The music that is written shows whether its composer was an artist or a mechanic in music. "The spirit of anything which a man makes, or does, is his nature expressed in those things, and the fineness or poorness of his work and actions depends upon the way in which he feels or thinks."[13] The academic writer, steeped in his contrapuntal devices and harmonic progressions, so intent upon the orthodox resolution of his discords, is apt to produce excellent dry bones without the informing spirit. We have even heard it stated that no music publisher would deign to consider for publication a song manuscript with Mus. Doc. on the title page. Yet Parry's books of "English Lyrics" stand as permanent testimony that scholarly music may also contain the emotional and spiritual elements to infuse it with abundant life: the pity is that the combination is none too frequent. "A vast proportion of what is printed and sold as music... is meaningless, and therefore worthless."[14] Such music as is composed, or selected, for popular consumption is frankly written for this purpose of pot-boiling, and as such it settles its own fate. We need waste no tears upon it. Nor need we devote much consideration to the sentimental ballads issued by the hundred, for "if music has no further function than to appeal to the emotions, then it is nothing better than melodious nonsense."[15] Of the dance and other miscellaneous music issued broadcast some, no doubt, is genuine music, but the greater part of it is avowedly commercial in tone and intention: in any spiritual scale its weight is of the lightest. [Note 13: Leigh Henry. "Music."] [Note 14: Sir Henry Hadow.] [Note 15: Sir Henry Hadow.] The interpreter who works in collaboration with others, the choral singer or the orchestral performer, should be bound by the same canons of Art as the soloist. A chorus does not merely consist of a certain number of voices, any more than eleven football players constitute a team. Even the footballers must have their technique and must play with their heads as well as their feet: but to ensure success they must individually have subordinated their personal interests to that of the team, they must play in the spirit of the game. Equally so a choral singer must first have the vocal ability, then the intelligence, and furthermore the spiritual vision. His individual aims must also be subordinated in "team play," so that collectively, as individually in the case of the soloist, the purport of the music may find its due expression.