Of his other published songs, "At Daybreak" shows a beautiful fervor of repression. "On the Way" is redeemed by a particularly stirring finish. In opus 8, "A Prayer" is begun in D minor and ended in D major, with a strong effect of sudden exaltation from gloom. "The Singer" begins also in sombre style with unusual and abrupt modulations, and ends in a bright major. "The Hermit" is likewise grim, but is broad and deep. It uses a hint of "Old Hundred" in the accompaniment. Opus 11 couples two dramatic ballads. In this form of condensed drama is a too-little occupied field of composition, and Bullard has written some part songs, of which "In the Merry Month of May," "Her Scuttle Hat," and "The Water Song" are worth mentioning. "O Stern Old Land" is a rather bathetic candidate for the national hymnship. But his "War Song of Gamelbar," for male voices, is really a masterwork. Harmonists insist on so much closer compliance with rules for smoothness in vocal compositions than in instrumental work, that the usual composer gives himself very little liberty here. Bullard, however, has found the right occasion for wild dissonances, and has dared to use them. The effect is one of terrific power. This, his "Song of Pan" and "The Sisters" give him a place apart from the rest of native song-writers. [Illustration: HOMER A. NORRIS.] With all reverence for German music, it has been too much inclined of late to domineer the rest of the world, especially America. A useful counter-influence is that of Homer A. Norris, who has stepped out of the crowd flying to Munich and neighboring places, and profited by Parisian harmonic methods. His book, "Practical Harmony," imparts a, to us, novel method of disarming the bugaboo of altered chords of many of its notorious terrors. He also attacks the pedantry of music "so constructed that it appeals to the eye rather than the ear,--paper-work," a most praiseworthy assault on what is possibly the heaviest incubus on inspiration. In a later work on "Counterpoint" he used for chapter headings Greek vases and other decorative designs, to stimulate the ideal of counterpoint as a unified complexity of graceful contours. Norris was born in Wayne, Me., and became an organist at an early age. His chief interest has been, however, in the theory of music, and he studied with G.W. Marston, F.W. Hale, and G.W. Chadwick, as well as Emery. In deciding upon foreign study he was inspired to choose France instead of Germany. This has given him a distinct place. After studying in Paris for four years under Dubois, Godard, Guilmant, and Gigout, he made his home in Boston, where he has since confined himself to the teaching of composition. As yet Mr. Norris has composed little, and that little is done on simple lines, but the simplicity is deep, and the harmonies, without being bizarre, are wonderfully mellow.