ke recital of dates, but Professor MacDowell never
sank into the passionless routine of lecture giving. His were not the
pedantic discourses students link most often to university chairs.
They were beautifully illuminating talks, delivered with so much
freedom and such a rush of enthusiasm that one felt that the hour
never held all that wanted to be said, and the abundant knowledge, in
its longing to get out, kept spilling over into the to-morrows.

"His ideas were not tied up in a manuscript, nor doled out from notes.
They came untrammelled from a wonderfully versatile mind, and were
illustrated with countless musical quotations and interlined with a
wealth of literary and historical references. There was no regular
textbook; some students carried a Rockstro or a Hunt, but the majority
depended upon the references made during the lectures. These were
numerous, and gave a broad view of this speculative period in musical
history.

"Music was brought from behind the centuries and spread before us like
a huge map. Whatever meaning lay hidden under the musical theories of
the ancients was explained in a clear and conscientious way. Short
decisive sentences swept into every obscure corner, and from all sides
we saw reflected Professor MacDowell's resolute spirit and sincerity
of purpose....

"To illustrate [a point in connection with a discussion of popular
music], Professor MacDowell went to the piano to play 'A Hot Time in
the Old Town To-night.' After playing a few measures, he turned
abruptly toward the class, saying: 'Why, that isn't it! What is it I
am playing?' Someone answered 'Annie Rooney.' Facing us with a droll
smile, he asked if there was anyone present who could play 'A Hot
Time.' A dozen boys rushed forward and the one who gained the chair
dashed it off with the abandon of a four weeks' old freshman ...

"The lectures on musical form were distinguished by many brilliant
demonstrations of MacDowell's genius. The ease and rapidity with which
he flashed his thoughts upon the blackboard were both inspiring and
bewildering to the student who must grope his way through notes before
he can reach an idea. If any were unwise enough to stop even for a
moment to catch these spontaneous thoughts as they flew along the
staff, they were very apt upon looking up to see them vanishing like
phantoms in a cloud of white chalk. At the same time he made
sarabandes, gavottes, minuets, chaconnes, passepieds, gigues,
polonaises