decided merit and individuality, and by being the composer of a symphony which attained greater and wider fame than any similar work since the symphonies of Tschaikovsky. Mr Edward German (b. 1862) won great success as a writer of incidental music for plays, and in various lighter forms of music, for which his great skill in orchestration and his knowledge of effect stand him in good stead. The quality of Mr Frederic Cliffe’s orchestral works is extremely high. Dr Arthur Somervell (b. 1863), who succeeded Stainer as musical adviser to the Board of Education, first came into prominence as a composer of a number of charming songs, notably a fine song-cycle from Tennyson’s Maud, but his Mass and various orchestral works and cantatas and pianoforte pieces show his conspicuous ability in other forms. Various compositions written by Mr Hamish MacCunn (b. 1868), while still a student at the Royal College of Music, were received with acclamation; but his later work was not of equal value, though his operas Jeanie Deans and Diarmid were successful. Mr Granville Bantock (b. 1868), an ardent supporter of the most advanced music, has written many fine things for orchestra, and Mr William Wallace (b. 1861), in various orchestral pieces played at the Crystal Palace and elsewhere, and in such things as his “Freebooter” songs, has shown strong individuality and imagination. Mr Arthur Hinton (b. 1869) has produced things of fanciful beauty and quaint originality. Miss Ethel M. Smyth, whose Mass was given at the Royal Albert Hall in most favourable conditions, had her opera Fantasio produced at Weimar and Carlsruhe, and Der Wald at Covent Garden. Miss Maud Valerie White’s graceful and expressive songs brought her compositions into wide popularity; and Mme Liza Lehmann made a new reputation by her cycles of songs after her retirement from the profession of a singer. The first part of Mr S. Coleridge-Taylor’s (b. 1875) Hiawatha scenes was performed while he was still a student at the Royal College, and so great was its popularity that the third part of the trilogy was commissioned for performance by the Royal Choral Society. Mr Cyril Scott is a composer who aims high, though with a somewhat strained originality. Dr H. Walford Davies (b. 1869) and W. Y. Hurlstone (1876–1906) excel in the serious kind of chamber-music and use the classic forms with notable skill; and Mr R. Vaughan Williams, in his songs and other works, has shown perhaps the most conspicuous talent among all of the younger school.
English executive musicians have never suffered from foreign competition in the same degree as English composers, and the success of such singers as Miss Anna Williams, Miss Macintyre, Miss Marie Brema, Miss Clara Butt, Miss Agnes Nicholls, Messrs Santley, Edward Lloyd, Ben Davies, Plunket Greene and Ffrangcon Davies; or of such pianists as Miss Fanny Davies and Mr Leonard Borwick, is but a continuance of the tradition of British excellence.
The scientific study of the music of the past has more and more decidedly taken its place as a branch of musical education; the learned writings of W. S. Rockstro (1823–1895), many of them made public first in the Encyclopaedia Britannica and Grove’s Dictionary of Music, made the subject clear to many who had been groping in the dark before; and the actual performance of old music has been undertaken not only by the Bach Choir, but by the Magpie Madrigal Society under Mr Lionel Benson’s able direction. In vocal and instrumental music alike the musical side of the International Exhibition of 1885 did excellent work in its historical concerts; and in that branch of archaeology which is concerned with the structure and restoration of old musical instruments, important work has been done by Mr A. J. Hipkins (1826–1903; so long connected with the firm of Broadwood), the Rev. F. W. Galpin, Arnold Dolmetsch and others. The formation of the Folk-Song Society in 1899 drew attention to the importance and extent of English traditional music, and did much to popularize it with singers of the present day.
