At the end of the introduction I apply the principles worked out to determining in a general way how the half dozen composers to be studied are related to modern music as a whole. My result is that although they are practically contemporary, they are by no means peers in the scope and significance of their work. If we arrange them in the order of their influence on art, which depends upon their power both to assimilate previous resources and to add new ones, we must pass «from Grieg to Brahms.» The purpose of the last essay in the book, on The Meaning of Music, will be obvious enough. Just as the introductory essay tries to sketch the general musical environment, as determined by basic principles and developed in history, in relation to which alone the individuals discussed can be understood, so the epilogue seeks to suggest that still larger environment of human feeling and activity on which music, like everything else, depends for its vitality. The first essay considers music as a medium for men, the last considers life as a medium for music. It would be impossible to acknowledge here all that these studies, particularly the first, owe to the writings of others. Perhaps the books which have most influenced my treatment of musical æsthetics are Dr. George Santayana's «Sense of Beauty» and Dr. C. Hubert H. Parry's «Evolution of the Art of Music,» though I have got much help also from Dr. William James's «Principles of Psychology,» from Dr. Josiah Royce's books, from Mr. Edward Carpenter, and of course from Helmholtz, Gurney, Mr. W. H. Hadow, and the other standard writers on musical theory. In gathering the biographical material I have had much cordial and skillful help from Miss Barton, of the Boston Public Library, for which I here record my thanks. Cambridge, Massachusetts, August 23, 1902. NOTE TO THE THIRD IMPRESSION Sir Charles Villiers Stanford has pointed out an error in the story told of Brahms on page 178. It was not the Cambridge University authorities who invited Brahms to write a new work, but the managers of the Leeds Festivals, who, after long neglect of his already printed compositions, asked him, in 1887, to write them a new one; whereupon he returned the answer described. New York City, May 10th, 1904. CONTENTS PAGE I INTRODUCTION: THE APPRECIATION OF MUSIC 1 II EDVARD GRIEG 47 III ANTONIN DVOŘÁK 71 IV CAMILLE SAINT-SAËNS 97 V CÉSAR FRANCK 121 VI PETER ILYITCH TSCHAÏKOWSKY 149 VII JOHANNES BRAHMS 173 VIII EPILOGUE: THE MEANING OF MUSIC 203