior4 ,mar4 #ai1 #aiac ,hungary ,secretary of ,state1 ,budapest4 ,mar4 #bc1 #aiac ,italy ,minister of ,instruction4 ,mar4 #aj1 #aiac ,norway ,royal ,inspector of ,music in ,dec4 #ae1 #aiab ,christiania4 ,prussia ,consul-,general of the ,united ,mar4 #aj1 #aiac ,states in ,berlin4 ,russia ,first ,secretary to the ,russian ,may #bh1 #aiac ,embassy1 ,washington1 ,d4,c4 ,saxony ,minister of the ,interior4 ,apr4 #h1 #aiac ,sweden ,royal ,conservatory of ,music1 ,jan4 #d1 #aiac ,stockholm4 ,united ,chief ,clerk1 ,united ,states ,mar4 #ae1 #aiac ,states ,bureau of ,education4 ,,footnotes3 #ci ,see pages #af-ag4 ,,appendix ,c4 ,these figures are merely intended to give an idea of foreign activities in national annual support of musical culture4 ,comparisons1 without more detailed statistics would be misleading and unjust4 ,therefore per capita calculations have been purposely omitted4 ,all ,military ,band expenses and appropriations have been deducted from the statistics received4 ,saxony and ,bavaria as mere states1 do not belong to above list1 but the praiseworthy achievements of ,bavaria are shown in her total expenditures of #gjc1jcj ,marks annually4 ,square ,foreign ,american ,countries ,population#dj ,miles ,money ,dollars ,austria #bh1efh1jjj #aae1ijc #a1gcj1jhd ,kronen #cea1bjg ,belgium #g1cag1efa #aa1cgc #fda1bge ,francs #abc1gff ,denmark #b1gge1jjj #ae1ehb #bj1fjj ,kronen #e1ebj ,equador 7#aiac7 #a1djj1jjj #aaf1jjj #bh1ejj ,sucre #ac1hgi ,france #ci1beb1jjj #bjg1jed #a1iga1aah ,francs #chj1dbe ,great ,britain #de1idg1jjj #aba1eaj #d1fjj ,lbs #bb1che ,holland #e1heh1jjj #ab1fdh #cb1jjj ,florins #ab1hfd ,hungary #bj1hea1jjj #abe1dcj #a1abf1jcc ,kronen #bbh1ehd ,italy #cd1efe1jjj #aaj1fei #hea1cdj ,lire #afd1cjh ,norway #b1cic1jjj #abd1acj #ae1gjj ,kronen #d1bjg ,russia #adb1ehe1jjj #b1bag1ibi #aci1ijj ,roubles #gb1jdh ,sweden #e1dgf1jjj #agb1hgf #cac1jag ,kronen #hc1hhh ,,footnotes3 #dj ,scientific ,american of #aiac4 ,,appendix ,d4 ,,notes ,,on ,,tabulation4 ,the foregoing tabulation may be considered fairly representative1 because the relative resources of each country1 and the relative cost of sustaining musical institutions tend to equalize the sum of their actual benefits to the people4 ,bavarian and ,austrian institutions charge small rates for instruction to native talent1 but much larger sums to strangers4 ,france and ,belgium charge merely entrance fees to natives1 but strangers pay a comfortable sum1 and must pass a difficult examination4 ,the letter from the celebrated violinist and teacher1 ,ovid ,musin1 given in ,appendix ,e1 shows that there are two classes of students1 native students who pay a very small fee1 and foreign paying students4 ,the letter was a reply to our inquiry as to tuition fees charged by ,french and ,belgian musical conservatories under governmental control4 ,italy also charges a small yearly sum for instruction of natives1 but all of her institutions teach exceptional talent free of charge1 if inability to pay on the part of the applicant be proved4 ,italy's distribution of her culture in ,milan1 ,naples1 ,palermo1 ,parma1 ,florence and ,rome1 presents an area most creditable to her governmental care of ,music4 ,considering ,italy's position in the commercial world1 her figures represent a high proportion of attention to musical needs4 ,this we would naturally expect of that grand old ,mediterranean race1 which has never failed in all of its wondrous history1 to uphold its loftiest ideals despite its calamities4 ,her musical genius has always found national protection4 ,italy has thus shown her wisdom4 ,the density of ,france's population brings down her per capita expenditure4 ,the difference in the charges to native students may depend upon the varying cost of support in different countries4 ,for instance in ,vienna1 #dj4jj per year is one charge1 while at ,brussells the charge to natives is but #a4jj per year4 ,even were free tuition not given1 the governmental institutions charging for instruction would still be great aids to the advancement of musical culture in their respective states1 as the small sums charged are within the reach of those who can have their days free for study4 ,how far would #dj4jj go in musical education in the ,united ,states8 ,in ,america1 vocal and piano teachers charge from #b to #e per lesson1 to maintain their position among so-called first class teachers4 ,car fares1 ,music1 instruments1 clothes1 tickets for concerts1 operas1 etc41 would exhaust #dj4jj in a month2 and while an ambitious brick-layer could easily pay #dj4jj per year1 for his child's musical education in a governmentally supported college1 #dj4jj per month would represent the full wages of two of his girls1 working all day long in a department store4 8,free ,schools of ,music0 would not be nearly so successful as 8,national ,schools of ,music10 because our people do not like anything which tends to divide those who can pay1 from those who cannot4 ,the wise among our well-to-do ,american parents now send their children to our public schools1 in preference to private academies1 knowing well the superior advantages thus gained4 ,when it becomes known that ,national ,schools of ,music are on a par with ,state universities1 offering the world's best instruction and the very best advantages1 then graduation from such institutions will be a matter of pride to anyone1 rich or poor4 ,the ,question of ,fees4 ,as we have said1 the small sums required as entrance or tuition fees by some of the musical institutions under governmental support1 do not detract from the value of such institutions2 but it would scarcely be just to place all of the conservatories so conditioned1 upon a par of public spiritedness with those which take no fees whatsoever for tuition of native pupils1 unless some superiority of educational advantages in the former tend to equalize their benefits4 ,it is impracticable to judge of the merits of each institution1 