Several of the foregoing essays have appeared in Scribner’s Magazine, the Musical Courier, Criterion, Harper’s Bazar, Metropolitan, New York Sun, and elsewhere. They have been greatly altered and amplified for republication. The study of Parsifal, the major part of which was first printed in the Musical Courier, has been rigorously revised and much enlarged. A few anecdotes of Richard Strauss must be credited to the London Musical Times. Transcriber’s Notes pg 12 Changed: at the end its feverish esctasy to: at the end its feverish ecstasy pg 20 Changed: significance of the development from Hadyn to: significance of the development from Haydn pg 21 Changed: serious influence of the Brahms Schicksalied to: serious influence of the Brahms Schicksalslied pg 29 Changed: A critic considers O warst du mein to: A critic considers O wärst du mein pg 51 Changed: his juggling with bizzare rhythms to: his juggling with bizarre rhythms pg 68 Changed: Invocation and Parsifal, Hunnenschlact to: Invocation and Parsifal, Hunnenschlacht pg 97 Changed: Romantics for knights, mediæval myssteries to: Romantics for knights, mediæval mysteries pg 100 Changed: which so often gravitates pedulum-wise to: which so often gravitates pendulum-wise pg 117 Changed: Like the Buddhistic Tripatka to: Like the Buddhistic Tripitaka pg 178 Changed: at the foot of the Vierge au donitaire to: at the foot of the Vierge au donataire pg 191 Changed: he loves to finger the georgeous to: he loves to finger the gorgeous pg 217 Changed: social democrat and freethinker; and Tschaïkowsy to: social democrat and freethinker; and Tschaïkowsky