out of this the higher forms of music we now know. Whether or not the popular dances in use during recent centuries had arisen de novo, or whether, as seems more probable, they had descended with modifications from the early dance-chants used in pagan worship, inquiry discloses the remarkable fact that out of them have grown the great orchestral works of modern days. The suites de pièces of Bach and Handel were originally sets of dances in different times; and these have developed into the successive movements of the symphony, which even now, in the occasional movement named "minuet," yields a trace of its origin. And then, along with these developments of music, has taken place one further differentiation—that of composer from performer. Though some performers are also composers, yet in large measure the composer has become an independent artist who does not himself, unless as conductor, take part in public entertainments.
In this case, as in other cases, the general process of evolution is exemplified by the integration which has accompanied differentiation. Evidence furnished by ancient civilizations must be postponed to the next chapter as more closely appertaining to it. Here we may content ourselves with indicating the illustrative facts which modern days furnish.
Beyond the unorganized body of professed musical performers and beyond the little-organized body of professors and teachers of music, there is the assemblage of those who, having passed examinations and acquired degrees in music, are marked off more distinctly: we see the increased definiteness which accompanies integration. There are also the multitudinous local musical societies; the local musical festivals with their governing organizations; and the several incorporated colleges, with their students, professional staffs, and directors.
Then as serving to unite these variously-constituted groups of those who make the musical art a profession, and of those who give themselves to the practice of it as amateurs, we have a periodical literature—sundry musical journals devoted to reports and criticisms of concerts, operas, oratorios, and serving to aid musical culture while they maintain the interests of the teachers and performers.
