In that prehistoric time, at the beginning of what might be called soul tenantry, man, whether created or evolved, being the first of his line, had no fruits of human experience to guide him, and his emotional status could therefore have differed little from that of the higher grades of soulless creatures. We learn from history that since it began its annals animal nature has remained virtually unchanged, whereas man, because possessed of a higher grade of intellect and a definite recognition of Deity, in one form or another, has refined and broadened the scope of his impulses and understanding. As it is the first subjective, and not objective, manifestation of tone expression that we are seeking, we cannot do better than to scan this feature of animal life. Such manifestations result from the sequential co-operation of emotion, reason, and impulse. Animals have their growls, roars, and trumpetings of anger and defiance, and many of them have forms of expressing affection, but these latter are acquired through experience, whereas they instinctively appeal to agencies outside themselves for relief from pain or want, employing means the efficacy of which they recognize. If we turn to humankind, we find that the new-born babe will express its desire for food long before it becomes responsive to its mother's endearments. I, therefore, assume that pleading was the first purposeful, premeditated form of tonal communication, and, consequently, that it was the nucleus about which experience and culture have gathered such ample resources. (This term, tonal communication, applies equally well to our formulated art, for music is invariably addressed by its creator to some intelligence, whether it be a person, the world, or God.) This first developed element has never relinquished its prominence, for it is the mood which most often pervades the composer's tone pictures. We find it depicted, as prompted by each and all phases of human insufficiency, appealing to appropriate sources for relief,--the oppressed entreating the tyrant, the lover the object of his affection, and the finite world, prostrate before Infinity, pouring its hopes and aspirations into the Divine ear. Now occurs a period of unmeasurable time upon which we can throw no light. It extends from this first manifestation up to that stage in evolution which produced forms of tonal expression like those now employed by the lowest savage races. Some time during this unexplorable period, man having appropriated a fuller vocabulary from nature's store, and having adopted more sustained, and at the same time articulate, forms, was led to feel pulsations,--incipient rhythm. Whether this primitive conception of metre was suggested by associated word successions, or was incident to the extension of tonal expression itself, we can only conjecture, but rhythmic impulse is evident in, and it is the main feature of, the crudest musical efforts. MUSIC OF THE SAVAGE RACES