In concluding, we add a few names of those who, among the younger men, are producing church music of a freshness and vigor which promises well for a renaissance of sacred music that shall happily combine the dignity of the older schools with the more vital utterance of a contemporaneous expression. Frank E. Ward, whose secular compositions find mention in another chapter of this volume, has written many good anthems and two sacred cantatas. Philip James is the author of some strikingly good church music, while Mark Andrews, Clifford Demarest, Caryl Florio, and W. Berwald are well-known and esteemed names to those who follow the lists of standard church music. B. L. FOOTNOTES: [86] 'Contemporary American Composers,' 1900. [87] _Op. cit._ [88] Vance Thompson: 'The Life of Ethelbert Nevin,' Boston, 1914. CHAPTER XIII ROMANTICISTS AND NEO-CLASSICISTS Influences and conditions of the period--Edward MacDowell--Edgar Stillman Kelley--Arne Oldberg; Henry Hadley; F. S. Converse--E. R. Kroeger; Rubin Goldmark; Brockway; H. N. Bartlett; R. G. Cole--Daniel Gregory Mason; David Stanley Smith; Edward Burlingame Hill--Philip G. Clapp; John Beach; Arthur Bergh; Joseph Henius; F. E. Ward; Carl Busch; Walter Damrosch--The San Francisco Group; Miscellany--Women Composers. Between the founders of musical composition in America, who felt chiefly the influence of that musical world of which Beethoven was the great central figure, and those who have looked to aboriginal and other native sources for inspiration on the one hand, or European ultra-modern tendencies on the other, there exists a large and important group of American composers whose artistic origin is to be associated with the so-called 'romantic' school, of which Schumann is the generally accepted protagonist. Proudly as the dramatic phase of the romantic movement shone forth at the same time in the genius of Richard Wagner, it was left with the non-dramatic wing of the romantic school to establish the ideals which should dominate and direct the romantic movement which was subsequently to arise in America. There are a number of reasons why this should have been the case, as there are also reasons to believe that the full influence of Wagner's ideas has not yet been felt in America. In the first place, it was during the epoch of the romantic movement that the German musician and music teacher first began to look to the new world as a field for the broad extension of his labors. Every city and town of America came to have its German music teachers; they were accepted everywhere as representatives of the highest musical civilization of the world, and it is, in fact, to this early German musical emigration that the substantial foundations of our American musical education are due.