conception of what "entertainment" means--The capacity properly to
listen to music as a touchstone of musical talent--It is rarely found
in popular concert-rooms--Travellers who do not see and listeners who
do not hear--Music is of all the arts that which is practised most and
thought about least--Popular ignorance of the art caused by the lack
of an object for comparison--How simple terms are confounded by
literary men--Blunders by Tennyson, Lamb, Coleridge, Mrs. Harriet
Beecher Stowe, F. Hopkinson Smith, Brander Matthews, and others--A
warning against pedants and rhapsodists. _Page 3_


[Sidenote: CHAP. II.]

_Recognition of Musical Elements_

The dual nature of music--Sense-perception, fancy, and
imagination--Recognition of Design as Form in its primary stages--The
crude materials of music--The co-ordination of tones--Rudimentary
analysis of Form--Comparison, as in other arts, not
possible--Recognition of the fundamental elements--Melody, Harmony,
and Rhythm--The value of memory--The need of an
intermediary--Familiar music best liked--Interrelation of the
elements--Repetition the fundamental principle of Form--Motives,
Phrases, and Periods--A Creole folk-tune analyzed--Repetition at the
base of poetic forms--Refrain and Parallelism--Key-relationship as a
bond of union--Symphonic unity illustrated in examples from
Beethoven--The C minor symphony and "Appassionata" sonata--The
Concerto in G major--The Seventh and Ninth symphonies. _Page 15_