In order to cover the entire ground, it would be necessary to touch upon the rather doubtful experiments of our forefathers during the seventeenth and eighteenth centuries:--to examine into the tardy emancipation of religious music from the dogmatic fetters of Puritanism, to follow the gradual development of American hymn-tunes, and to ferret out the initial encroachments of beneficent Teutonic influence. Such preliminaries may here be dispensed with. America has no native folk-tunes. The experiments of our illustrious guest, Dvo[vr]ák, to adapt so-called negro melodies as the basis for future operation are certainly masterly,--nevertheless illogical. MacDowell's poetic "Indian Suite" draws upon still another source for the same purpose. Racial characteristics and local coloring are indeed suggested,--but the desired objective is not attained. Of similar purport are the exhaustive researches of Farwell. His deductions are intensely interesting, frequently picturesque,--but again prove that the primitive tunes of the American Indian do not meet the requirements for a national form of melody. It is evident, therefore, that American composers are obliged to rely upon their own individual efforts. What is more, no marked individuality displayed itself before the nineteenth century. Anyone desiring detailed information pertaining to the infancy of American music may be referred to Ritter's book on that subject as well as to Louis C. Elson's "History of American Music." Furthermore, since the main theme of this discussion is orchestration, it will not be possible to more than touch upon the sterling achievements of the already large list of nineteenth and twentieth century composers who are so worthily furthering the artistic cause of their country. Detailed biographies of these men are also to be found in Elson's work as well as in Rupert Hughes' "Contemporary American Composers."