for the accompaniment, and the constant use of the pedal for promoting blending of tones, that the vague and poetic atmosphere of this piece can be realized. Schumann might also be credited with the invention of a new style of composition, or of music thinking. The element of canonic imitation occurs in his works in wholly new form. A single phrase or motive is repeated through nearly an entire movement, in a thousand different forms and transformations, so that the whole movement is made up from this single germ; and yet with such mastery of rhythm and of harmony as to conduct the thought to a powerful climax, without any impression of monotony interfering with it. One can hardly go amiss in the large works of Schumann for illustrations of this style of composition. Take, for example, the Novelette in B minor, Opus 99; the Novelette in E major, Opus 21, No. 7; the first of the "_Kreisleriana_," and many other parts of the same work. This style I have elsewhere called the "Thematic," as distinguished from the "Lyric," in which a flowing melody is a distinctive trait. Beethoven, in a number of cases, employs a style of thought development somewhat similar, but the results accomplished are tamer than with Schumann. One of the most striking examples is found in the finale of the sonata in D minor, Opus 31, No. 2, and in the first movement of the sonata in C minor, Opus 111. In this point of view Schumann appears as the predecessor of Wagner, who almost certainly took his departure for thematic work from Schumann. If it were not for these numerous, highly poetic and masterly compositions for pianoforte solo, and for the chamber pieces, the symphonies and other large works, Schumann would have been entitled to a very eminent place among composers by his songs alone. These are as different as possible from those of previous writers, excepting Schubert, and the voice itself is not always well considered in them; but there are no other works in this department in which the poetic sentiment is so thoroughly reproduced in the music as Schumann has done it in his "Woman's Love and Life," and in "Poet's Love," and in many single songs of other sets, "The Spring Night" being a very marked example. If the future should chance to produce a race of poetic and intelligent singers, these songs will be found among the most effective which the whole literature of music can show. Some of them are already well and favorably known in all parts of the world.