(Note.—The line of approach to the appraisement of contemporary music which it is the purpose of this essay to suggest is one which in its argument must necessarily depend on precise musical illustrations. These illustrations cannot be given in terms other than those of the sound-impressions themselves. Extended quotations in music-type might in some measure supply this deficiency, but the analysis which it is possible to demonstrate aurally would further require a very elaborate technical description in words. I hope that my point of view will be clear in its outline, in spite of the fact that most of the detailed examples played and discussed during the delivery of this paper are here omitted.)