Influences and conditions of the period--Edward MacDowell--Edgar Stillman-Kelley--Arne Oldberg; Henry Hadley; F. S. Converse--E. R. Kroeger; Rubin Goldmark; Howard Brockway; Homer N. Bartlett--Daniel Gregory Mason; David Stanley Smith; Edward Burlingame Hill--The younger men: Philip Greeley Clapp; Arthur Bergh; Joseph Henius; Carl Busch--The San Francisco Group; Miscellany--Women Composers. XIV. NATIONALISTS, ECLECTICS AND ULTRA-MODERNS 407 The new spirit and its various manifestations--Henry F. Gilbert, Arthur Farwell, Harvey W. Loomis--Frederic Ayres, Arthur Shepherd, Noble Kreider, Benjamin Lambord--Campbell-Tipton; Arthur Nevin; C. W. Cadman; J. A. Carpenter; T. C. Whitmer--W. H. Humiston, John Powell, Blair Fairchild, Maurice Arnold--Sidney Homer; Clough-Leighter and others--Charles M. Loeffler and other Americans of foreign birth or residence. XV. THE LIGHTER VEIN 451 Sources of American popular music--Its past and present phases--American comic opera: Reginald de Koven; Victor Herbert; John Philip Sousa; other writers of light opera--The decline of light opera and the present state of theatrical music. LITERATURE 465 INDEX 469 MUSIC IN AMERICA CHAPTER I OUR ENGLISH INHERITANCE The foundation of American musical culture--State of English musical culture in the seventeenth century--The Virginia colonists--The Puritans in England and in America; New England psalmody. Whatever else the American music-lover may be, he is decidedly not chauvinistic. Deprecatingly he is wont to speak of native artistic accomplishment, and, however much he may be disposed to vaunt the stellar achievements of our few great opera houses and orchestras, he is content to draw a veil of modest silence over that part of our musical history which precedes the advent of those _de luxe_ organizations. Hence it is, perhaps, that the searchlight of the historian has played but fitfully upon the early musical life of America--for, although popular interest may not inspire the writing of history, it is not without its influence on the publication thereof. Possibly the musical life of pre-Revolutionary America has had little to do with shaping the ultimate artistic destinies of the nation, yet it formed the matrix into which our subsequent musical culture has been embedded and as such it is of both interest and importance to those who would follow a phase of our national development, as yet regrettably neglected.