Publisher's Synopsis
From the PREFACE.
A FAIRLY comprehensive and orderly understanding of the history of his art is of great importance to a musician, both for the light it throws upon every department of practical work, for the widening of his artistic sympathies, and for the service that a national study of history of any kind is capable of rendering to a man's mind and judgment.
History is generally supposed to be based on facts; but in all branches, whether political, social, or artistic, there are a great many things which pass for facts which are very far from trustworthy, and a great many which, even if they were trustworthy, would be of very little importance.
The personal details of the lives of men who played conspicuous parts in the story of art are of but little importance except in so far as they throw light upon their style or method, or the line of art which they chose; and on the consequent direction of the progress of art under their influence. Even dates are only of importance to verify strictly the temporal relations in which the facts and the men stood to one another; and to save people from such misconceptions as calling a result the antecedent of its cause, or, inverting the order of master and disciple.
The facts which are of chief importance to a musician are the facts of the art itself; and in that respect the history of an art is fortunate, for the artistic products themselves are facts, about the existence of which there can be no manner of doubt. The inferences which they suggest may vary with different people in accordance with their artistic dispositions and preconceptions; but though the conclusions men draw about art are sometimes as disheartening as they are about every other department of human life, it is at least better to face substantial facts, on the chance of understanding them, than to build up a shadowy and unsubstantial scheme of the principles of musical development which has not even the merit of being a conscientious misconception.....