and such a critical examination is not the purpose of this work2 but mention of the systems employed by a few countries showing special care of national musical culture1 may not be out of place here4 ,belgium has produced much of the world's genius1 giving us from her conservatory at ,liege alone1 such splendid artists as ,martin ,marsick1 ,ovid ,musin1 ,ysaye1 ,cesar ,thomson and ,remy4 ,liege charges no fees to native talent4 ,in his reply#da to our request for information concerning fees in the ,french1 ,belgian and ,holland conservatories1 ,ovid ,musin attributes the marked artistic results of the ,belgium conservatories to the fact that the remuneration of the professors is such as to enable them to devote their entire time to their conservatory pupils2 foreigners pay #bjj francs a year1 but native students receive free tuition4 ,in response to a similar request concerning fees in ,italian governmental schools of ,music1 ,signor ,gatti-,casazza1 director of the ,metropolitan ,opera ,house of ,new ,york1 replied that there were both free and paying pupils4 ,the question of fees in all government schools of ,music1 would involve an exhaustive research into the ideals behind the founding of each such school1 and into the resources upon which their maintenance depends4 ,undoubtedly1 the highest ideal in such undertakings is that which animates the ,belgian system1 and insures its wonderful success4 ,a close study of ,belgium's management of her conservatories would be surely illuminating and inspiring to our own country4 ,this little country is to be congratulated1 as the holder of the musical laurels of both the past and the present in national support of native talent4 ,her efforts are signs of the live musical genius of ,belgium1 and show great state care of musical culture4 ,belgium has always been a leader in musical culture1 and the world owes her a debt of gratitude for her products of genius1 only to be fully appreciated when the present abnormal stage shall have passed1 and the saner musical school be once more established4 ,america owes much of her rarest pleasure to the varied genius presented in ,russian ,music4 ,may the lesson of ,russia's governmental care for her subjects' need of ,music not be lost1 in the prosperity of our too commercialized ,united ,states of ,america4 ,were it not for the excellent total of the ,bavarian expenditures for public education in ,music1 ,germany as a whole would present a very poor figure1 for ,saxony stands low1 and the ,prussian statistics were 8unavailable40#db ,saxony1 with the wonderful musical output1 which so delights the musical world is evidently in the hands of private business1 in which governmental protection and state cultivation of ,saxon talent as yet play but a small role4 ,this is surprising1 considering the examples around ,saxony1 but her resources and history must be taken into account in the judgment of her generosity4 ,norway's population is scarcely equal in number to that of one of our medium sized ,american cities2 hence her figures represent a true love and care for ,music1 and the products of her musical genius fully justify the support accorded4 ,she holds her own in musical protection4 ,denmark has enriched our ,american life with the strong free blood of the ,north1 and her ,music1 with its sweet sadness1 has left its impress upon ,american musical culture4 ,the ,music-loving1 and ,music-needing ,austrians will find the reason of their care of national rhythm in the sorrows of their history1 for no other countries have suffered from the double tyranny of war and religion as have ,austria and ,hungary1 whose emotions have been the harp upon which other powers have played continuously4 ,austria's position has not seemed sufficiently stable in history to include it as a leading power separate from ,german influence1 and though it is so closely allied to ,italy in temperament1 its language and customs are ,german and its recent history is closely analogous to that of ,germany4 ,yet ,austria's government is devoted to the musical interests of its gifted subjects4 ,this musical race has produced some of the noblest talent1 for her past sorrows and responsive temperament needed ,music in a marked degree4 ,austria1 standing so high among the large states in musical culture1 is to be congratulated for her brilliant example4 ,austria's figures as they stand1 and without taking into consideration the size of her population1 would have placed her in the lead4 ,swedish musical talent had taught us to expect much from ,sweden1 and we are justified in this faith4 ,the showing made by ,sweden in a graph of ,state care of musical culture1 will find its cause likewise in its history1 for ,sweden's emotions have not been left to harden for lack of use1 and her acute sufferings have been manifested in a fineness of musical talent1 and in a love for the noble in ,music1 equal to the progressiveness of her national mind4 ,in comparative peace for #ij years1 soothed by her 8rhythm-giving0 ,music1 who shall determine the result of that noble tranquillity1 which has been aided by her parental care of the musical needs of her people8 ,sweden sets a splendid example for the ,united ,states1 since despite a comparative lack of wealth1 cold climate and seeming cheerlessness of environment1 she nevertheless nourishes the lovely flower of national ,music4 ,this shows a progressiveness and care doubly commendable1 when one considers in addition to the above mentioned fact1 the smallness of both her population and her resources as compared with other countries4 ,the work of the ,conservatory of ,quito1 ,republic of ,equador1 deserves high praise for the completeness of its outfit and evident success4 ,it is refreshing indeed to feel that ,music holds so large a share of public attention in this brave little ,republic of the south4 ,the study of her musical statistics in ,appendix ,c suggests very