As to the nature of the new opera the composer described it as tragic-comic; half phantasy and half realism. “It has overtones of romance and nuances of practical life,” he said. “The emotions are typically American.” When the new owners of the weekly periodical, “Musical America,” in search of an outstanding figure in the field of musical literature, one who would merit a sympathetic response from the musical public, selected Taylor for the post of editor-in-chief, they did no more than to reflect the high esteem that he had won for himself. The manner in which he took over the responsibility, as revealed in his declaration of intentions, in the issue of August 27th, 1927, was thoroughly characteristic of the man. Here he disclosed rare editorial acumen in a frank statement, analyzing minutely the qualities which the average American music-lover would seek in a journal, and promising that his program as director of the enterprise would adequately satisfy those needs. And so it becomes apparent that Deems Taylor the man is quite as important as Deems Taylor the composer. No record of his achievements in the latter capacity is complete without mention of the sterling qualities that he built within his own character. The chronicler of his history finds no evidence on this point more startling nor convincing than the happy, friendly relationship which exists between him and his publisher. Here indeed is a miracle, as witness the biographies of scores of the great composers of all times and observe the bickerings and transactions of distrust which have marked their dealings with the men who gave out their music to the world. VI Taylor has written more than fifty compositions, a full catalog of which is appended to this article. Without exception, each of these works, large or small, is of importance, and individual. Each bears analysis, but does not demand analysis for its enjoyment. While the individuality of his work is not essentially an idiom, and never a formula, there is always an atmosphere and a color that command attention. The music is thoughtful, yet spontaneous, reflective though objective; and so well constructed and designed that the structure does not impose itself on the listener. Taylor’s severest critics have accused him of lacking a true melodic gift. The most superficial study of his music should disprove this charge. The _Looking Glass_ Suite and _The King’s Henchman_ abound in melodies interesting in themselves and ingeniously and logically developed. His best work has the quality of inevitability which is the supreme test of greatness in art, an inevitability which is never mere obviousness.