Tell the story of music among the Romans. How did the Church Scales originate? State the differences between the Greek and the Church Scales. What is the function of the Dominant in the Church Scales? Describe the Hexachord Scales and the names of the sounds. Describe early systems of notation in music. Describe early attempts at Harmony. What was Discant? Give a summary of the statements of the early writers on the subject of Harmony. Give an account of music among the Gauls and Celts, the Saxons, Scandinavians, etc. Tell about the great song movement outside the church, minstrels, etc.; the Minnesingers; the Mastersingers. Each of these questions or several together may be made the subject of a written paper, giving a summary. Students should be encouraged to make critical examination of a subject, to institute comparisons showing progress, and the steps that mark that progress, wherein one man has drawn from a predecessor, wherein new things have been done. LESSON VIII. THE CAUSES OF POLYPHONIC DEVELOPMENT AND THE IMPORTANCE OF THE POLYPHONIC ERA. In the Introduction attention was called to the fact that the labors of musicians to develop an art of music varied between the effort to make artistic use of the material of music, that is, to give it definite form, and to make it express the feelings of mankind; the first is in the line of construction, the second, content. The period we now take up was concerned most deeply, in its earlier stages, as we shall see, with finding adequate and logical principles of construction by which a musical composition of more or less length could be made from a simple musical idea and in which more than one voice could be used. This period should be studied with the greatest thoroughness, and all possible examples of music of the composers representative of the period should be examined that one may gather a clear idea of the beginnings of composition and the development that shows from one generation to the next. These first gropings after the principles are matters of extreme interest to the musician when he compares the results in the music of the twentieth century.