strongly that the ,latin races may have found in their ,music1 an antidote for the chilling commercialism of modern civilization4 ,holland1 from whom we expected little in governmental support of ,music1 presents a very good standing4 ,we ,americans1 who are proud that ,dutch blood flows in our veins1 could not do better than to take this small nation as an example in national duty4 ,she shows a praise-worthy care for national musical culture4 ,it is with pride in the showing made by this distinguished little state that we call attention to her national culture of music4 ,hungary deserves high praise for the care of her musical talent as represented in her statistics4 ,hungarian composition has ever possessed a special charm for ,americans4 ,much may be expected of a nation which so cares for the musical need of its humblest members as to support a symphony orchestra for the purpose of giving concerts for young workmen in provincial towns1 and for the propagation of artistic music and culture4 ,,footnotes3 #da ,the communication will be found in ,appendix ,e4 #db ,see page #abg4 ,,appendix ,e4 ,,communications4 ,these letters are presented in condensed form for convenience4 ,january #b1 #aiad4 ,tuition for strangers in ,european conservatories is two hundred francs4 ,entrance is dependent upon the proved musical ability1 before an examination committee1 of the student to do serious work1 since the number of students in each class is limited to ten4 ,native students pay only five francs4 ,,ovid ,,musin4 99 99 99 99 99 8,the ,french and ,belgian ,national and ,royal ,conservatories are not only supported1 but were founded and are managed by their governments under their ,national and ,royal ,commissioners for the cultivation of the ,art of ,music1 for the ,art's sake4 ,instruction is without cost to natives1 but foreigners are taxed two hundred francs per year4 ,this money goes to the government1 not to the professors4444 ,the only conservatory in ,france which is supported by the government is the 8,conservatoire national0 of ,paris4 ,the ,royal conservatories of ,holland and ,belgium are unique1 and entirely different in scheme from those in any other country4444 ,the difference between the government music schools of ,france and ,belgium lies in the fact that the remuneration of the ,director1 professors and other officers is sufficient in the case of ,belgium to enable these #8functionaries' of the government to devote their time exclusively to their office4 ,in fact1 the professors are on the same plane as those of the ,universities1 whereas in ,france the remuneration is quite small1 and the professors of this ,national ,conservatory do not rely upon their salaries in order to live1 as in ,belgium1 and for that reason the artistic results of the ,paris ,conservatory cannot be compared to the conservatories of ,belgium40 ,,mrs4 ,,ovid ,,musin4 99 99 99 99 99 8,i believe that at the ,conservatory of ,milan there are two classes of pupils4 ,one is admitted to the courses in a fixed number1 free of charge1 the other by payment40 ,,gatti-,,casazza1 ,director of the ,metropolitan ,opera ,house of ,new ,york4 ,,austria4 ,vienna1 ,december #ac1 #aiab4 ,enclosed please find the governmental report and statistics for #aiac showing ,austria's appropriation for music4 ,,william ,,bopp1 ,director of the ,imperial and ,royal ,academy of ,music and ,plastic ,arts4 99 99 99 99 99 ,crowns ,state ,conservatories1 annually #fii1jbf ,subventions to private musical schools #ccb1bjh ,subventions to orchestra1 chorus1 and other musical societies #ace1hej ,prizes for ,composers #g1jjj ,for other musicians #ag1jjj ,state competitions for composers #c1jjj ,other expenses for music #aad1jjj ,music ,instruction in ,public ,schools #cjb1jjj ,singing ,instruction in the ,public ,schools #abj1jjj ,extraordinary expenses in the years #aiaa-aiac for the new building of the ,royal and ,imperial ,academy of ,music #b1jjj1jjj ---------- ,total #c1gcj1jhd ,,bavaria4 ,munich1 ,april #bast1 #aiac4 ,,royal ,,minister ,,of ,,state1 ,,interior ,,and ,,education ,,in ,,bavaria4 ,concerning ,music ,expenditures in ,bavaria4 ,in ,bavaria there are two ,music ,institutions which are directed and supported by the ,state4 ,so far their income is not sufficient to cover expenses4 ,these institutions are the ,royal ,academy of ,music ,in ,munich and the ,royal ,conservatory of ,music in ,wuerzburg4 ,the contribution of the ,state for the year's budgets #aiab-aiac is1 yearly3 ,marks ,for the ,royal ,academy of ,music in ,munich #fg1cgj ,for the ,royal ,conservatory in ,wuerzburg #gb1ffj ,the expenditures for ,music ,instruction in ,schools of the ,state are yearly3 ,for the ,humanistic ,gymnasiums and ,real ,gymnasiums #aeg1jjj ,for the ,progymnasiums1 ,latin ,schools1 ,high ,real ,schools and ,real ,schools #abj1jjj ,for the ,teacher ,institutes 7for both sexes7 #bhf1jjj ---------- #gjc1jcj ,the ,state does not contribute any sum for expenditures in the ,royal ,theatres in ,munich4 ,also there is no endowment from the state for scholarships4 ,there are special private endowments for this purpose4 ,,steiner4 ,,belgium4 ,brussells1 ,february #dth1 #aiac4 ,,ministry ,,of ,,arts ,,and ,,sciences4 ,,fine ,,arts ,,office4 ,,section ,,no4 #cajdb4 ,the four ,conservatories are ,state ,institutions and the funds are contributed from the ,state1 the ,province and the cities4 ,the subvention from the ,state is as follows3 ,francs ,conservatorium in ,bruxelles #aij1ejj 0 0 ,liege #ajd1hce 0 0 ,gand #ff1gej 0 0 ,anvers #fe1aij ,annual subvention for ,music schools #acj1jjj ,annual subvention for symphonic and choral organizations #bh1hjj ,subventions to gifted composers1 singers1 players 7subject to change7 last year #bj1jjj 7,concours de ,rome7 ,annual scholarship award #d1jjj ,bureau of ,studies #ad1bjj ,subvention to composers who represent their ,opera in a ,belgium ,theatre1 annually #f1jjj ,subvention