These Introductions, Directions, or Principles, as they were variously styled, contain what we should now term the Rudiments of Music, or at all events, as much of them as is needed for those who wish to sing a simple melody. They have an interest peculiarly their own, as illustrating the efforts made by the pioneers of congregational psalmody to secure an intelligent, as well as a general participation in its rendering.

In commencing a paper the writer frequently feels it a duty to begin with an apology for introducing such a subject. In the present case I feel that no apology whatever is needed, for to those interested in the teaching of music, the training of the ear of their pupils is a subject which is rapidly becoming one of the greatest importance. It is still in its infancy, but to the large number of conscientious teachers it is presenting itself with an ever-increasing force. We have been at great pains in England to secure that the rudiments of music shall be taught intelligently to the young pupil. Every scheme of examination in practical, as well as in theoretical, music has insisted on all candidates properly understanding the basis of the art. How greatly the musical perception and intelligence of the average pupil has improved by this means, anyone may see who will but compare a musical schoolgirl of twenty years ago with one of to-day.

It may seem impossible, in these times of musical progress and emulation, that a family of instruments possessing unusual musical attributes should be in vogue in a large portion of Europe and yet be unknown to musicians generally. Nevertheless, such is the fact. Outside Russia the peculiar charm of the balalaïka (pronounced bàl-a-like-ka) is unknown. In our standard works on orchestration it is not mentioned, although its claims for association with the modern orchestra for special effects are as great as those of the mandoline, guitar, saxophone, surrusophone, or ophicleide.

Before touching on the musical side of my paper it may be well to point out that the population of Belgium is divided into two sections; the Flemings of Teutonic origin speaking a language which is practically Dutch, and the Walloons, of Celtic origin, speaking French and Walloon. The latter occupy the S.W. provinces of Liège, Namur, Hainault, S. Brabant, and W. Luxembourg, and speak a Romance dialect, very akin to northern French of the thirteenth century. Roughly speaking, the Flemish dialect predominates in the proportion of nine to eight, so that it cannot be said that there is much difference between the two populations in point of numbers. But the two races are quite distinct, as much so as Welch and English, and for the same ethnical reasons. The very word Walloon has the same signification as the word Welch, both meaning foreigner. Neither Fleming nor Walloon belies his origin. The former is fair, phlegmatic, and inclining more to the reflective than the active life. The latter is dark, sanguine, lively and energetic. The Walloons were always to the fore in revolutionary struggles, especially those which culminated in the overthrow of the Dutch in 1830. But they were already very unruly as far back as the fifteenth century, as you may learn in a very pleasant way from the pages of Scott's novel, “Quentin Durward,” or from Michelet's “Louis XI.”

Two of the most old-fashioned towns to be found in Europe are Nuremberg and Chester, and comparisons between them are often made and similarities and coincidences pointed out. It is a remarkable fact that the only sets of Recorders now known to exist are to be found in those two cities. In the year 1886, the Chester Archaeological Society moved into new quarters in the freshly built central “Grosvenor” Museum. Amongst the lumber from its old rooms was a peculiarly shaped box (which crumbled to pieces almost immediately) and in it the Secretary found what he thought to be “an ancient bassoon.” On viewing the remains, what was my delight to find that the Society was the possessor of a rare set of ancient Flutes-a-Bec, or Recorders.

The object of the short paper which I have promised to read to-night is to consider certain opinions upon “Music, and its importance in Education” found in the autobiography of a famous seventeenth-century dilettante, the Hon. Roger North. It will, I hope, interest you to hear what has been written upon this subject by a clever and acute observer over 200 years ago, particularly upon the subject of “Music in the home,” and as a factor in “Education.” It is, no doubt, of the utmost importance that the young should be encouraged to study music, and that, through them, the music of the home should be influenced in the right direction. Who can estimate the value of music in the family circle? You will hear in the course of my address how much this old seventeenth-century amateur, Roger North, thought of home music. Let me remind you of what Shakespeare thought of it. I quote from one of his sonnets:—

If some apology is required from an amateur for offering some remarks on this subject to an audience partly, at least, composed of professional musicians, I may say that perhaps few persons can have given more time and thought to this particular subject than I have. For a good many years of my life the study and practice of Bach's organ compositions was my principal recreation, especially with the view of getting all the effect from them for which a modern organ affords the opportunity; and there are none of the larger and more important compositions which I have not tried over and over again, in various ways, with this object. The suggestions I have to make, therefore, are at all events not hastily arrived at.

I have been asked to add further details of my observations of musicians' ears, together with some of the statistics I have gathered. It will be best to place these details first, as an introduction to this new subject.

Mr. Chairman, Ladies and Gentlemen,—Before I begin my paper, I wish to say how highly I value the privilege of putting my ideas before you on this occasion. As regards my subject, I might say that I have given it a good deal of thought for a long time past, and it is one which I should probably not have worked out but for the kindly encouragement at the outset of your late lamented President, Sir John Stainer. I may also say that your esteemed Secretary took me by surprise some ten or twelve days ago by asking me if I were prepared to come forward at this time. I was not altogether prepared, but I shall endeavour to do my best.