try are denoted ['] and [-] respectively.

[|] = Bar (Bar line)
[<] = Crescendo hairpin
[x] = small cross
[\] = 45 degree downstroke
[/] = 45 degree upstroke
[/\] = large circumflex shape
[O|] = a circle bisected by a vertical line protruding both ways
[Gamma] = The Greek capital gamma
[mid-dot] = a dot at the height of a hyphen
[over-dot] = a single dot over the following letter
[Over-slur] = a frown-shaped curved line
[Under-slur] = a smile-shaped curved line (breve)
[reverse-apostrophe] = the mirror image of a closing quote
[Upper Mordent] = an upper mordent: /\/\/ with thick downstrokes
[Crenellation] = horizontals, low, high, low, connected by verticals
[Podium] = [Crenellation] with the third horizontal at half-height
[Step] = horizontal, vertical, horizontal, vertical, ascending
[Turn] = a turn (~)

[Figure 01] = extract available as a MIDI file (figure01.mid).
[Illustration] = all other illustrations.

For example, here's a D minor scale set to words:

[G: d' e' (f' g') a' b-' (c+'' d'')]
[W: One, two, three, four, five, six. ]

And a simple rhythmic example:

[3/4: 4 4 8 8 | 8. 16 2] = [- - ' ' - ' -]

CRITICAL AND HISTORICAL ESSAYS

Lectures delivered at Columbia University

BY EDWARD MACDOWELL

EDITED BY W.J. BALTZELL

LONDON

ELKIN & CO., LTD.,
8 & 10 BEAK STREET,
REGENT STREET, W.

CONSTABLE & CO., LTD.,
10 ORANGE STREET,
LEICESTER SQUARE, W.C.

BOSTON, U.S.A., ARTHUR P. SCHMIDT

COPYRIGHT, 1912, BY ARTHUR P. SCHMIDT

A.P.S. 9384

Stanhope Press

F.H. GILSON COMPANY
BOSTON, U.S.A.

PREFACE

The present work places before the public a phase of the
professional activity of Edward MacDowell quite different from
that through which his name became a household word in musical
circles, that is, his work as a composer. In the chapters
that follow we become acquainted with him in the capacity of
a writer on phases of the history and aesthetics of music.

It was in 1896 that the authorities of Columbia University
offered to him the newly created Chair of Music, for which he
had been strongly recommended as one of the leading composers
of America. After much thought he accepted the position, and
entered upon his duties with the hope of accomplishing much for
his art in the favorable environment which he fully expected
to find. The aim of the instruction, as he planned it, was:
"First, to teach music scientifically and technically, with