by the encroaching idea of A flat or A sharp. Perhaps the limit of tone identification lies close to the quarter tone division of semitones; but even at the quarter tone limit the influence of the Key-note would still be felt by the mind, and A in. this case would remain A as distinguished from its chromatic neighbors. As a matter of fact, the extremes of pitch standards (concert pitch excepted) seldom exceed a quarter of a tone; for the basis of musical pitch founded on C (32—33) renders any further difference impracticable. True, the sensation of musical tone first enters consciousness at about thirty vibrations, but the figures quoted for C have received both scientific and artistic sanction. According to these figures, the extremes of pitch for middle C are respectively 256–264. Now, if C, at or between these vibrational limits, be your Key-note, your mind would recognize it as such and be thrown into a state of synchronism. Says Helmholtz:

"When the pitch of the original resonant body is not exactly that of the sympathizing body or that which is meant to vibrate in sympathy with it, the latter will nevertheless often make sensible sympathetic vibrations which will diminish in amplitude as the difference of pitch increases; but in this respect different resonant bodies show great differences, according to the length of time for which they continue to sound after having been set in action by communicating their whole motion to the air. Bodies of small mass which readily communicate their motion to the air and quickly cease to sound, as stretched membranes or violin strings, are readily set into sympathetic vibration because the motion of the air is conversely readily transferred to them, and they are also sensibly moved by sufficiently strong agitations of the air, even when the latter have not precisely the same periodic time as the natural tone of the sympathizing body. The limits of pitch capable of exciting sympathetic vibrations are consequently a little broader in this case."

On the strength of these statements, the vocal ligaments, possessing as they do the characteristics of both strings and membranes, may be excited into sympathetic action by the sound of their fundamental, even if the latter is not precisely synchronous with their own natural tone. Doubtless the tympanic

membrane is subject to similar conditions. Since sympathy depends so largely upon elasticity of the vibrating substance, the mind, presenting a most subtle, delicate, and elastic medium, must be peculiarly alert in responding to its own Key-note, whatever be the variation of pitch between the extremes mentioned.

The establishment of the Key-note as a foundation for musical treatment of disease involves the association of all those tones which are most nearly connected with it, and out of this association are derived those chords which belong to the key. Of the chord formations adapted to musical healing, the tonic chord stands first in importance by reason of its origin in the tonic tone. It is not my purpose to enter into any extended discussion of chord cure, but a few general remarks will suffice to show the healing properties of certain tone combinations. The effect of the major triad is decidedly brightening and tends to promote a cheerful frame of mind. The harmonic reason for this lies in the interval of the major third, which in our equal temperament possesses a stimulating quality, giving a bright, even brilliant, character to the chord. The minor triad, on the other hand, produces a dull impression owing to the interval of a minor third, which is naturally subdued and even somber. Minor triads, however, offer an excellent soporific in cases where the nervous tension of the patient requires relaxation. A skilful blending of both major and minor harmonies within the jurisdiction of the Key-note is highly beneficial to the nervous system, since the acceleration and retardation of thought-currents and also the expansion and contraction of emotional centers become regulated thereby, conforming to the normal flow of the music.

MM. Alfred Binet and J. Courtier, in their experiments with music on respiration, discovered that musical sounds, chords and music in general as a sensorial excitation, aside from all emotional suggestion, cause acceleration of respiration, increasing with the rapidity of the movement, without affecting the regu larity of the breathing or augmenting its amplitude. The heart is influenced in like manner. These authors further state that

music in the major mode is more stimulating than music in the minor.

In the use of music as an analeptic, temperament should receive careful consideration. An allegro movement would not be suitable for a highly-strung nervous organization; neither would an adagio meet the requirements of a lethargic temperament. Tune and rhythm are important factors in the music cure. Musical expression is a vital element of the question. Tempo, accent, crescendo, and diminuendo all exert a potent influence; but in all cases and under all circumstances, whether the music be melodic or harmonic in form, the Key-note should be closely adhered to and kept sounding in the ears of the patient. It is only by means of this dominating center that convalescence through music is possible.

I have been often asked why music as it stands, as it is ordinarily heard, is not healing in its influence. So it is, in a general sense; but so, in a general sense, all kinds of food are nutritious. Some kinds, however, are more directly nutritive, being better adapted to the needs of one individual than of another. It is selection in music, as in food, that determines results. Musical tones feed us according to our demand for the kind of aliment they contain. Under diseased conditions of the system, the ear, like the mouth, should be inhibited from receiving whatever tends to augment the disease. There is diet in music, and it is time that we should learn to select, from the great mass of tones presented, those most necessary and helpful to our individual systems. The extent to which music may be employed as a healing agent depends largely on one's sensitiveness to musical impression. It is safe to assume that the average man easily distinguishes music from mere noise, and that in proportion to his power of discrimination will be the amount of healing he derives. Since music acts upon the nerves, there is no logical reason why it should not reach many forms of disease. The one great fact we are learning in these advanced times is that the more subtle the therapeutic agent the more readily will disease yield to its power.

While music as expressed through our equal temperament

still retains its pristine charm and healing virtue, it cannot be denied that were it allowed full sway-permitted its legitimate expression through the Just and Natural intonation-its therapeutic value would be greatly enhanced. False and unnatural tone relations, however cleverly concealed by equal distribution, cannot do otherwise than cramp and limit the harmony seeking outlet from the spiritual into the material. It is hoped that in the near future the tuning of musical instruments will be made to conform to the just and natural relations of all musical tones, so that the piano, organ, and similar instruments of fixed tones may be used to better advantage for healing purposes. Meanwhile, ways and means should be contrived to utilize the divine essence of harmony by the employment of special musical formulæ based upon the Key-note.

Boston, Mass.

HENRY W. STRATTON.

THE

THE ARMY CANTEEN.

HE question of regulating the use of intoxicants in the army by providing for their sale under certain restrictions in the canteens or post exchanges at the forts and stations occupied by troops has of late been widely and earnestly discussed. A successful attempt has been made under the lead of the advocates of total abstinence to obtain legislative action to prevent their sale in all places under direct military control. A law was enacted in March, 1899, which some supposed would have this effect; but it was interpreted to go no further than to forbid the detail of soldiers to make sales, and to prevent the sale by unauthorized and irresponsible persons on military premises, but not to prevent the employment of civilians to sell in the canteens. This interpretation has been vigorously attacked, and President McKinley has been severely criticized and blamed for accepting it, and also for having refused to make an order by virtue of his authority as Commander-in-chief entirely prohibiting the sale of intoxicants at all military stations. Not alone the political Prohibitionists, but the governing bodies of several of the prominent religious denominations, have taken strong ground in favor of such legislative and Administrative action. Some even went so far as to attempt to start a crusade of prayer for the defeat of Mr. McKinley at the recent election on account of his failure to enforce their interpretation of the canteen enact

ment.

There is a growing demand for sober men in all walks of life and in all business occupations. Railways will not intrust their trains to men that will drink while on duty, and the same is true of many other enterprises in which large numbers of men are employed. The writer is not a very old man, but he very distinctly remembers a condition of which the younger people of the present generation have had no experience. Rum,