ennyson, Lamb, Coleridge, Mrs. Harriet
Beecher Stowe, F. Hopkinson Smith, Brander Matthews, and others--A
warning against pedants and rhapsodists. _Page 3_

[Sidenote: CHAP. II.]

_Recognition of Musical Elements_

The dual nature of music--Sense-perception, fancy, and
imagination--Recognition of Design as Form in its primary stages--The
crude materials of music--The co-ordination of tones--Rudimentary
analysis of Form--Comparison, as in other arts, not
possible--Recognition of the fundamental elements--Melody, Harmony,
and Rhythm--The value of memory--The need of an
intermediary--Familiar music best liked--Interrelation of the
elements--Repetition the fundamental principle of Form--Motives,
Phrases, and Periods--A Creole folk-tune analyzed--Repetition at the
base of poetic forms--Refrain and Parallelism--Key-relationship as a
bond of union--Symphonic unity illustrated in examples from
Beethoven--The C minor symphony and "Appassionata" sonata--The
Concerto in G major--The Seventh and Ninth symphonies. _Page 15_

[Sidenote: CHAP. III.]

_The Content and Kinds of Music_

How far it is necessary for the listener to go into musical
philosophy--Intelligent hearing not conditioned upon it--Man's
individual relationship to the art--Musicians proceed on the theory
that feelings are the content of music--The search for pictures and
stories condemned--How composers hear and judge--Definitions of the
capacity of music by Wagner, Hauptmann, and Mendelssohn--An utterance
by Herbert Spencer--Music as a language--Absolute music and Programme
music--The content of all true art works--Chamber music--Meaning and
origin of the term--Haydn the servant of a Prince--The characteristics
of Chamber music--Pure thought, lofty imagination, and deep
learning--Its chastity--Sympathy between performers and listeners
essential to its enjoyment--A correct definition of Programme
music--Programme music defended--The value of titles and
superscriptions--Judgment upon it must, however, go to the music, not
the commentary--Subjects that are unfit for music--Kinds of Programme
music--Imitative music--How the music of birds has been utilized--The
cuckoo of nature and Beethoven's cuckoo--Cock and hen in a seventeenth
century composition--Rameau's pullet--The German quail--Music that is
descriptive by suggestion--External and internal attributes--Fancy and
Imagination--Harmony and the major and minor mode--Association o