Lastly we have tried to explain as simply as possible, without becoming infantile, the varying steps in Music’s growth. Therefore, the book has assumed larger proportions than if we had been able to use scientific terms and cut the Gordian knot of explanation with one swiftly aimed blow, rather than three or four. So, with the sincere hope that our book will help you to love music better, because you will have seen its struggle with politics, religion and its critics, we leave you to read it—from cover to cover—we hope! MARION BAUER AND ETHEL PEYSER. PARIS AND NEW YORK CITY ACKNOWLEDGMENTS Our book has had friends other than its authors. It has, in fact, had makers as well as authors, so it cannot go out into the world without proclaiming its “thank-yous.” First it would thank Flora Bernstein, its indefatigable and patient typist, editor and general adviser, who worked night and day for many moons; second, it must thank Dorothy Lawton of the Music Library of the City of New York for her graceful but poignant criticism, and third it must thank Grace Bliss Stewart, who did some research and anything needed. _How Music Grew_ and the AUTHORS. INTRODUCTION No one questions the need of histories of music. Few, however, define the need. It seems to be generally agreed that people ought to know something about the history of the principal arts. Who designed St. Peter’s, who painted the _Descent from the Cross_, who wrote _The Faerie Queen_ and who composed the _Ninth Symphony_. These are things one ought to know. The reasons why one ought to know them are seldom made clear. But just at this time, when the word “appreciation” is so active in the world’s conversation, there should be little difficulty in separating from the mass of unformed comment at least one reason for acquaintance with the history of music. No one can “appreciate” an art work without knowing its period, the state of the art in that period, the ideals and purposes of composers, the capacity of their public and the particular gifts and aims of the writer of the work under consideration. It is extremely difficult for any person to begin the study of “appreciation” after he is old enough to have acquired a stock of prejudices and burdened his mind with a heavy load of misconceptions. It is better to absorb good art, music or other, in the early years and to grow up with it than to try at 18 or 20 to put away childish things and understand Bach’s “St. Matthew Passion.”