Scan 25
The American History and Encyclopedia of Music, 1910
8 lines. Read by computer on 10 September 2026. Printed page 5. See the scan on archive.org.
1tells us "How to Appreciate Music." As a critic, reviewer, editor, author and universal musical savant, he occupies a unique and exalted position among our contemporaries. In connection with his contribution we have a complete exposition of "The Theory of Music," by George C. Gow, who fills the chair of music at Vassar College with distinction, and never before has this theme been so rationally presented. Mr. Gow's article will rob theoretical study in future of many of its fancied terrors. Clarence Dickinson, who made name and fame for himself in the West, who has found flattering recognition in New York, and whose success in choral work fits him eminently for the task, favors us with a full discussion of choir music and choir leading, fairly teeming with serviceable knowledge.
3The important field of Violin Music is most ably covered by Theodore Spiering, one of Joachim's best pupils, a virtuoso of first rank, gifted composer and forceful thinker, and that grand veteran, Bernhard Listemann, the friend and associate of Vieuxtemps, who has excelled in every phase of his noble art in a long and honorable career. The instructive character of their articles and the graded course of material through the entire realm of violin literature are of special importance.
5In connection with this department Mr. Franz Kneisel's ample editorial on the String Quartet is most welcome. The Kneisel Quartet enjoys world-wide celebrity and its presiding genius has here laid down for us the most pregnant facts relating to the most intimate and delightful specialty of music, for which the greatest masters loved to pen their choicest inspirations. Mr. Kneisel's valuable contribution possesses a special interest for the cognoscenti.
7I have been signally honored in my department—the piano—by the collaboration of Edward M. Bowman and Carl Faelten. The former, closely associated with Weitzmann of Berlin and William Mason, is peculiarly fitted to write of advanced Piano Work, and Carl Faelten, himself an artist "hors de concours" whose successful investigations in Pri-
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