Bibliography.—Among encyclopaedic dictionaries of music Sir George Grove’s Dictionary of Music and Musicians (1878–1889; new ed. by J. A. Fuller Maitland, 1904–1908), takes the first place among publications in English, while Robert Eitner’s (d. 1905) monumental Quellenlexikon (1900–1904), in German, is an authority of the first rank. Among other modern works of value on various accounts may be mentioned F. J. Fétis’s Biographie universelle des musiciens (2nd ed., 1860–1865; supplement by A. Pougin, 1878); G. Schilling’s Encyklopädie der gesammten musikalischen Wissenschaft (1835–1838); Mendel and Reissmann’s Musikalisches Conversations-lexikon (2nd ed., 1883); H. Riemann’s Musik-lexikon (5th ed., 1900; also an Eng. trans., with additions, by J. S. Shedlock); the American Cyclopaedia of Music and Musicians (1889–1891); and the Oxford History of Music (1901–1905). The literature of music generally is enormous, but the following selected list of works on various aspects may be useful:—
Aesthetics, Theory, &c.—H. Ehrlich, Die Musik-Aesthetik in ihrer Entwickelung von Kant bis auf die Gegenwart (Leipzig, 1882); E. Hanslick, The Beautiful in Music (London, 1891); R. Wallaschek, Aesthetik der Tonkunst (Stuttgart, 1886); R. Pohl, Die Höhenzüge der musikalischen Entwickelung (Leipzig, 1888); A. Schnez, Die Geheimnisse der Tonkunst (Stuttgart, 1891); J. A. Zahm, Sound and Music (Chicago, 1892); C. Bellaique, Psychologie musicale (Paris, 1893); W. Pole, Philosophy of Music (vol. xi. of the English and Foreign Philosophical Library, 1895); M. Seybel, Schopenhauers Metaphysik der Musik (Leipzig, 1895); L. Lacombe, Philosophie et musique (Paris, 1896); Sir C. H. H. Parry, The Evolution of the Art of Music (London, 1897); H. Riemann, Präludien und Studien (Frankfort, 1896); Geschichte der Musiktheorie im IX.–XIX. Jahrhundert (Leipzig, 1898); Systematische Modulationslehre (Hamburg, 1887); J. C. Lobe, Lehrbuch der musikalischen Komposition (Leipzig, 1884); A. B. Marx, Die Lehre von der musikalischen Komposition (Leipzig, 1887, 1890); M. L. C. Cherubini, Theorie des Kontrapunktes und der Fuge (Cologne, 1896); Sir J. F. Bridge and F. J. Sawyer, A Course of Harmony (London, 1899); E. Prout, Counterpoint (London, 1890); Double Counterpoint and Canon (London, 1893); Musical Form (London, 1893); Applied Forms (London, 1895); B. Widmann, Die strengen Formen der Musik (Leipzig, 1882); S. Jadassohn, Die Formen in den Werken der Tonkunst (Leipzig, 1885); M. Steinitzer, Psychologische Wirkungen der musikalischen Formen (Munich, 1885); J. Combarieu, Théorie du rhythme dans la composition moderne d’après la doctrine antique (Paris, 1897); P. Goetschius, Homophonic Forms of Musical Composition (New York, 1898); William Wallace, The Threshold of Music (1907).
English Music.—W. Nagel, Geschichte der Musik in England (Strassburg, 1894); H. Davey, History of English Music (London, 1895); F. J. Crowest, The Story of British Music (London, 1896); S. Vautyn, L’Évolution de la musique en Angleterre (Brussels, 1900); Ernest Walker, English Music (1907).
America.—W. S. B. Mathews, A Hundred Years of Music in America (Chicago, 1889); L. C. Elson, The National Music of America and its Sources (Boston, 1900); T. Baker, Über die Musik der nord-amerikanischen Wilden (Leipzig, 1882).
France.—H. Laroix, La Musique française (Paris, 1891); N. M. Schletterer, Studien zur Geschichte der französischen Musik (Berlin, 1884–1885); T. Galino, La Musique française au moyen âge (Leipzig, 1890); A. Cognard, De la Musique en France depuis Rameau (Paris, 1891); G. Servières, La Musique française moderne (Paris, 1897).
