and dynamics and clang-tints of this music in mind, will permit his inspiration to run riot, it will be quite unnecessary for him to quote or to pour his thought into the mould of the symphony or the string quartet or any other defunct form. The idea, manifestly based though it may be on the work of Irving Berlin and Louis Hirsch, will express itself in some new way. Percy Aldridge Grainger, Igor Stravinsky, Erik Satie are all working along these lines, to express modernity in tone, allowing the forms to create themselves, but, alas, none of these men is an American.
Americans are inclined to look everywhere but under their noses for art. It never occurs to them that any object which has any relation with their every-day life has anything to do with beauty. Probably the Athenians behaved in a similar fashion. When some stranger admired the classic pile on the Acropolis, the Greeks, it is safe to guess, turned up their noses with the scornful remark, "O, that old thing! That's the Parthenon; it's been there for ages." It will be remembered that Mytyl and Tyltyl, in. The Bluebird, spent considerable time and covered a good deal of ground in their search for that rare or-
beautiful tonal effects that have been invented by jazz bands. To my mind, indeed, this composition (I have heard it four times) is the best serious work yet created by an American musician, and, aside from its form, it is, indubitably, thoroughly American. It is now available on a phonograph record.