for the publication of old ,belgian composers1 annually #aa1jjj ---------- ,total of annual ,state subvention #fda1bge ,m4 ,,phillis4 ,,denmark4 ,,consulate ,,of ,,denmark4 #h-aj ,bridge ,st4 ,,jnr4 ,a4,f4 ,i4 #i_/ac4 ,new ,york1 ,may #h1 #aiac4dc ,my ,dear ,sir3-- ,in further reference to your letter of ,march #ai1 ,i beg to inform you that the sum of #aj1jjj ,kroner has been granted to the ,royal ,music ,conservatory and of #a1jjj ,kroner to the so-called 8,palace ,concerts10 besides this1 various small amounts have been given to singers and musicians to enable them to gain further experience abroad4 ,hoping that this information will be of asistance1 ,i am1 ,yours very truly1 ,j4 ,,clan1 ,consul-,general4 ,,england4 ,telegrammes3-- ,renseigne1 ,london4 ,,board ,,of ,,education4 ,,whitehall1 ,,london1 ,s4 ,w4 ,december #bdth1 #aiab4 ,no part of the grant paid by the ,board of ,education to schools1 or other educational institutions where music is taught is ear-marked for the instruction of music4 ,an annual grant of #ejj each is made by the ,state to the ,royal ,academy of ,music and the ,royal ,college of ,music4 ,a similar grant of #cjj per annum is made to the ,royal ,irish ,academy of ,music4 ,the ,army ,estimates for the financial year #aiab-aiac include sums of #ba1gjj in aid of band expenses in the ,regular ,army and #c1cjj in aid of the ,army ,school of ,music4 ,singing and music are taught in some establishments for military education1 but the expenditures in these subjects can not be separated from the rest of the expenditures4 ,there is no ,state subvention of opera4 ,yours faithfully1 ,a4 ,w4 ,,twenlyman4 ,this presents ,english musical expenditures as follows3 ,annual ,grants by ,state to3-- ,pounds ,royal ,academy of ,music #ejj ,royal ,college of ,music #ejj ,irish ,academy of ,music #cjj ,army ,band expenses in ,regular ,army #ba1gjj ,schools of ,music #c1cjj ------ ,total #bf1cjj ,,equador4 ,august #cast1 #aiac4 ,the ,national ,conservatory of ,music was founded ,april #bfth1 #aijj1 by ,executive-,judicial ,decree4 ,initial ,government ,subventions4 #aijj ,sucres ,installation ,funds #b1jjj4jj ,salaries #ab1jjj4jj ,musical ,instruments and ,music #c1eaj4cj #aijc-e4 ,musical ,instruments and ,music #ce1jjj4jj ,maintenance #eh1ghj4jj ,annual ,government ,subventions since #aije4 ,sucres #aijf #bc1jjj #aijg #bc1jjj #aijh #bb1jjj #aiji #be1chj #aiaj #bg1edj #aiaa #ca1ejj #aiab #bh1ejj #aiac #bh1ejj ,the first year's class1 #aijj1 numbered ninety-three men and thirty-one women4 ,the class of #aiac1 included two hundred and twenty-six men and two hundred and thirteen women4 ,,the ,,directors1 ,national ,conservatory of ,music1 ,quito1 ,equador4 ,,france4 ,february #i1 #aiac4 ,here are all the official statistics--obtained this very morning4 ,i4 ,,philipp1 ,professor1 ,paris ,conservatory4 ,francs ,music ,inspectors1 annually #ad1bjj ,travelling expenses #c1jjj ,french ,academy in ,rome1 one-fifth of total #bi1aie ,national ,conservatory3 ,professors #aig1cjj ,material #da1cej ,indemnities #da1bbc ,branch ,institutes #aef1ejj ,national ,theatres1 ,subventions #a1bbe1jjj ,music ,library of the ,opera ,house #f1jjj ,popular ,concerts #acc1ejj ,subventions to ,musical ,societies #g1ajj ,palace of the ,trocadero1 for the ,music ,hall #ac1jjj ,subventions to musicians #ajc1gej ---------- ,total annually #a1iga1aah ,,holland4 ,,ministry ,,of ,,the ,,interior1 ,,no4 #gcc4 ,afdeeling ,k4 ,w4 ,ministerie ,van ,binnenlandsche ,zaken ,gravenhage1 ,march #ai1 #aiac4 ,florins #a4 ,subsidizing of ,conservatories #bg1jjj #b4 ,subsidies for poor1 young1 gifted musicians of both sexes1 as help in their studies #e1jjj #c4 ,for military bands #ahf1jjj ,,th4 ,,heemskerk1 ,minister of the ,interior and ,secretary-,general of ,holland4 ,,norway4 ,christiania1 ,dec4 #ae1 #aiab4 ,our theatres have no governmental subsidy4 ,music in the public schools is a local not a federal matter4 ,we have no conservatories of the usual ,european type but there are smaller music schools and schools for organists which are in part subventioned by the ,state4 ,what the ,state spends for purposes of music can be described as follows3 ,crowns ,military ,music annually #afj1jjj ,subvention to composers #e1bjj ,subvention to other musicians #f1jjj ,music schools #d1ejj --------- ,total1 annually #age1gjj ,most respectfully1 ,,ole ,,oleson1 ,army ,inspector of ,music4 ,,italy4 ,rome1 ,february #ad1 #aiac4 ,,ministry ,,of ,,instruction4 ,,general ,,office ,,of ,,the ,,director ,,of ,,antiquities ,,fine ,,arts4 ,posiz4 #ba aff4 gen4 ,n4 di4 ,,prot4 #cci4 ,,subject3 ,,statistical ,,inquiry4 ,the ,italian ,government appropriates #ddj1ejj ,lire for professional salaries and #adf1djj ,lire for administration expenses in connection with the five national conservatories of music among which the former amount is apportioned as follows3 ,lire ,milan ,conservatory of ,music #ajb1jjj ,naples 0 0 0 #ajg1jjj ,palermo 0 0 0 #hj1jjj ,parma 0 0 0 #ga1ejj ,florence ,musical ,institute #hj1jjj ,there is an additional appropriation approximately #cj1jjj ,lire for extraordinary or temporary compensation to the personnel of these various schools4 ,instruments1 etc4 #aca1ddj ,annual ,government ,subvention to the ,city ,conservatory of ,music at ,rome #aja1jjj ,annual subvention to pupils #b1jjj 7,,luigi7 ,,credaro1 ,minister of ,public ,instruction4 ,,prussia4 ,,american ,,consulate ,,general1 ,,berlin1 ,,germany4 ,march #aj1 #aiac4 ,i acknowledge receipt of your letter of ,february #i1 #aiac1 relative to expenditures of the ,prussian ,government for the benefit of musical art4 ,i am informed by the ,prussian ,statistical ,bureau that no definite figures are available as to expenditures in this branch of education4 ,the ,prussian ,minister of ,education has also been unable to inform me of the amount utilized in this particular branch4 ,he adds that the amount so expended varies from year to year4 ,aside from the ,prussian ,government various municipalities within the ,kingdom occasionally make money grants for the encouragement of musical students4 ,last year1 for example1 the ,city of ,berlin voted ,marks #fj1jjj 7#ad1bhj47 in order that the ,philharmonic ,orchestra might be retained in the city during the summer months instead of visiting sea shore and other resorts4 ,in consideration of this subsidy1 the orchestra played popular concerts at certain large halls at a nominal rate of admission4 ,the ,german ,emperor in his private capacity is a liberal contributor to musical art4 ,he makes money grants annually for the support of the ,royal ,opera in ,berlin1 the amount varying with each year's needs4 ,the amount of this contribution is not made public4 ,the foregoing is the most definite information obtainable on this subject4 ,i hope it may be of some service to you4 ,very respectfully yours1 ,m4 ,,thackara1 ,american ,consul ,general4 ,,hungary4 ,the following list of governmental institutions for musical culture in ,hungary were kindly submitted by ,dr4 ,paul ,majouszky1 ,chief of the ,fine-,art ,section1 and ,naray-,szab1 ,state ,secretary4 ,crowns ,the ,musical ,academy of ,budapest receives a yearly sum of 7from ,budget of #aiac7 #che1bcc ,school ,fees amount to #ed1ddj ,yearly subventions to ,music ,schools maintained by provincial towns and associations #ef1jjj ,assistance to musicians1 especially to composers for studies in foreign countries and for publishing musical compositions #h1jjj ,for general musical aims1 orchestras1 concert subventions of musical works #abb1jjj ,for maintenance of ,philharmonic ,society formed by members of the ,royal ,hungarian ,opera1 and the ,symphonic ,orchestra founded by the ,state in order to give concerts for the young workmen in provincial towns #abj1jjj ,for the maintenance of the ,royal ,opera ,orchestra and the payment of its ,director #cdc1ejj ,for the ,choral ,society of the ,budapest ,royal ,hungarian ,university #gjj ,for the ,choral ,society of the ,joseph ,polytechnical ,high ,school #a1jjj ,and for its ,orchestra #a1ejj ,toward salaries of ,music ,teachers in schools #hh1ajj ,for ,military ,music ,bands #gf1jjj ----------- #a1bjb1jcc ,,russia4 ,,imperial ,,russian ,,embassy4 ,,washington1 ,d4 ,c4 ,washington1 ,may #bh1 #aiac4 ,no4 #aic4 ,the exact sum spent annually in subventions to music by the ,imperial ,ministry of the ,interior is #aci1ijj ,roubles per annum4 ,,alexander ,,lyssakovsky4 ,first ,secretary of the ,embassy4 ,,saxony4 ,dresden1 ,april #hth1 #aiac4 ,kniglich-,schsisches ,ministerium des ,innern4 ,no4 #fbg ,,iii4 ,f4 ,there are no ,state ,conservatories or ,state ,schools for musical education in ,saxony4 ,the institutions for musical education under control of the ministerial department are various private undertakings4 ,for artistic development in music the undersigned ,ministry allows #e1jjj marks a year4 ,this support is for part or whole tuition for unusually gifted and studious men and women students who belong in ,saxony4 7,graf7 ,,vitzthum ,,von ,,eckstaedt1 ,royal ,minister of the ,interior1 ,saxony4 ,,sweden4 ,royal ,conservatory of ,music4 ,stockholm1 ,january #dth1 #aiac4 ,the yearly subventions of the ,swedish ,government for music according to the latest available sources3 ,crowns ,annual subvention from the ,state for the ,royal ,academy of ,music and the ,royal ,conservatory #he1fdi4fg ,subvention to the ,royal ,opera ,house #fj1jjj4jj ,subventions to ,swedish ,composers #ae1jjj4jj ,musical ,instruction in public schools #abd1cfg4ej ,military orchestras #a1jbg1dbd4aj ,two orchestras #bh1jjj4jj ------------ ,total of annual subvention #a1cdj1dda4bg ,,br4 ,,beckman4 ,,united ,,states4 ,,department ,,of ,,the ,,interior1 ,,bureau ,,of ,,education1 ,washington1 ,d4 ,c41 ,march #e1 #aiac4 #a4 ,the ,american government does not make any appropriation whatsoever for the instruction of pupils in public conservatories4 #b4 ,so far as known to this office1 none of the states contribute sums for the same purpose4 #c4 ,the ,american government does not make any subvention for grand opera4 ,in so far as this ,bureau has been able to obtain information1 no such subvention is made by any state4 #d4 ,so far as known to this ,bureau1 there is no subvention for orchestra organizations or choral societies4 #e4 ,so far as known to this ,bureau there are no prizes granted by the ,state for musical achievements to composers1 singers or players4 #f4 ,there is no endowment by the federal government to enable young gifted musicians to complete their musical education in ,america or abroad4 ,i may say that instruction in music is given in some of the ,indian schools maintained by the federal government and such schools also have musical organizations4 ,no specific appropriation for instruction in music1 however1 is made by the federal government4 ,this statement applies also to state-aided institutions4 ,respectfully1 ,t4 ,a4 ,,kalbach1 ,chief ,clerk4 ,,hungary4 ,,royal ,,hungarian ,,ministry ,,of ,,public ,,worship ,,and ,,education ,,budapest ,n4 #acegg ,,translation4 ,i have the honour to give you the information you asked in your letter from the #aath ,january1 #aiac4 ,there is only one musical school1 a high-school1 of the state in ,hungary3 the ,music ,academy in ,budapest4 ,the budget of the present year provides the sum of #che4bcc crowns for the maintenance of that institute4 ,after deducting the school fees of #ed4ddj cr4 the state has to spend yearly #ccc4gic cr4 ,the state gives also to the music schools maintained by provincial towns and associations a yearly subvention of #ef4jjj cr4 that is increasing from year to year4 ,to the purpose of assisting musicians1 especially composers to make studies in foreign countries1 and of publishing musical compositions and a collection of popular songs1 the budget provides #h1jjj cr4 ,for general musical aims1 7orchestras1 concerts1 