There was to be, first, a "general musical course," consisting of lectures and private reading, with illustrations. This course, while "outlining the purely technical side of music," aimed at giving "a general idea of music from its historical and aesthetic side," and it treated of "the beginnings of music, the Greek modes and their evolution, systems of notation, the Troubadours and Minnesingers, counterpoint and fugue, beginnings of opera, the clavecinists, beginnings of programme music, harmony, beginnings of the modern orchestra, evolution of forms, the symphony and opera up to Beethoven." A second course (this was not begun until the following year) treated "of the development of forms, the song, romanticism, instrumental development, and the composers for pianoforte, revolutionary influences, the virtuoso, modern orchestration and symphonic forms, the music-drama, impressionism versus absolute music, color _versus_ form, the relationship of music to the other arts, musical criticism." A third course treated of "general theory, dictation, harmony, comprising chords and their mutual significance, altered chords, suspensions, modulation, imitation, analysis, and the commencement of composition in the smaller forms." A fourth course comprised, in the first term, counterpoint, canon, choral figuration, and fugue; in the second term, "free counterpoint, canon and fugue, analysis, commencement of composition in the larger forms." The fifth course treated of "free composition, analysis, instrumentation, symphonic forms," and the study of "all the orchestral and other instruments, considered collectively and individually," together with demonstrations of their "technique, possibilities, and limitations."