BIBLIOGRAPHY New York, 1915. New York, 1905. DICKINSON, E., The Education of a Music Lover. GROVE, G., Beethoven and His Nine Symphonies. London, 1896. GURNEY, G., The Power of Sound. London, 1880. HADOW, W. H., Studies in Modern Music. London, 1896. HANSLICK, E., The Beautiful in Music. London, 1891. HENDERSON, W. J., The Orchestra and Orchestral Music. New York, 1899. D'INDY, V., The Life of César Franck. London and New York. JAHN, O., Mozart. (3 Vols.) London, 1891. LAVIGNAC, A., The Music Dramas of Richard Wagner. New York, 1898. MASON, D. G., Beethoven and His Forerunners. New York, 1904. MASON, D. G., From Grieg to Brahms. New York, 1902. MASON, D. G., The Romantic Composers. New York. London, 1890. NIECKS, F., Chopin as Man and Musician. (2 Vols.) PATER, W., Essay on Style. New York, 1889. SHARP, C. Folk Singing in Schools. London. SPALDING, W. R., Music: An Art and a Language. New York, 1920. SPITTA, P., John Sebastian Bach. (3 Vols.) London, 1899. SURETTE, T. W., The Development of Symphonic Music. Boston, 1915. SURETTE, T. W., Music and Life. Boston, 1917. SURETTE AND MASON, The Appreciation of Music. New York. SYMONS, A., The Romantic Movement in English Poetry. New York, 1909. THAYER, A. W., The Life of Beethoven. (3 Vols.) (Translated by Kreh biel.) New York, 1921. WALLACE, W. The Threshold of Music. New York, 1908. EPILOGUE SIGNIFICANCE OF ART ART is the crowning glory of the visible world. Hill and plain, sea and forest, bathed in sunshine, or ominous in storm, mould man's moods and form his fancies, and are to him inspirations of beauty which he deifies by his imagination. Worshipping the creations of a universe of which he is a part and permeated by its influences, he, in his turn creates, and art is his achievement. Nature is his storehouse, he submits her immutable laws to his will, wrests her secrets from her, and shapes them anew, gathers her treasures, arranges them, transmutes and translates, that they may express his emotions, image his beliefs, and glorify his ideals; and at his hands all things suffer a change which is rare. The elements become his servants, and with fire he clears metal of its dross, makes clay imperishable, and creates glass with which he confines space in an invisible film. He facets jewels until they glow like stars, and with the hues of earths and stains of plants he pictures his life and desires in a myriad dyes. Columned forests are renewed in his cathedrals and their infinite details in the involutions of his patterns. He not only imitates nature but he epitomizes her and says in a word what it has taken her eons to relate. Art is his creation, and his message down the ages; a lambent message that all may read, portraying the records of his life, his labor to express, his elemental conceptions and his dawning ideals, and finally his achievements, serene, indisputable, and inspiring. Art proclaims persistently his qualities, whether he be of the earth, earthy, or a living spirit, and without its record of the past, the chronicles of man grow pale and lack testimony. The great crowd of witnesses are |