tions in a course in poetry or imaginative
literature.

There is a time in both cases when these accessory or related provinces
of mind can be called into friendly activity to the advantage of each
other. In a poetic training this might be at the point where the
motive of the poem is of that vague, mystical character--a mere
soul-mood--which words express so imperfectly; or, in a course of
music, when it is a question of a piece in which the composer has
definitely attempted to express a poetical idea--as happens often in
dramatic music, occasionally in symphonic poems and elsewhere. Here
the outside help is needed not so much in order to explain the music as
to supplement its shortcomings. But in the earlier stages of musical
training in this higher sense, purely musical observation (not so much
technical as esthetic) comes first, since without this all our
rhapsodies upon the greater works signify nothing.

In the course of the book there are two essays embodied which are very
important to the true mastery of the material. They are the essay upon
"Moving Forces in Music," the first chapter, and that upon "The Typical
Forms of Music," at the end of Part I. The first should be taken up
where it occurs. The other may be left to the end or introduced at any
stage of the discussion preferred by the student or by the conductor of
the class or club.

TABLE OF CONTENTS.

PART I.

THE MASTERS AND THEIR MUSIC.

CHAPTER I.

MOVING FORCES IN MUSIC

CHAPTER II.

BACH AND HAeNDEL

The importance of Bach in the world of music. Pleasing and
representative compositions.

CHAPTER III.

HAYDN AND MOZART

The importance of Haydn as the creator of the sonata.

CHAPTER IV.

CHARACTERISTIC MOODS OF BEETHOVEN

CHAPTER V.

BACH, MOZART, AND BEETHOVEN COMPARED

CHAPTER VI.

SCHUBERT AND MENDELSSOHN

CHAPTER VII.

ROBERT SCHUMANN

CHAPTER VIII.

CHOPIN

CHAPTER IX.

BACH, BEETHOVEN, SCHUMANN, AND CHOPIN IN THE DIFFERENT
PHASES OF THEIR ART

CHAPTER X.

LISZT

CHAPTER XI.

BACH, BEETHOVEN, CHOPIN, SCHUMANN, LISZT

CHAPTER XII.

CONCERNING THE TYPICAL MUSICAL FORMS

PART II.

MODERN MASTERS AND AMERICAN COMPOSERS.

AUTHOR'S NOTE

CHAPTER I.

NATIONALITY IN MUSIC

CHAPTER II.

JOHANNES BRAHMS

CHAPTER III.

EDVARD GRIEG

CHAPTER IV.

RUBINSTEIN AND TSCHAIKOWSKY

CHAPTER V.

THE LATER ROMANTICISTS

CHAPTER VI.

G