For piano, Taylor has written only two pieces, _Two Studies in Rhythm_, Opus 5. These are a _Prelude_ in 7-8 time, and a _Poem_ in 5-8 time. The rhythms are never manufactured, or artificial; they are metric units written as conceived, spontaneous and natural. As in the 5-4 movement of the Tchaikovsky _Pathetique_, one forgets the unusual time divisions, because of the fluency of the rhythmic sequence. As a writer of choral music, Taylor has earned an enviable distinction. Chief among his works for chorus are _The Chambered Nautilus_, a cantata for mixed chorus and orchestra, Opus 7; _The Highwayman_, a cantata for women’s voices and orchestra, Opus 8; and the sixty arrangements for women’s voices of _Traditional Airs_, which he made for the Schumann Club of New York. In reviewing these transcriptions, Sidney Grew, the English lecturer and critic, wrote as follows in “The Musical Standard” (London): “In these arrangements of old-time pieces and folk-music Taylor seems to have his own idea of the psychology of the poems, and occasionally he is (to an Englishman’s mind) drawn away from the poetical idea of a piece and controlled by the objective power of music. But this remark I make no more than tentatively, because to prove it would require a very thoroughgoing study of matters not within the range of a reviewer. He has a good contrapuntal sense, but is not at all interested in contrapuntal subtleties. His harmonic sense is free, yet he does little to disturb even the purist. In most of the numbers he achieves or retains atmosphere; and in disposing the texts among long notes in the accompanying parts he generally modifies the phrases so as to make verbal sense. On the other hand, he often brings in a group of voices with quite instrumental freedom, giving to these whatever words happen to be going at the moment in the leading part. One point will please singers, Taylor’s arrangements have no meaningless reiteration of words, but are all intellectually clear and direct. Deems Taylor makes elaborate use of the humming voice, sometimes as choral accompaniment to a solo melody and sometimes as a meditative contrapuntal comment on the piece.” The experience he gained in writing for voices has stood him in good stead in his opera _The King’s Henchman_, for his magnificent choruses are among its finest moments. Of his orchestral works, the earliest was _The Siren Song_, Opus 2, written in 1912, but not performed until 1923, despite the fact that in 1913 it won the orchestral prize awarded by the National Federation of Women’s Clubs. Taylor’s opinion of the work is at variance with those of his fellow critics. At the time the Philharmonic played _The Siren Song_, as critic of the “World,” he wrote as follows: