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"BRINGING MUSIC TO THE NATION:" SOME
RECIPES BY FREDERICK A. STOCK: CON-
DUCTOR OF THE CHICAGO SYMPHONY
ORCHESTRA
ST was a genius of no less distinction than Ignace J.
             Paderewski who, speaking of Theodore Thomas, said
             that "it was Thomas who brought music to a great
             nation, and thus brought a great nation to music."
             We know that as yet America is not a finished nation,
lbut we also know that one of these days she will out-
             grow the "melting pot" state and weld all her com-
posite forces into one big unit of commanding strength and power.
Not until then will the merits of Theodore Thomas as a pioneer and
pathfinder in the art of music for this country be fully recognized
and appreciated. It is from this angle that we must study the evolu-
tion of all the arts in this country, and especially the art of music.
In the meantime, we are convinced that from one season to another,
year in and year out, more music of the highest type will be brought
and produced in this country, and that nothing could speak more
eloquently for the growth of appreciation and understanding of really
great music than the increasing number of symphony orchestras.
   This growth of appreciation, mingled with a sincere desire for
thorough musical knowledge, received a genuine impetus some ten
or fifteen years ago when, in addition to the few symphony orchestras
already established in some of the larger cities, smaller communities
began to organize symphony orchestras. All of these, supported by
far-seeing and public-spirited citizens, have done wonders for the
cultivation of good music throughout the country, ensuring a high
standard of appreciation and enthusiasm for even the most serious
musical works of art.
    Symphony orchestras, opera, chamber music organizations, sing-
 ing societies, music clubs, etc., all are contributing their full share
to
 the musical cultivation of our people. And we must not omit the
 great number of very fine schools of music throughout the country,
 which are the best proof that the interest in music as a professional
 endeavor is growing, in spite of the belief of a great many over-anxious
 souls that the player pianos, the pianolas, the player organs and pho-
 nographs will eventually undermine our musical aspirants.
    While one cannot help regarding with commanding censure the
 altogether too successful efforts of those seeking to substitute "canned
 music" for the real live article, one must also admit that the adjunc-
 tive value of "canned music" cannot be overestimated. In fact,
it
 is only to be regretted that as a recorder of deeds musical, the canning
 process in music could not have been known hundreds of years ago
 in the days of the classical masters.
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