(6) =America.= America and Russia are the two countries that have forged to the front in musical art during the past quarter century. Until the shackles of English conservatism and of Puritan dogmas were thrown off, little could be done in the way of preparing for a national school of composition. But with the ever increasing influx of German musicians, American composers were stimulated to extend their horizon, so that at the present day one can point to a host of cultured and highly educated musicians who are devoting themselves to the furtherance of national art. Many of them have displayed rare skill as orchestral writers, but comparatively few have as yet been sufficiently fortunate to acquire wide-spread recognition in this branch. The list of pioneer composers and promoters includes Lowell and William Mason, Bristow, Gottschalk, C.C. Converse, Paine, Lang, and Emery. A somewhat arbitrary selection of representative orchestrators includes Paine, Buck, Foote, Chadwick, MacDowell, Parker. The pioneer of America's great composers is Paine. His opera "Azara" may be regarded as his representative work, and is conspicuous for its dramatic continuity, irresistible climaxes, dignity and breadth of musical contents, consistent and effective orchestration. Buck is prominently identified with the evolution of American church music. The orchestration of his choral compositions reveals the firm hand of a master. Foote appears to best advantage when writing chamber and orchestral music. He does not aim to produce sensational effects, yet clothes his artistic conceptions in appropriate orchestral garment. Chadwick's music is above all manly and energetic. His form, though conservative, is well rounded. His orchestration is chaste and refined rather than sensational and glowing. He has proved himself a keen judge of those essentials required for large instrumental works. MacDowell's music possesses certain characteristics that distinguish it from that of any other American composer. His education has been thoroughly cosmopolitan. He aims to induce poetic imagination symbolic of emotional reality. His chord formations, harmonic progressions, thematic treatment, and structural form are all in accord with the psychological subtleties to be expressed. His orchestration is one of his strongest attributes; though founded upon that of Raff, it possesses also the charming touch of the modern French school. Parker has risen to eminence through his choral writings, and is the best known American writer in England. He wields his orchestral forces with no uncertain hand, but does not allow tone-color in its own right to predominate in his choral works. Further prominent writers for the orchestra are Gilchrist, Gleason, Foerster, Beck, Bird, Kelley, Schoenefeld, Zeck, van der Stucken, Mrs. Beach, F.S. Converse, Huss, Hadley. Until recently the larger number of orchestral conductors in the United States were foreigners, but the Americans are gradually taking the