Modern music has been compelled to be the architect of its own
fortunes. It is the one new art of our era, and, as the youngest in the
family of arts, it has but recently reached a high state of development.
During those eleven Christian centuries, from the latter part of the
fourth century, when the corner-stone for our musical system was laid,
until the wonderful exploration period of the fifteenth was well
advanced, the masters of music were absorbed in controlling the elements
of their art. Since then event has crowded upon event with rapidly
increasing ratio. During the past two centuries the progress of the art
has been like a tale in fairyland. We now possess a magnificent musical
vocabulary, a splendid musical literature, yet so accustomed are we to
grand treasure-troves we perhaps prize them no more than the meagre
stores of the past were prized.
Music is often mentioned in literature as a means of discipline,
inspiration and refreshment. We read in Homer that Achilles was
instructed in the art that he might learn to moderate his passions;
Pythagoras, father of Musical Science, counseled his disciples to
refresh themselves at the fount of music before retiring to their
couches at night in order to restore the inner harmony of their souls,
and to seek strength in the morning from the same source.
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