With the 'Nocturnale' and 'Matinale' (opus 28), especially the former, comes a marked departure toward impressionism and ultra-modern harmonic effect, with a gain in color and a corresponding loss in structural quality. The 'Four Seasons' (opus 29), symbolizing four seasons of human life, bear out the tendency toward impressionism and harmonic emancipation, and at the same time seek a greater substantiality of design and treatment. There is an 'Octave Étude' (opus 30), for piano, and a 'Lament' (opus 33), for violin and piano. Among other songs are 'A Spirit Flower,' 'Three Shadows,' 'A Fool's Soliloquy,' 'The Opium Smoker,' and 'Invocation.' An opera is in process of completion. Campbell-Tipton was born in Chicago, in 1877, and lives at present in Paris. * * * * * Arthur Nevin would be deemed an out-and-out romanticist were it not that the authorship of so significant a work as an Indian opera, drawing freely upon Indian songs for thematic material, places him in the ranks of those who have proved the existence of available sources of aboriginal folk-music in America. Nevin is not, however, a nationalist, avowed or otherwise, but with the freedom and experimental eclecticism which has come to be so general a characteristic with American composers, he is ready to draw upon any promising new source of musical suggestion or inspiration. The opera in question, 'Poia,' text by Randolph Hartley, is based upon a sun legend of the Blackfeet Indians of Montana, with whom the composer spent the summers of 1903 and 1904 collecting material. 'Poia' was produced at the Royal Opera, Berlin, Dr. Karl Muck conducting, on April 23, 1910, under stormy circumstances, due to the violent opposition of an anti-American element in the audience. The composer was, nevertheless, many times recalled at the close. The orchestral score is elaborate and modern in instrumental treatment. While Nevin acknowledges Wagner as the chief formative influence upon his musical character, the music of 'Poia' presents little or nothing in the way of obvious Wagnerisms. It is freely lyrical, often very melodious, and, where not boldly characterized by Indian themes, is built on modern German lines. A second opera, 'Twilight,' in one act, has not been performed.