Chapter I: Front Matter

_From the painting by Manet—in the Louvre, Paris._

_The Fifer._
]

HOW MUSIC GREW
FROM PREHISTORIC TIMES TO THE PRESENT DAY

BY

MARION BAUER & ETHEL PEYSER

WITH AN INTRODUCTION BY
WILLIAM J. HENDERSON

_With 64 Illustrations_

G. P. PUTNAM’S SONS
NEW YORK :: LONDON

Copyright, 1925
by
Marion Bauer and Ethel Peyser

Tenth Impression

All rights reserved. This book, or parts thereof, must not be reproduced
in any form without permission.

Made in the United States of America

TO OUR YOUNG FRIENDS

FROM

NINE TO NINETY

THIS BOOK IS AFFECTIONATELY OFFERED

“It takes three to make music: one to create, one to perform, one to
appreciate. And who can tell which is the most important?”

ROBERT HAVEN SCHAUFFLER, from
_The Creative Listener_ (a revision) in
_The Musical Amateur_.

THE AUTHORS’ GREETINGS

DEAR YOUNG READERS FROM NINE TO NINETY:

In writing this book we have not tried to write a history but rather have attempted to follow a lane parallel to the road along which music has marched down to us through the ages.

For this reason you will find what may seem upon first glance peculiar omissions, but which to us were prayerfully and carefully relinquished, lest the book become an encyclopedia and lest our kind publisher look upon us ungraciously and our readers despair.

Among the omissions which may be regarded as serious is a chapter on the singers, those who have delighted and thrilled the public through the years, but the nature of this book, in the minds of its authors, precludes details of the executive side of music, adhering as closely as possible to the actual creators.

In our experience every history of music, and we have read scores of them, leaves out many things, so our “lane” touches things in passing, only, owing to mechanical as well as willful reasons.

On the other hand we have enlarged greatly on many topics. This we have done when we have considered a subject particularly picturesque in order to attract and stimulate the novice reading about music, perhaps, for the first time!

Lastly we have tried to explain as simply as possible, without becoming infantile, the varying steps in Music’s growth. Therefore, the book has assumed larger proportions than if we had been able to use scientific terms and cut the Gordian knot of explanation with one swiftly aimed blow, rather than three or four.

So, with the sincere hope that our book will help you to love music better, because you will have seen its struggle with politics, religion and its critics, we leave you to read it—from cover to cover—we hope!

MARION BAUER AND ETHEL PEYSER.

PARIS AND
NEW YORK CITY

ACKNOWLEDGMENTS

Our book has had friends other than its authors. It has, in fact, had makers as well as authors, so it cannot go out into the world without proclaiming its “thank-yous.” First it would thank Flora Bernstein, its indefatigable and patient typist, editor and general adviser, who worked night and day for many moons; second, it must thank Dorothy Lawton of the Music Library of the City of New York for her graceful but poignant criticism, and third it must thank Grace Bliss Stewart, who did some research and anything needed.

_How Music Grew_
and the
AUTHORS.