bass was an art which did much to discipline the mind of the player. Some English Cathedral organists of the present day still practice it and it is said that their accompaniments from the old figured bass scores in the libraries of their music rooms are often far more beautiful than the accompaniments printed out in modern scores. Sir John Goss and James Turle were especially adept at this. Playing from figured bass should be a part of every course in Harmony. It affords a kind of drill in improvisation that cannot be secured in any other way. This is said in spite of the fact that much of the best harmony teaching of the present day is often accomplished without recourse to the figured bass. The Rhythmic Brain WHA T is it which makes one melody "catch" and another melt away like April snowflakes? Surely it is not merely the variation in pitch. We" have an idea that the brain retains rhythmic impressions far more readily than pitch impressions. Children pick up and remember the beat of a drum before they notice and remember tunes. The wild, helter-skelter of rhythms that rag time and "jazz" have tumbled into our lives may be a reflection of the times. That the brain thinks rhythmically is indicated by the ease with which we remember jingles. It accounts for our habit of saying "Thirty days hath September, April, June and November," in order to remember a very simple fact. The writer has found from experiment that in learning foreign languages the rhythm of poetry is an aid in achieving fluency. This is espe-cially true in Italian, where the swing of verse promotes that rapidity of vocal action so necessary to smooth enunciation. Likewise in music. New rhythms strongly marked lead to a rapid advance in technical study. Taussig knew this, Mason knew this, Ivullak knew this, and Joseffy knew this. They all taught it religiously. Philipp has written whole books on the principle. Like a splendid current, rhythm carries along the slow student as if by some overwhelming force. The dif-ferent patterns offer the student endless variety in his technical work. Unprofitable Publication A SOCIETY, known as "The Society for the Publication of American Music," has been organized to bring out music that is fra* kly unprofitable from the commercial standpoint. Very few c< nposers realize that the business of the publisher is, first of all, to exist as a business institution, and that in order to do this it is necessary to have the income exceed the expenditure. This may be done with very cheap, trashy music, and again it may be done with very high-class music. The great firms of Peters, Novello, Enoch, Breitkopf and Hartel, Ricordi and others in Europe have developed into businesses quite as sub-stantial as that of any steel-monger or any bridge builder. Indeed, the longevity of a well-established, well-conducted music business, publishing high-class music such as the fore-going, is often very astonishing. But on the volume of business there must always be a margin of profit, otherwise the business, with all of its employees, copyrights, investments, to say noth-ing of its service to its customers, would come to an end. A publishing house might now and then publish a few unprofitable works, but if it publishes too many it will go down with these works like the drowning man with a millstone around his neck. There are certain forms of art works which appeal to so few people that the publisher hardly dares hazard their publi-cation. This, in America, applies to symphonies and to cham-ber music. The publication of a symphony or of a string quartet is expensive—often very expensive. The returns are likely to be so small that they are almost negligible. "The Society for the Publication of American Music," organized and supported by a group of enthusiastic musicians, of whom William Burnet Tuthill has been the indispensable, self-sacrific-ing leader, proposes to publish a limited number of works that the average publisher would be afraid to put out. The plan is to issue these to the members virtually on the subscription basis —membership entitling the member to just so many issues. Professor Daniel Gregory Mason, of Columbia University, is actively interested in the movement, which he is convinced is most important in the artistic progress of America. A non-money making, altruistic effort to give prominence to the works of American men and women who aspire to lofty aims is deserv-ing of a large membership among real music lovers. Free Band Instruction OUR Army, in its commendable efforts to improve the music of our bands, makes very alluring offers to young men to enter the service. Captain Arthur Clappe, who has charge of the Government Army Music School on Governor's Island (that picturesque little overture to New York City, located in the harbor just across from the Statue of Liberty), estimates that the value of the board, room and education of the music student in the Band School is at least $2,400.00 in the Gov-ernment School. Meanwhile, if the student is a sergeant, for instance, he is paid $1,056.00 as a bandsman. Thus, instead of paying for his training in playing any of the band instru-ments he actually receives a value of about $3,456. The op-portunities for wind-instrument players in and out of the army are likely to be very great for years to come. Perhaps this editorial may reach the eyes of some student who is just now wondering how under the sun he is going to get a start in music without means! If so, write to Captain Clappe, who is known as one of the best band instructors in the country. The instructors in the school are of very high standard. During the war even so great a light as Percy Grainger taught in this Army Conservatory. Slow Justice SLOWLY, the incomes of teachers are going up in different parts of the country. The Literary Digest has been conduct-ing a splendid campaign in its columns and through moving pictures must have made a fine impression upon the public. Large cities like Philadelphia have made commendable raises, but on the whole the teacher is far from receiving a reward commensurate with the all-important service he renders to the State. How long will we Americans be stupid enough to pay high wages to the builders of buildings and neglect almost entirely the builders of the Nation of to-morrow. There is an honorable estate in the work of the teacher, but honor is too cheaply bestowed. It is reported that the salary of a professor at the Paris Conservatory is only $480.00 a year. Consequently all of the teachers depend upon outside incomes from private pupils, etc. How can the Conservatory expect the best in a man with such a ridiculous wage ? Courses in Community Music WAR-BORN, Community Music has come into a very healthy growth and it is fine to see that colleges and groups all over the country are establishing courses to help teach others how to carry the great message of music to the people. The courses given by Community Service in New York under Kenneth Clarke (whose work during the war in camps here and abroad is only equaled by his more recent work in Americanization) are, per-haps, the best known in the country. Universities in the South are joining in the movement in fine manner. Mr. Paul J. Weaver, Director of Music at the University of North Carolina, has been preparing for a plan of propaganda through the South by means of lectures and demonstrations. Mr. Weaver is a finely equipped musician who will unquestionably do much to awaken every community he visits to the higher forces which only music can liberate. Let there be many like him and like his teacher, Prof. P. W. Dykema, of the University of Wiscon-sin. America will be better for such pioneers of constructive singing.
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