In the comprehensive art of sound, the euphonious epitomizes the major, better half of man and nature. From this it appears that the cacophonious must epitomize the minor, baser half. Why, heretofore, was this half well-nigh denied tonal utterance? Was it not largely from the old and inadequate theological conception which made the existence of evil an abortion of the Divine plan? Conceding the answer implied, and granting that the attitude of the time is one of invitation, let us consider certain factors necessary to the realization of the art of sound. Orchestral music and orchestral accompaniment, as understood by Bach and Handel, betray a paucity of resource and a lack of color then inevitable. Since that era of small beginnings, and in late years especially, orchestral instruments both numerous and valuable have been invented, and the capacity of brass and wood-wind much enlarged and their quality greatly improved. Desirous of utilizing to the utmost all additions and improvements, orchestral composers sought effects the most novel both in solo and in symphony. As result the orchestra grew from infantile to gigantic proportions and capabilities. Thus was produced a full, flexible and characteristic means of expression, one peculiarly suited to the speculating and philosophizing musician who, already due and now appearing, added his contributions to those productive of a rounded art. In examining the factors which make for Strauss and his works, we shall find that his native originality could never have raised him to what he is, and that the art of sound would still be an undiscovered one, had not Chopin already exemplified, most eloquently, the flexibility of the laws of chromatic progression, and had not Wagner, that great emancipator, stricken from musical form the cramping bonds of a narrow convention. If, as we contend, the minor half of dual man and nature has legitimate place in all art, then let the musician beware lest, as final impression, he make evil seductive, and so identify himself with decadence as have those who denounce in every form of art any purpose consciously moral; those in fact who announce as their dictum, «Art for art's sake.» When for specific ends the musician weaves around evil a flowery spell, he somehow should make us feel that death and corruption lurk in every petal of those all-too-enticing blooms. Moreover, when by means of cacophony he lays bare the true nature of evil, he should avoid an excess which would identify him with the moral pervert whose delight is in the abnormal. Let him understand that in this world's great school where, only amidst the lure of opposites, character can be formed and wisdom gained, the true office of evil and the secret of its permission is that eventually its inner hideousness will turn from itself, forever, those who, through ignorance of the essential nature of evil, have yielded to its manifold seductions.