This is by no means the first occasion of the introduction of the alto voice as a subject for a paper and discussion. In the eighth Session of the Proceedings of the Musical Association there appears an interesting and animated discussion of the use of this voice after a reading by Dr. W. H. Monk on church music. The late Dr. A. H. D. Prendergast wrote on Man's Alto in English Music for the International Musical Society in August, 1900. This paper is an attempt to show the use of the alto and counter-tenor voice from early times up to the present day.

It is my object in this paper to attempt to trace in outline the arrival and evolution of Western Music in South Africa from the earliest times to the present day. In the first place, however, I should like it to be clearly understood that I am giving this paper extempore. When I acceded to your Secretary's request that I should read a paper, I was in Devonshire; my books and records which are in South Africa were completely inaccessible, and so I had perforce to prepare my survey from memory.

In the years before the European War folk-music was an issue in English musical politics. That is to say, musicians debated how far the revival of interest in our own national melody, which was an undisputed fact, was really important for English musical life and, as a further corollary, for the whole art of music. The issue no longer burns. People like myself who have an intense personal love of folk-song think that the case for it has been established; those who do not include it among their musical enthusiasms point to the apparent general apathy and say, if not in so many words, at any rate with a movement of their shoulders: We always said the stuff was only fit for cranks. It is not my purpose to try to fan these dead embers, though I am going to rake over one old controversy in this paper. My aim is to offer to you as a jury representing the musical people of this country a survey of the present position of folk-song regarded both scientifically and artistically, and more particularly to present a balance sheet of the last dozen years' working in this department of national music.

The invasion of Electricity into the realms of Art. Greater scope for the musician's skill. Electrical self-expression in Autophonic music. Ways and Means. Duddell's “singing lamp” (1890). Electrical waves and Sound waves. Tone-frequency. The Sphærophon, Theremin or Aetherophon, and Electronde. With manual guides; the Martenot, Hellertion and Trautonium. Application of the keyboard; the Klaviatur-Sphærophon, Emicon, and Coupleux Organ. Electricity on an acoustical basis; the Orgatron, Baird and Puget Pipe Organs, the Neo-Bechstein Piano. Mechanical production; the Telharmonium, Magnetton, Hammond Organ, Wave Organ, Electrone, Superpiano, Phototone and Rangertone. Pros and Cons; and what of the Future?

The period we are to consider to-day—from the last of the Tudors to the first of the Georges—covers roughly some 200 years. During this time a large library of keyboard music was composed, much of it characteristic and beautiful, and still too little known and played. My endeavour this afternoon will be to stimulate a more active and practical interest in this repertoire, especially for purposes of practical use and performance.

If the submission of yet another study of this monumental work should stand in need of some apology, I must plead the encouragement offered by a remark entered against a famous name in the visitors' book of those who have been before me. “There is something from which one may take a lesson.” I shall hope to show in this paper that that was far truer than Mozart can have dreamed.