The classical tendency, by which is commonly meant the impulse to compose in the 'cyclic' forms, is seldom manifested by women composers, for reasons which have been variously explained, or for which explanation has been attempted. Whatever the true reason may be, it is, in fact, wholly on the side of romanticism, with the possible exception of literary tendencies in the choice of poems for songs, that all the women composers coming within the scope of this chapter are found. One of the most gifted of these is Mabel Daniels (b. 1878), who has the distinction of having won both prizes offered for women composers in the competition of the National Federation of Musical Clubs for 1911, the first with a song for soprano, 'Villa of Dreams,' poem by Arthur Symons, and the second with two three-part songs for women's voices with accompaniment of pianoforte and two violins, 'Eastern Song,' the author of the text not stated, and 'The Voice of My Beloved,' the text selected from the 'Song of Solomon.' 'Villa of Dreams' is a broadly conceived aria, essentially melodious, and harmonically modern in the general sense of being free in modulatory treatment, without crossing the border line of ultra-modern chord effects. It is fluent in inspiration and authentically poetic. Miss Daniels' most significant work is a poem for baritone and orchestra. 'The Desolate City' (W. S. Blunt), produced at the Peterborough festival in 1913, and later by the Chicago orchestra in Syracuse, the composer conducting. 'Love, When I Sleep,' on original verses which show the composer to have a marked poetic gift, from three 'Songs of Damascus,' is notable for its melodic warmth. A 'Fairy Scherzo' for orchestra was conducted by the composer at the MacDowell Festival at Peterborough, N. H., in August, 1914. Widely known through her irresistibly lilting 'Boat Song,' Harriet Ware, through many songs of exquisite character, has taken her place as one of the most prominent women composers of America. Her work has assumed a thoroughly modern character, is highly refined in feeling and often subtle in its expressiveness. Among her songs one of the best is 'The Call of Râdha,' which contrasts with poignancy the worlds of sense and spirit. 'The Forgotten Land,' another song which takes high rank, shows a considerable chromatic harmonic fluency, and paints an exquisite tone-picture of a far-away world. 'Rose Moral' has much simple beauty, 'To Lucasta' fine contrasts of mood, and 'My Love is a Rider' is very bold and poetic. A true ecstasy lives in 'Joy of the Morning,' and 'The Last Dance' is rich and warm in sentiment throughout.