=What is to be Brought Forward=.—The history of Music is, then, a recital of facts bearing upon the development of modern music and we shall lay stress on such facts as show a permanent impress and a solid contribution to progress in one or more of the lines marked out: Form, Expression, Melody, Rhythm, Harmony and Instrumental Color. In the study of a composer, the facts essential to the history of music are critical rather than biographical; not a life chronicle so much as a clear statement of what he specially contributed to forward the art. To gain an educational value, the facts of the history of music are to be studied so as to glean from them their significance, and an understanding of the causes and conditions which made them possible; then we go on to discern the consequences to which they in turn gave rise. No man works for himself and out of himself. He builds upon what others have done, and he builds for others. The student should discern the lesson in the past, and receive guidance for the future. =What We Learn from Archæology=.—The history of an art such as Music must give the historical data in connection with the development of art and artists, free of all questionable and false features, and give as trustworthy, as accurate a picture of the various stages as possible. If we go backward in our research we reach a point at which ordinary records fail. If we make an inquiry into the beginnings of music we must have recourse to the findings and interpretations of Archæology. The results are by no means satisfactory. In all the digging in the ruins of the once great cities of Egypt, and Western Asia, and of Greece and Etruria as well, with perhaps one exception, no music has been brought to light, and but a few instruments, and these can scarcely be considered perfect. However, the pictorial representations on tombs, monuments, temples and houses give valuable aid, enabling scholars to reconstruct the story of music among the older civilizations. We must not forget, however, that conjecture plays a more or less prominent part in all the translations of the old hieroglyphic and cuneiform writings. We have no direct knowledge of the scales used or how the instruments were played together, what was the nature of the science and system in use. What we have is mere inference from the nature of the instruments and the representations of musicians playing their instruments, together with fragments from contemporary or later writings.