Music at Harvard.

There are only two American universities which include music in their regular curriculum for the bachelor's degree; they are Harvard and the University of Michigan. But music has always been a traditional part of a liberal education. It was one of the socalled "seven arts" of the mediaeval universities; and at Oxford and Cambridge it has been continued uninterruptedly to this day, among the regular courses of instruction. There the degrees of Bachelor of Music and Doctor of Music, based on theoretical work and actual competition required from candidates, stand on an equal footing with the degrees in Arts.

It was natural, therefore, for Harvard to adopt a tradition that had such good usage behind it, although unprecedented in any American college; and at about the beginning of President Eliot's regime, we find that this was done. In the catalogue for 1870 is given for the first time, a list of electives under Professor Paine in music, including "harmony." "counterpoint," and the "simple forms of composition."

We are not to suppose, however, that music had been unheard at Harvard before that date. The Pierian Sodality and the Glee Club, as is well known, had furnished delectation for years to many successive classes of undergraduates; indeed, in the "Exhibitions" which used to be held under college authority twice a year, the Pierian is always down upon the programme as supplying the music; and the singing of the Glee Club on the green at Class Day is renowned. Professor Paine himself had conducted the chapel choir since 1862; and for a number of years prior to 1870 the catalogue had a meagre notice of some "instruction in vocal music, with special reference to the chapel exercises." This seems to have been sorely needed, to judge from the mournful utterances concerning the music at chapel, to be found in the college journals of the time.

Since 1870, then, the music department has existed much as we now have it, with Professor Paine at the head, and offering courses in the history and theory of music, from simple harmony up to advanced forms of composition, as a contribution towards a liberal education, on an equal basis with all the other courses in college. There are now no less than ninety-five men taking the six courses on this basis. And here is the keynote of the whole system. The aim is not to make finished composers, or in any way to rival the great music schools and conservatories of Europe; for there alone can the thorough technical training be obtained, such as is required by a professed musician. As a consequence, it is not to be expected that Harvard will turn out many distinguished men in the department of music, in which a prolonged technical training is especially necessary. As a matter of fact, however, several promising musicians have been graduated since Professor Paine has had charge here. Among these are Mr. Arthur Foote, '74, of Boston, one of the best known resident pianists, and a composer of unusual excellence; he has written trios, quartettes and other chamber music of high merit. Mr. Fenellosa, '75, another pianist and composer of Boston, and Mr. Warren A. Locke, '69, and our chapel organist have also won good names in the art. Mr. Heard, '70, has written some excellent songs, and Mr. Burdett, '81, sacred music of merit; while many of us are familiar with the college songs of Mr. Burton, '82, and Mr. Wister, '82.

Though the degrees of Bachelor and Doctor of Music are not given, the degree of Doctor of Philosophy is understood to cover them; and there are at this time several men trying for it in music.

The music department has contributed in no small degree to the renown of Harvard. Many of us can remember what a stir Professor Paine's CEdipus music made at the time of the Greek play-it ranks among the very best of recent music; and his last symphony has a European reputation. The estimation in which he is held by the best critics is indicated by the following remarks from the Nation of December 4, apropos of another recent work of his, the "Tempest." a symphonic poem, performed by Thomas's Brooklyn orchestra, recently:

"It is one of his best works. It not only gives evidence of the scholarship to be expected of a Harvard professor, but of originality of invention and rarefelicity in modulation and instrumentation, especially in the second movement, which with its broad flowing melody and really exquisite orchestral coloring, is a thing that any contemporary European composer might be proud of."

A.