[We invite all men in the University to submit communications on subjects of timely interest.]

To the Editors of the CRIMSON:

May I use your columns to call the attention of the students to a musical project which in the opinion of its promoters is of considerable import. The details of the undertaking cannot be set forth better than by quoting from the prospectus which is called "A Proposal for Music in American Colleges."

"The American business or professional man, even though he have a college degree, is often without education in classical and modern music. When he has artistic interest, it is usually in the more tangible and available arts of Painting, Sculpture, Literature, and Architecture.

"Music, the universal art, is apt to come to him in its more frivolous and vulgar form, so that the regards it only as a light diversion. The exceptions to this class, men who, by fortunate environment, have experience of the best music as listeners and performers, realize that they have an invaluable resource and a quickened sense of beauty; that if such opportunity could be extended, in some degree, to the average college man, he would also gain a higher appreciation of the dignity of the art, and a considerable addition to the sum of his cultivation.

"But many men cannot profit by such opportunity after their school and college days. Only at the impressionable age can their interest be aroused, and a love of music implanted.

"Several American universities have flourishing departments of music for the technical training of students who are specially interested; but few give a systematic exposition of the aesthetics as a necessary supplement to this theoretical work, from which also the general body of undergraduates can profit.

"An intelligent appreciation of music should not be confined to the few who are able to perform, but should be acquired by all who have a normal, though latent, sense of musical beauty. This may be done by listening to performances of master-works accompanied by comment on the form and character of the composition, with such repetition of parts as will give a clear impression of the whole.

"As an aid to the cultivation of the American college student, it is proposed:

"(1) That a uniform series of eight monthly expositions of classical and modern chamber music be given in eastern universities and colleges in the academic year of 1907-08 by Mr. Arthur Whiting, who will be assisted in some of the performances by suitable artists.

"(2) That heads of music departments, or other representatives of colleges, in which these expositions are given, shall act as an advisory committee with Mr. Whiting.

"(3) That a sum of money be contributed by individuals for the necessary expenses; subscriptions being for the general fund or for single colleges as designated.

"Treasurer, Mr. Charles O. Brewster '79, 26 Liberty Street, New York City.

"Communications for further details may be addressed to Mr. Walter R. Spalding, 5 Berkeley Place, Cambridge, Mass.

"(Signed)

"William P. Bigelow, M.A., Professor of Music, Amherst College.

"Hugh A. Clarke, Mus. D., Professor of Music, University of Pennsylvania.

"Frederick S. Converse, A.B., Formerly Asst. Professor of Music, Harvard University.

"Hollis E. Dann, Professor of Music, Cornell University.

Horatio Parker, M.A., Mus. D. Cantab., Dean of the Department of Music, Yale University.

"Sumner Salter, Director of Music, Williams College.

"Rudolph E. Schirmer, Class of '80, Princeton University.

"Walter R. Spalding, A.M., Asst. Professor of Music, Harvard University."

The first of this series will be given in the Lecture Hall of the Fogg Art Museum on Tuesday evening, October 29, at 8 o'clock. The series is open only to students and officers of the University. The public will not be admitted. The first program cited herewith will be rendered by Mr. Arthur Whiting and Mrs. Edith Chapman Goold.

PROGRAM 1.

Voice and Planoforte.

SIXTEENTH AND SEVENTEENTH CENTURIES.

Orlando di Lassus--Mon coeur se recommande a vous.

Unknown--La Romanesca.

--Les trois princesses.

Unknown--Barbara Allen.

Come, lasses and lads.

O willow, willow.

Purcell--Nymphs and shepherds.

EIGHTEENTH CENTURY.

Bach--Willst du dein Herz mir schenken.

Handel--Recitative and Aria, "Ombra mai fu," from the opera Xerxes.

Haydn--My mother bids me bind my hair.

Mozart--Das Veilchen.

NINETEENTH CENTURY.

Schubert--Die Forelle.

Die junge Nonne.

Auf dem Wasser zu singen.

Schumann--Mondnacht.

Fruhlingsnacht.

Grieg--Solvejg's song.

Hope.

Bizet--Pastorale.

Faure--Automne.

Clair de lune (Menuet).

Godard--Embarquez-vous.

As many alumni who are interested in the development of music at Harvard have subscribed very generously to the undertaking, it is hoped that the students will do their part by showing a warm and active interest, and will not fail to take advantage of this noteworthy opportunity for becoming acquainted with masterpieces of musical literature. W. R. SPALDING