402 The Evolution of Music. 



this" may seem for what is more elevating to the progressive mind 

 than a tangible proof of the interest taken in the study and advance- 

 ment of art ? a closer scrutiny of the present state of musical culture 

 will bring us face to face with a fact not very pleasant to contemplate, 

 namely, that our musical education is carried on in a very one-sided and 

 superficial manner, and that the amount of money spent on it bears no 

 comparison to the results achieved. A correct and clear insight into 

 music can be obtained only by a correct and clear understanding of the 

 development of music. This understanding obtained, much that seems 

 obscure, even incomprehensible, will become elucidated. The spirit of 

 many works which were alien to us will appear in a new, clear light ; 

 much that seemed insignificant and uninteresting will become of great 

 importance. Unfortunately, this side of our musical education is very 

 much neglected, hence the prevalent ignorance upon matters of the 

 greatest importance. 



Mr. Sampson's exposition of the evolution of music was excellent 

 and very interesting, and of infinitely more value to those who wish 

 to understand something about music than the incessant thumping 

 and screeching to which our ears are treated daily. I regret that Mr. 

 Sampson did not deliver a cycle of lectures on his subject his one 

 lecture contains sufficient material for such a cycle for this would 

 have enabled him to make clear much that is still obscure to the 

 minds of some of his audience. Still, his effort must be greeted with 

 rejoicing. 



ME. WILLIAM POTTS : 



All we may say of the origin of music, as of language, seems to me 

 to be pure speculation. The growth of the power of perceiving sound 

 was so gradual that we can never get at its origin. The perception of 

 sound still varies greatly in individuals, some perceiving no difference 

 in tones an octave apart. In the development of the scale the science 

 has been loaded with a large amount of unnecessary material, espe- 

 cially so far as vocal music is concerned. We are buried under an 

 avalanche of notation. Music is not notation, but sound and the per- 

 ception of harmonic sounds. The Tonic Sol Fa system has for the 

 singer the advantage that it indicates a single thing by a single sign, 

 and does not perplex the mind with unnecessary complexities of no- 

 tation. 



MR. SAMPSON regretted that his time had been so limited that he 

 could not even allude to some of the most important branches of the 

 topic, such as the rise of the German chorale and Protestant church 

 music and psalmody, the great English school of composers, the pe- 



