command of the nerves and muscles. They who profit by it will best
understand the varied nuances of intonation, expression and coloring of
which music is capable, and will learn how to make a musical instrument
sing. Likewise vocalists should familiarize themselves with other
domains of their art, and should be able to handle some instrument, more
especially the piano or organ, that they may be brought into intimate
relations with the harmonic structure of music.

To make music study most effective the scientific methods of other
departments of learning must be applied to it. For the supreme good of
both art and science need to be brought into close fellowship. Art is
the child of feeling and imagination; science the child of reason. Art
requires the illumination of science; science the insight of art. Music
combines within itself the qualities of art and science. As a science it
is a well-ordered system of laws, and cannot be comprehended without
knowledge of these. As an art, it is its business to awaken a mood, to
express a sentiment; it is knowledge made efficient by skill--thought,
effect, taste and feeling brought into active exercise.

No art, no science, affords opportunity for more magnificent mental
discipline than music. Moreover, a careful, earnest study of the art
furnishes a stimulus to activity in other fruitful fields. Although
subordinate to life and character it contributes freely to these, and
its best results come from life that is exceeding rich, and character
that is strong, true and enlightened through broad, general culture. The
musical education that educates develops something more than mere
players and singers; it develops thinking, feeling musicians, in whom
large personalities may be recognized.

Stephen A. Emory of Boston, whose studies in harmony are widely used,