Germany.—W. Baeumker, Geschichte der Tonkunst in Deutschland bis zur Reformation (Freiburg, 1881); O. Ebben, Der volksthümliche deutsche Männergesang (Tübingen, 1887); L. Meinardus, Die deutsche Tonkunst; A. Soubies, Histoire de la musique allemande (Paris, 1896).
Italy.—O. Chilesotti, I nostri maestri del passato (Milan, 1882); V. Lee, Il Settecento in Italia (Milan, 1881); G. Masutto, I Maestri di musica italiani del secolo XIX. (Venice, 1882).
Russia.—A. Soubies, Histoire de la musique en Russie (Paris, 1898).
Scandinavia.—A. Grönvoed, Norske Musikere (Christiania, 1883); C. Valentin, Studien über die schwedischen Volksmelodien (Leipzig, 1885).
Spain.—J. F. Riaño, Notes on Early Spanish Music (London, 1887); J. Tort y Daniel, Noticia musical del “Lied” ó Canço catalana (Barcelona, 1892); A. Soubies, Hist. de la mus. en Espagne (1899).
Switzerland.—A. Niggli, La Musique dans la Suisse allemande (1900); F. Held, La Musique dans la Suisse romande (1900); A. Soubies, Hist. de la mus. dans la Suisse (1899).
Church Music.—F. L. Humphreys, The Evolution of Church Music (New York, 1898); E. L. Taunton, History of Church Music (London, 1887); A. Morsch, Der italienische Kirchengesang bis Palestrina (Berlin, 1887); G. Masutto, Della Musica sacra in Italia, (Venice, 1889); G. Félix, Palestrina et la musique sacrée (Bruges, 1895); R. v. Liliencron, Liturgisch-musikalische Geschichte der evangelischen Gottesdienste (Schleswig, 1893).
Instruments (see also the separate articles on each).—L. Arrigoni, Organografia ossia descrizione degli instrumenti musicali antichi (Milan, 1881); F. Boudoin, La Musique historique (Paris, 1886); A. Jacquot, Étude de l’art instrumental. Dictionnaire des instruments de musique (Paris, 1886); H. Boddington, Catalogue of Musical Instruments illustrative of the History of the Pianoforte (Manchester 1888); M. E. Brown, Musical Instruments and their Homes (New York, 1888); A. J. Hipkins, Musical Instruments: Historic, Rare and Unique (Edinburgh, 1888); W. Lynd, Account of Ancient Musical Instruments and their Development (London, 1897); J. Weiss, Die musikalischen Instrumente in den heiligen Schriften des Alten Testaments (Graz, 1895); E. Travers, Les Instruments de musique au xivᵉ. siècle (Paris, 1882); E. A. v. Hasselt, L’Anatomie des instruments de musique (Brussels, 1899); E. W. Verney, Siamese Musical Instruments (London, 1888); C. R. Day, Music and Musical Instruments of Southern India (London, 1891); D. G. Brinton Native American Stringed Musical Instruments (1897); J. Ruehlmann, Die Geschichte der Bogeninstrumente (Brunswick, 1882) F. di Caffarelli, Gli Strumenti ad arco e la musica da camera (Milan 1894); Kathleen Schlesinger, Instruments of the Orchestra (1910).
Conducting.—W. R. Wagner, On Conducting (London, 1887); M. Kufferath, L’Art de diriger l’orchestre (Paris, 1891); F. Weingartner, Über das Dirigiren (Berlin, 1896).
Biography.—F. Hueffer, The Great Musicians (London, 1881–1884); F. Clément, Les Grands musiciens (Paris, 1882); C. E. Bourne, The Great Composers (London, 1887); G. T. Ferris, Great Musical Composers; Sir C. H. H. Parry, Studies of Great Composers (London, 1887); A. A. Ernouf, Compositeurs célèbres (Paris, 1888); F. J. Bennassi-Desplantes, Les Musiciens célèbres (Limoges, 1889); A. Haunedruche, Les Musiciens et compositeurs français (Paris,
1890); N. H. Dole, A Score of Famous Composers (New York,