The question of notation seems to me subordinate. On the other hand, the question is important and imperious, how and on what these tones are to be produced. Fortunately, while busied with this essay, I received from America direct and authentic intelligence which solves the problem in a simple manner. I refer to an invention by Dr. Thaddeus Cahill.[Q] He has constructed a comprehensive apparatus which makes it possible to transform an electric current into a fixed and mathematically exact number of vibrations. As pitch depends on the number of vibrations, and the apparatus may be "set" on any number desired, the infinite gradation of the octave may be accomplished by merely moving a lever corresponding to the pointer of a quadrant. [Q] "New Music for an Old World." Dr. Thaddeus Cahill's Dynamophone, an extraordinary electrical invention for producing scientifically perfect music. Article in McClure's Magazine for July, 1906, by Ray Stannard Baker. Readers interested in the details of this invention are referred to the above-mentioned magazine article. Only a long and careful series of experiments, and a continued training of the ear, can render this unfamiliar material approachable and plastic for the coming generation, and for Art. * * * And what a vista of fair hopes and dreamlike fancies is thus opened for them both! Who has not dreamt that he could float on air? and firmly believed his dream to be reality?--Let us take thought, how music may be restored to its primitive, natural essence; let us free it from architectonic, acoustic and esthetic dogmas; let it be pure invention and sentiment, in harmonies, in forms, in tone-colors (for invention and sentiment are not the prerogative of melody alone); let it follow the line of the rainbow and vie with the clouds in breaking sunbeams; _let Music be naught else than Nature mirrored by and reflected from the human breast_; for it is sounding air and floats above and beyond the air; within Man himself as universally and absolutely as in Creation entire; for it can gather together and disperse without losing in intensity. * * * IN his book "Beyond the Good and the Bad" (_Jenseits von Gut und Böse_) Nietzsche says: "With regard to German music I consider precaution necessary in various ways. Assuming that a person loves the South (as I love it) as a great training-school for health of soul and sense in their highest potency, as an uncontrollable flood and glamour of sunshine spreading over a race of independent and self-reliant beings;--well, such an one will learn to be more or less on his guard against German music, because, while spoiling his taste anew, it undermines his health.