words and the course of the dramatic development. As a matter of fact, the same connection with words rules the situation as far as regards the artistic organization in all directions from anthems and church music up to the colossal scores of music dramas. The composer has now not only to provide diction, method, artistic texture, color, but also new types of form. It may, indeed, be said that the highest aim of the composer, after the discovery of something worth expressing, is to find some new scheme--some new distribution of the architectural elements of his musical work--which will present his ideas in forms which will attract the attention and keep the interest of the highest class of minds. The situation may be said to round off the story of music’s development so far. For the colossal accumulation of resources and means of beautifying and vitalizing ideas serves not only for utterance but also to widen the scope and variety of schemes of artistic organization--and the individual composer becomes personally responsible in that respect as well as for the feeling and the artistic details. But the indebtedness of latter-day composers to the devotion of those who went before is not exhausted by these accomplishments. For there are many features of art to which successive generations of composers have contributed in the fashioning, and which ought not to be overlooked, though they cannot be dealt with in detail in a summary. One of the subtlest and most interesting is the differentiation of various styles. The instinct which impelled composers in this connection was always to find the most perfect adjustment of resources to environment. In other words, to express what they had to say in the ways which were most convenient and effective for the instruments which had to play it, and most suitable to the audience to which it was to be addressed in the place where it had to be performed.