Transcriber’s Note Italic text displayed as: _italic_ Bold text displayed as: =bold= DEEMS TAYLOR STUDIES OF CONTEMPORARY AMERICAN COMPOSERS BY JOHN TASKER HOWARD DEEMS TAYLOR .25 1927 J. FISCHER & BRO., NEW YORK 119 WEST 40TH STREET PRINTED IN U.S.A. _Copyright, 1927_, by J. FISCHER & BRO. The author desires to express his gratitude to his friend and colleague, Paul Kempf, for his collaboration in preparing the biographical data contained in these pages. J. T. H. [Illustration: _Underwood & Underwood Studios, N. Y._ DEEMS TAYLOR] DEEMS TAYLOR I There is probably no man in America who has done more of benefit to the profession of composing in this country than has Deems Taylor, for through his own personal success he has both proved and disproved certain definite impressions which have clung traditionally to the composers’ craft, thereby clearing a path that will make it far easier for others to proceed to worth-while achievement in what has to date been classed as the least favored of all arts. He has proved that well-directed musical talent, plus those qualities generally prescribed by exploiters of success-methods, will find its way to fame even in these allegedly cold-tempered United States. He has proved that here a composer may raise himself by the boot-straps and, suffering an avoidance of cheap sensationalism, establish himself a figure in the general news of the day. He has proved that a man may be essentially practical in his manner of living, thinking and working and yet achieve international distinction as a creator of highly imaginative music. He has proved that versatility is no bar to special success—has smashed the old saw that if you are a jack of all trades you must, forsooth, be a master of none. He has proved that there is a substantial market in this land of industry, commerce and finance for products of purely artistic calibre; that there is a living to be made out of composition. Apply reverse English to these things he has proved by his own record of accomplishment, and obviously your answer is what he has disproved. Now, add the consideration that he has destroyed the image so popularly prevalent that good composers must be æsthetic, pale-skinned, long-haired and rather effeminate individuals, alternately rhapsodic and morose, constantly publishing their complaint against a public that neither understands nor appreciates them, and the case assumes completion. II