Lowell Mason (1792-1872) was for many years the president of the Händel and Haydn Society of Boston, where he founded an academy of music, and displayed untiring activity in initiating conferences of music teachers and in the cause of American musical art in general. Bristow (1825) deserves mention not only for his activity as a pianist, teacher, and conductor, but also for his ambitions as a composer in large forms. These works include two symphonies, two oratorios "Daniel" and "St. John," and an opera "Rip van Winkle." Dr. William Mason (1829) proved himself worthy of the heritage entrusted to him by his father, Lowell Mason, and is looked upon as one of the chief factors in the evolution of American music. His compositions, though clever, are conservative and somewhat pedantic, but his influence as an educator cannot be overestimated. Gottschalk (1829) devoted his exceptional talents as a concert pianist largely to the dissemination of his own salon music, which is brilliant though sentimental, being, moreover, unquestionably dominated by Spanish characteristics. Converse (1832) is recognized as a typical American and has won esteem as the author of a large number of hymn-tunes. Dr. Leopold Damrosch (1832) was among the earlier Germans who adopted the United States as their home. He left his indelible impress upon the artistic life of New York City and bequeathed the fruits of his labors to his sons, Walter and Frank, who have piously preserved and extended them. Paine and B.J. Lang are mentioned in this connection by virtue of their indomitable perseverance in behalf of improved musical conditions in the earlier period of their respective careers when the general attitude of the American public toward true musical art was even worse than it is at present. Emery (1841) owed his reputation originally to his talents as a pianist, but his primer of harmony has since made his name a familiar one in almost every household. This list may rightfully include the name of a more recent benefactor of native composition--the pianist, Sherwood (1854), who was one of the first to insist that the American public should become acquainted with the slighted creative talents of her artistic sons. He put this noble resolve to practical test by devoting large portions of his programs to the compositions of his compatriots, and was able to command the attention and respect of his audiences not alone by his sterling technique and refined interpretation but by his charming personality as well. Many other names such as Carl Zerrahn and Theodore Thomas could be added here. They have, however, been classified under their more pronounced specialities. (2) =Master of Orchestration.=