subventions of musical works1 etc47 #abb4jjj cr4 are destined1 specially #abj4jjj cr4 to the maintenance of the philharmonic society formed by members of the ,royal ,hung4 ,opera and the ,symphony ,orchestra founded by the state in order to give concerts for the young workmen1 etc4 in provincial towns and to the propagation of artistic music and culture4 ,the maintenance of the ,royal ,opera ,orchestra and the payment of its dirigent require #cdc4ejj cr4 ,the capital ,budapest maintains a course of music1 and number of provincial towns maintain music schools and orchestras without any assistance of the state4 ,as for the costs of military bands ,i shall have the honour to give you subsequently the necessary information4 ,budapest1 the #bc;d ,march #aiac4 ,for the minister3 7,signed7 ,,naray-,,szabo1 ,state ,secretary4 99 99 99 99 99 ,,royal ,,hungarian ,,ministry ,,of ,,public ,,worship ,,and ,,education ,,budapest ,n4 #abdfee ,i have the honour to give you the supplementary information ,i promised1 when answering 7,n4 #acegg1 #abth ,april7 your letter from the #aath ,january4 ,the ,hungarian ,state at present gives an annual subsidy of #gjj crowns to the choral society of ,budapest ,royal ,hungarian ,university1 #ajjj crowns to the choral society and #aejj to the orchestra of the ,joseph ,olytechnical ,high ,school4 ,in the middle schools 7,colleges and ,real ,schools7 the musical teaching is not yet perfectly organized1 the fees for the courses are paid by the pupils1 the state contributes to the salaries of music teachers4 ,the annual costs of the said teaching amount 7including a salary of #fdjj cr4 for the inspector7 in girl schools to #gd1ejj1 in medico-pedagogical institutes to #ac1fjj cr41 those for the maintenance of military music-bands in the regular army #gf1djj crowns4 ,budapest1 the #bdth ,july1 #aiac4 ,by order of the ,minister1 7,signed7 ,,dr4 ,,paul ,,majowzky1 ,chief of the ,fine-,art ,section4 ,,footnotes3 #dc ,another letter dated ,may #ac1 #aiac1 adds 8#i1fjj ,kroner to the different concert associations10 bringing ,denmark's annual expenditure for musical education up to a total of #bj1fjj ,kroner4 ,,appendix ,f4 ,,bibliography4 ,,american ,,history ,,and ,,encyclopedia ,,of ,,music ,,the43 ,irving ,square1 ,new ,york4 ,,bailey1 ,l4 ,h43 ,country ,life ,movement1 #aiaa1 ,mac,millan ,co4 ,,bryce1 ,,james3 ,the ,american ,commonwealth1 #aiaa1 ,mac,millan ,co4 ,,bulfinch1 ,,thomas3 ,age of ,fables1 ,john ,d4 ,morris ,co41 ,no4 #abb of ,edition de ,luxe4 ,,caesar1 ,,julius3 ,de ,bello ,gallico4 ,,carhart1 ,h4 ,s43 ,university ,physics1 ,part ,i1 ,allan ,bacon1 ,boston4 ,,darwin1 ,,charles3 ,descent of ,man1 #aiji1 ,appleton ,co41 ,second ,edition4 ,,defursac1 ,j4 ,,rogues3 ,manual of ,psychiatry1 #aijh1 ,john ,wiley ,sons1 ,new ,york4 ,,dickinson1 ,,edward3 ,the ,study of the ,history of ,music1 #aiab1 ,chas4 ,scribner's ,sons1 ,new ,york4 ,,ellis1 ,,havelock3 ,studies in the ,psychology of ,sex1 #aijf1 ,f4 ,r4 ,davis ,co41 ,philadelphia4 ,,ellis ,,and ,,horne3 ,the ,story of the ,greatest ,nations1 ,niglutsch4 ,,galton3 ,hereditary ,genius and ,english ,men of ,science4 ,,gibbins1 ,h4 ,,de ,b43 ,industry in ,england1 #aijg1 ,charles ,scribner's ,sons1 ,new ,york4 ,,gibbons1 ,,ed43 ,roman ,empire1 ,hurst ,co41 ,new ,york4 ,,giddings3 ,democracy and ,empire1 #aiab1 ,mac,millan ,co42 ,principles of ,sociology1 #aiaa1 ,mac,millan ,co42 ,descriptive and ,historical ,sociology1 #aiji1 ,mac,millan ,co42 ,inductive ,sociology1 #aiji1 ,mac,millan ,co42 ,elements of ,sociology1 #ahih1 ,mac,millan ,co42 8,sociology10 a lecture published in #aijh by the ,columbia ,press4 ,,grote1 ,,george3 ,greece1 ,peter ,fenelon ,collier ,son1 ,new ,york4 ,,gummere1 ,,francis ,b43 ,germanic ,origins1 #ahib1 ,chas4 ,scribner's ,sons1 ,new ,york4 ,,gumplovicz1 ,,ludwig3 ,rassenkampf1 #aiji1 ,innsbruck1 ,wagnersche univ4 buchhadlung4 ,,gurney1 ,,edmund3 ,the ,power of ,sound1 #ahhj1 ,smith1 ,elder ,co41 ,london4 ,,haddon1 ,a4 ,c43 ,the ,wandering of ,peoples4 ,,harrison1 ,,jane ,,ellen3 8,themis40 ,,haweis1 ,,rev4 ,h4 ,r43 ,music and ,morals1 #ahgf1 ,harper ,bros41 ,new ,york4 ,,hawes1 ,c4 ,h4 ,,and ,h4 ,b43 ,crete1 ,the ,forerunner of ,greece1 #aiaa1 ,harper ,bros4 ,,helmholtz1 ,,hermann ,l4 ,f43 ,sensations of ,tone1 #aiab1 ,longmans1 ,green ,co4 ,,haekel1 ,,ernst3 ,riddle of the ,universe1 ,harper ,bros41 ,n4 ,y4 and ,london4 ,,hervey1 ,,arthur3 ,masters of ,french ,music1 #ahif1 ,chas4 ,scribner's ,sons4 ,,historical ,,publishing ,,co41 ,,the1 ,london1 ,philadelphia4 ,the ,drama4 ,,hough ,,and ,,sedgwick3 ,the ,human ,mechanism1 ,ginn ,co4 ,,howell1 ,,william ,h43 ,text-,book of ,physiology1 #aijg1 ,v4 ,b4 ,saunders ,co41 ,new ,york4 ,,hueffer1 ,,francis3 ,half a ,century of ,music in ,england1 #ahhi1 ,gebbie ,co4 ,,janet1 ,,pierre3 ,the ,major ,symptoms of ,hysteria1 #aijg1 ,mac,millan ,co4 ,,jencks ,,and ,,lauck3 ,immigration ,problem1 #aiab1 ,funk ,wagnalls ,co4 ,,keane1 ,a4 ,h43 ,the ,world's ,peoples1 #aijh1 ,g4 ,p4 ,putnam's ,sons1 ,new ,york4 ,,kitto1 ,,john3 ,palestine1 ,peter ,fenelon ,collier ,son1 ,new ,york4 ,,kraepelin1 ,,dr4 ,,emil3 ,clinical ,psychiatry1 #bnd ,edition1 ,william ,wood ,co41 #aijf4 ,,lanson1 ,,gustav3 ,histoire de la litterature francaise1 #ahid1 ,hachette ,co41 ,paris4 ,,lavignac1 ,,albert3 ,music and ,musicians1 #ahii1 ,henry ,holt ,co41 ,new ,york4 ,,letourneau1 ,,chas43 ,property1 ,its ,origin and ,development1 #ahif1 ,charles ,scribner's ,sons1 ,new ,york4 ,,maine1 ,,henry ,,sumner3 ,lectures on the ,early ,history of ,institutions4 ,,maitland1 ,,fuller3 ,masters of ,german ,music1 #ahid1 ,osgood1 ,mc,ilvaine ,co41 ,london4 ,,marx1 ,,dr4 ,,karl3 ,capital1 #aiji1 ,chas4 ,h4 ,kerr ,co41 ,chicago4 ,,morgan1 ,,lewis ,h43 ,ancient ,peoples4 ,,myres1 ,j4 ,l43 ,the ,dawn of ,history1 #aiaa1 ,williams and ,norgate1 ,london4 ,,ochea3 ,tesoro del ,teatro ,espanol1 ,tomo ,,iv1 #ahih1 ,garnier ,hermanos1 ,paris4 ,,reinsch1 ,,paul ,s43 ,american ,federal ,government1 ,ginn ,co4 ,,ripley1 ,,william ,g43 ,the ,races of ,europe4 ,,rousseau1 ,j4 ,j43 ,du contrat social1 ,ernest ,flammarion1 ,paris4 ,,rutherford1 ,e43 ,radio ,activity1 #aije1 ,cambridge1 ,university ,press4 ,,schopenhauer1 ,,arthur3 ,the ,world as ,will and ,idea1 #aijg-i1 ,k4 ,paul1 ,trench1 ,trubner ,co41 ,london4 ,,seager1 ,,henry ,,rogers3 ,social ,insurance1 #aiaj1 ,the ,mac,millan ,co41 ,amer4 ,social ,progress ,series4 ,,seebohm1 ,,frederick3 ,tribal ,customs in ,anglo-,saxon ,law1 #aijb1 ,longmans1 ,green ,co41 ,new ,york42 ,the ,tribal ,system in ,wales1 #aijd1 ,longmans1 ,green ,co41 ,new ,york4 ,,spencer1 ,,herbert3 ,first ,principles42 ,synthetic ,philosophy1 #aijj1 ,d4 ,appleton ,co42 ,principles of ,biology1 #aijj1 ,d4 ,appleton ,co4 ,,standard ,,american ,,encyclopedia1 ,,the4 ,,steiner1 ,,edward ,a43 ,on the ,trail of the ,immigrant1 #aijf1 ,fleming ,h4 ,revell ,co4 ,,storring1 ,,gustav3 ,mental ,pathology and ,normal ,psychology1 #aijg1 ,swan1 ,sonnenschein ,co41 ,london4 ,,streatfield1 ,r4 ,a43 ,the ,opera1 #aijg1 ,george ,routledge ,sons1 ,limited1 ,london4 ,,sumner1 ,,william ,j43 ,folk ,ways1 #aijg1 ,ginn ,co41 ,boston4 ,,symonds1 ,,john ,,addington3 ,renaissance in ,italy1 #aijg1 ,chas4 ,scribner's ,sons1 ,new ,york4 ,,tacitus3 ,germania1 #aiaa1 ,g4 ,bell ,sons1 ,london4 ,,taylor1 ,,isaac3 ,the ,origin of the ,aryans4 ,,thomas1 ,,william ,j43 ,source ,book for ,social ,origins1 #aiji1 ,the ,university of ,chicago ,press4 ,,thomson1 ,j4 ,,arthur3 ,darwinism and ,human ,life4 ,,thorndike1 ,,edward ,a43 ,educational ,psychology1 #aijc1 ,the ,science ,press1 ,new ,york4 ,,tilley1 ,,arthur3 ,the ,literature of the ,french ,renaissance1 #aijd1 ,cambridge1 at the ,university ,press4 ,,wallaschek1 ,,richard3 ,primitive ,music1 #ahic1 ,longmans1 ,green ,co4 ,,ward1 ,,lester3 ,applied ,sociology1 #aijf1 ,ginn and ,co4 ,,webb1 ,,sidney ,,and ,,beatrice3 ,industrial ,democracy1 #aiaa1 ,longmans1 ,green ,co41 ,london4 ,,willeby1 ,,chas43 ,masters of ,english ,music1 #ahic1 ,jas4 ,r4 ,osgood1 ,mc,ilvaine ,co41 ,london4 ,,wooldridge1 ,h4 ,e43 ,the ,oxford ,history of ,music1 #aija1 ,oxford1 at the ,clarendon ,press4 ,,vita4 ,the writer was graduated from ,new ,york ,university in #aijj with the degree of ,bachelor of ,laws4 ,she entered ,columbia ,university in #aijg where she received the degrees of ,bachelor of ,music in #aiaj1 and of ,master of ,arts in #aiaa4 ,she is the author of 8,the ,advanced ,school of ,vocal ,art10 and of various operatic libretti1 and the translator of numerous published poems from the ,french1 ,german1 ,italian and ,spanish4 ,during #aijb-aijd1 she was a contributor from ,russia to 8,the ,brooklyn ,daily ,eagle10 and1 in #aiab1 to various periodicals4 ,during #aijd-aiac1 she was one of the four directors of ,the ,powell and ,pirani ,musical ,institute of ,brooklyn1 ,new ,york4 ,in #aiji1 she was one of the incorporators of 8,the ,public ,good ,society of ,new ,york ,city10 and was elected its president1 which position she still holds4 ,in #aiab she was elected honorary member of the ,american ,philharmonic ,society4 ,,index ,a ,abnormality in ,modern ,life1 #fd ,accident at ,sea1 #de ,adaptation of physical functions1 #bb ,adequate training1 #i ,age of ,music1 #cf ,agitation1 #f ,agitation tranquillized1 #da ,american craving for rhythm1 #ie ,american industry1 #h ,american talent1 #h ,american type of music1 #ic ,animals and musical sound1 #bg ,appeal of the work1 #ad ,appreciation in music1 #cc ,aryan appreciation1 #ci ,aryan disturbances1 #ci ,aryan talent1 #be ,auber and the social mind1 #hg ,austria1 #aad ,awakening in ,italy1 #fg ,b ,barbarism and its music1 #cg ,barders of ,tacitus1 #cj ,bavaria1 #aae ,belgium1 #aag ,bellini and the social mind1 #fb ,berlioz and the social mind1 #he ,bibliography1 #ach ,boildieu and the social mind1 #hf ,british emotions1 #fi ,c ,canada and its type of ,music1 #ej ,catholicism and the ideo-,motor element1 #ea ,characterization in music1 #cj ,characteristic ,italian composition1 #fg ,children and ,sound1 #bi ,chinese use of music1 #bd ,chopin and the social mind1 #he ,church influence and the ballad1 #ia ,church ,choirs1 #ed ,church pressure in the ,united ,states1 #id ,civilization and bodily disturbance1 #g ,civilization and rhythm disturbances1 #cg ,classes reached by musical schools1 #aj ,complexity in social pressure1 #ic ,complexity in music1 #cb-cf ,complications in ,orchestration1 #he-hg ,concerted volition in music1 #cd ,concert ,tests in ,coney ,island1 #da ,concert ,tests in ,england1 #da ,concert ,tests in ,germany1 #da ,concert ,tests in ,russia1 #da ,concert ,tests in ,united ,states1 #da ,concert ,tests upon ,italian ,stone ,cutters1 #ej ,coney ,island response to ,musical ,stimulus1 #dc ,contrasts in ,french and ,german re-actions1 #hd ,d ,dancing a need1 #fe ,darwin's theory of music1 #ai ,dawn of musical history1 #ch ,deafness and carriage motion1 #dh ,deafness and music1 #dh ,deafness and the telephone1 #dh ,decay of the ,gens1 #cf-cg ,denmark1 #aah ,depression and ,musical stimulus1 #df ,desire for music1 #ad ,development of ideas1 #be ,development of internal integrations1 #bc ,disturbance expressions1 #bd ,disturbance of bodily rhythm1 #f ,disturbances defined1 #cb ,dogmatic emotional need1 #ea ,donizetti and the social mind1 #fb ,e ,economic movements1 #e ,effects of rhythmic stimulus1 #db-df ,emotional forces1 #e ,emotional products in music1 #ef ,emotions and sound1 #ac ,england1 #aai ,english composition1 #fi ,english support of musical culture1 #gj ,equador1 #aba ,european recognition of ,musical need1 #aj ,evolution ,stages 7a7 ,appreciation1 #cc 7b7 ,utilization1 #cc 7c7 ,characterization1 #cc 7d7 ,socialization1 #cc ,evolution of the ,eye1 #bb ,ethnic music1 #cf ,excitable natures1 #dh ,experiments1 #dc ,f ,fees1 #aje ,first responses to stimuli1 #bb ,first inter-change of ideas1 #bb ,first rhythmic inventions1 #bc ,foreign talent1 #id ,france1 #ha-abb ,franck and the social mind1 #hi ,french intellectualism in music1 #ef ,french opera1 #he ,french re-actions1 #ha ,g ,gens system and emotionalism1 #ci ,gentile family1 #cf ,german folk spirit1 #gd ,german grand opera1 #di ,german lieder1 #di ,germanic tribal music1 #bi ,germany1 #ga ,giddings note1 #cd ,greek ,church type1 #ej ,gounod and the social mind1 #hi ,group re-action to music1 #da ,group tendency in music1 #g ,h ,haeckel's note1 #ba ,heart action and modern stimuli1 #bi ,heroic opera1 #gd ,hindus and the musical ideal1 #bd ,holland1 #abc ,human liking for like musical motion1 #ce ,hungary1 #abi-ace ,hylobates syndactylus1 #bb ,hymnal music1 #ib ,i ,ideo emotional groups1 #di ,indebtedness for statistics1 #af ,individual experiments1 #dg ,inspiration in ,columbia ,college courses1 #ag ,intellectual stimuli of tribal life1 #bg ,italian ,ideals1 #fe ,italian life and papal authority1 #fb ,italy1 #abe ,j ,japan's use of music1 #bd ,k ,knightly ballad taste1 #gb ,l ,laws of motion and the body1 #eh ,laws of need1 #db ,lectures with music1 #de ,lectures without music1 #de ,life preservation and music1 #eh ,live force in musical vibrations1 #bf ,m ,massenet and the social mind1 #hi ,mascagni and the social mind1 #fg ,mean rhythm of aggregates1 #ca ,measurement of musical effects1 #bf ,mental attitude of #ahba1 #gd ,mendelssohn and the social pressure1 #gf ,meyerbeer and the social mind1 #hg ,milder stimuli and musical expression1 #hj ,mission of music1 #ac ,music and ,motion1 #ca ,music as a health measure1 #ee ,music as a national need1 #bh ,music and national disturbances1 #fj ,music as an incident force1 #ei ,music and social control1 #af ,music for rhythm maintenance1 #ca ,music as an industry1 #i ,music in ,colleges1 #aj ,music taxation1 #aa ,music of birds1 #bg ,music in carriage motion1 #dh ,musical employment field1 #h-id ,musical madness1 #hi ,musical statistics1 #ab ,musical tone in railway motions1 #dh ,musical tone in telephones1 #dh ,musical tone in wash of waves1 #dh ,musical tone in winds1 #dh ,musical valves for ,american emotionalism1 #ie ,n ,napoleon's influence on music1 #hc ,national control of music1 #g ,national stimuli1 #fj ,national type of music1 #aj-ee ,nature and music1 #ai ,new combination of tone and nerve1 #ei ,new organs for new stimuli1 #cg ,normal pulse action1 #ef ,normalizing effect of music1 #dh ,northern immigration1 #ib ,norway1 #abd ,o ,ocean ,grove mental type1 #ea ,opera comique under ,mehul1 #hf ,orchestral complexity1 #he ,p ,paleolithic man and percussion1 #cf ,panic calmed by ,national songs1 #df ,partially deaf re-actions to music1 #bg ,passion for homogeneity1 #cf ,peace and ,parsifal1 #hj ,peace and religious agitation1 #hh ,periodic ,motions1 #ci ,phlegmatic natures1 #dh ,pioneer life and social pressure1 #ia ,popular waves of feeling1 #f ,primitive man's rhythmic life1 #ba ,primitive speech as rhythmic disturber1 #bc ,proper study of music1 #ae ,prussia1 #abg ,public emotionalism1 #f ,public school musical instruction1 #id ,r ,rational thinking and ,gidding's definition1 #dj ,rationalistic group1 #eb ,rationalistic music1 #eb ,real elements of music1 #bb ,rebellious fanaticism1 #hc ,recent absurdities in musical form1 #fb ,recent immigration1 #ic ,realm of musical need1 #ec ,reflective ,sympathy and music1 #ce ,response of the masses1 #e ,registration of rhythm1 #ci ,religious atmosphere in ,u4 ,s41 #ib ,revolutionary character of ,tristan #ahfe1 #gh ,rise of industrial complications1 #ib ,rossini and the social mind1 #fb-hf ,russia1 #acj ,russian audiences1 #di ,s ,saint-,saens and the social mind1 #hi ,savagery and its music1 #cg ,saxony1 #aca ,schumann and the social mind1 #di ,science and musical study1 #ae ,schubert and the social mind1 #gb ,separation of church and state1 #hi ,social want1 #aj ,social welfare1 #ae ,social mind in ,france1 #hb ,sociological terminology in music1 #ce ,sources of conclusions1 #da ,sources of statistics1 #gd-ii ,spencer's theory of music1 #bj ,spontini and the ,napoleonic regime1 #hf ,state and ,municipal expenditure1 #aj ,strenuous years #ahdh to #ahfj1 #fe ,t ,tension in strikes1 #df ,tests among revolutionary elements1 #ed ,tendency toward musical equality1 #cf ,theory of rhythm1 #ab ,thesis1 #g ,toneurology1 #ef ,tragedy element in ,italian life1 #fa ,tribal life and rhythmic disturbances1 #bc ,u ,united ,states1 #ia-acc ,untalented citizens1 #ae ,universal craving for music1 #ec ,utility aspect of music1 #cc ,v ,value of ,new ,york expenditures1 #aj ,value of percussion1 #bc ,value of music with the dance1 #fd ,verdi and the social mind1 #fe ,vibratory impulse1 #cj ,vita1 #adc ,vocalism extraordinary1 #fb ,von ,weber and the social mind1 #gd ,w ,wagner and the social mind1 #ej ,wallascheks1 #bj ,waltz1 social significance of1 #gg ,war factor in music of tribes1 #be ,wave 7the7 of emotionalism #ahfa1 #ib ,western music1 #i ,working girl's tests1 #da-ed ,working girl's club1 #df ,transcriber's ,notes ,errors in punctuation have been fixed4 ,page #ai3 8there mnst lie0 changed to 8there must lie0 ,page #bd3 8sub-conscions recognition0 changed to 8sub-conscious recognition0 ,page #bg3 8same muscial environment0 changed to 8musical environment0 ,page #ci3 8held togther0 changed to 8held together0 ,page #df3 8the 8,marsellaise00 changed to 8the 8,marseillaise00 ,page #eh3 8pyschology0 changed to 8psychology0 in two locations ,page #gc3 8,eightenth century0 changed to 8,eighteenth century0 ,page #ge3 8paino works0 changed to 8piano works0 ,page #hg3 8musical composiiton0 changed to 8musical composition0 ,page #ib3 8the agitaiton of0 changed to 8the agitation of0 ,page #id3 8thousands of professioanl0 changed to 8thousands of professional0 ,page #adh3 8,primitive speach0 changed to 8,primitive speech0 8,sources of satistics0 changed to 8,sources of statistics0 ,page #aej3 8life and rhythmis0 changed to 8life and rhythmic0