The world requires that music shall suit its varying moods. Some of Johann Strauss' waltzes are quite as genuine music as are Beethoven's symphonies, and each in its own way contributes to the pleasure and benefit of mankind. Which would be the greater loss, were it blotted out of existence, is unquestionable, for the resultant deprivation must be measured by the comparative numbers who would feel the lack of each. The great majority of the public, and even some of music's devotees, derive more pleasure from entertaining than from earnest (so-called classical) music. This is partly because earnest music is quite often abstruse, requiring well-directed mental effort to understand its full significance; but a more generally prevailing reason for this condition (especially when dance music is concerned) is to be found in its cheering and exhilarating effect. I think it pure affectation for musical persons to express a lack of respect for a good piece of dance music. A large percentage of those who do so are not sincere. They fear to discredit their appreciation of the classical, thinking wrongly that there would be something incongruous in liking both. The artist's ideals should embrace the whole gamut of human feeling, and music that strikes our sensibilities at any point in this line is genuine, whether it be a symphony, a love song, or a waltz. If music be the language of the emotions, its germs must be those sounds through which joy, grief, love, fear, rage, wonder, and longing find natural, unpremeditated, and often involuntary expression. The fact that the import of these sounds, whether produced by man, beast, or bird, is unmistakable, has led some writers to accord music the honor of having been the initial means of intercourse between members of the human family,--the original language. This is hardly consistent, for life is mostly unrhythmic monotone, punctuated only here and there by episodes fruitful in musical germs. Scientific observation has established the fact that all of the higher species of living things have forms of vocal intercommunication. Like human beings, animals have forms of speech comporting with their degrees of intelligence and needs, but quite apart from these forms, they and man have mutually intelligible codes of emotional expression. These codes are not identical in less essential details, nor are they equally comprehensive, but they spring from a common source. They vary in character according to the qualities of instinctive feeling, refined or coarse, that dominate the creatures that employ them. The lowest grade of animal life which possesses vocal apparatus is susceptible of but three emotions--anger, longing, and fear--in such measure as to elicit expression. The higher grades feel joy, love, sorrow, anger, fear, and longing.