Despite Kroeger's scholarly handling of the sonata and fugue forms his tendency is strongly romantic, as is indicated by the subjects not only of his overtures but of the great number of his piano works, which touch a whole world of romance from Greek mythology to Indian and negro folk-lore. Among his more representative piano works are '12 Concert Études' (opus 30), a suite (opus 33), four 'sonnets' (opus 36), Sonata in D flat (opus 40), Prelude and Fugue in B flat minor (opus 41), 'Mythological Scenes' (opus 46), ten 'American Character Sketches' (opus 53), and twenty 'Moods' (opus 60). Widely known as a writer of songs of much poetic charm and appeal, his best works in this form are the 'Persian Love Song' (from opus 43), the famous 'Bend Low, O Dusky Night' (from opus 48), Ten Songs (opus 65), and a song cycle, 'Memory' (opus 66). He has written much for the organ, and there is a sonata for violin and piano (opus 32), also a recent large work for recitation or action, 'The Masque of Dead Florentines' (opus 75), on Maurice Hewlett's poem. In style Kroeger leans strongly upon the German tradition, but is fond of writing in an Oriental vein. He has held many positions of responsibility, among them being the presidency of the Music Teachers' National Association, and the important post of Master of Programs at the St. Louis World's Fair, which service won him an office in the French Academy. His influence has been far-reaching in the musical upbuilding of the Middle West. Leaning somewhat more heavily upon the classic than the romantic aspects of German tradition, the work of Rubin Goldmark (b. 1872) makes serious claim to a place of high regard in the field of American music. While having had the advantages of European study, Goldmark also reflects a measure of the considerable influence exerted by Dvořák upon composition in America, having been one of those under the guidance of the Bohemian composer during his period of teaching in New York. In so far as this influence is discernible in one of Goldmark's well-defined musical personality, it is to be sought in the general nature of his musical ideals, and only very slightly in the specific Americanism encouraged by Dvořák (1841-1904). A firm emotional texture, gained by warmth of both harmony and melody, and a virility arising from a marked rhythmic sense characterize Goldmark's music. His creative impulse is guided more by emotional sincerity and verity than by the element of charm, though it is not without moments of tender and limpid beauty.