characteristics of the schools in which they have been trained, and in particular show traces of the styles of the masters with whom they have chiefly studied.[9] REFERENCES. Grove.—Dictionary of Music and Musicians. Articles on the Organ, and Organists mentioned in this lesson. Williams.—Story of the Organ. Lahee.—The Organ and its Masters. Matthews.—Handbook of the Organ. Pirro.—J. S. Bach: The Organist and His Works. Audsley, G. A.—The Art of Organ Building, 2 vols. QUESTIONS. In what early instrument is the germ of the organ found? Describe its gradual development. Describe the general character of the early organs. Describe the various mechanical improvements. When and by whom were pedals introduced? Mention some of the early organists. In whom did the Polyphonic Period culminate? Who is the source of modern organ composition and playing? Mention some German organists since the time of Bach. Mention some prominent French and English organists of the 19th century. Describe the modern tendencies in organ composition. SUGGESTIONS FOR A REVIEW OF LESSONS VIII TO XVI. Get a clear idea of the period, which includes the years between 1100 and the death of Palestrina in 1594, almost 500 years. The lesson on the organ and organ playing belongs to this period, chronologically, in part only. The difference between the monophonic and polyphonic styles must be clearly appreciated in order to get a clear grasp of the two fundamental styles in music. Illustrations from the masters are to be placed in contrast. Polyphony developed from melodic principles, the simultaneous sounding of several melodies. Monophony depends upon a harmonic basis. Indicate the steps in the growth of Polyphony. How did the Church contribute? What political and other conditions made Paris the centre of Europe in the 12th century? What is the force of Imitation as a principle to secure Unity in musical composition? How was it used by the composers of the Paris school? What advances in the use of Imitation did the men of the Gallo-Belgic school make? Indicate certain historical events and name prominent personages of the periods included in this section. Why did the early English school exercise so little influence on music? What noted musical composition is credited to the English school? What kind of work is it? What historical periods coincide with the English school as described in this section? Compare the Gallo-Belgic and the Netherlands schools. What did the former contribute to the latter? What is the musical value of the principle of the Canon? Why did the musical centre shift respectively from Paris to Belgium, to the Netherlands and then to Italy? Make a list of the composers of the different schools of this period and trace the connection between them. Give a sketch of Palestrina and show his contribution to church music.