Abstract
In an inspiring essay which he read to the Music Teachers' National Association in 1916,1 0. G. Sonneck warned scholars who were to come after him of the loose and careless methods traditionally employed by historians of American music. After many listings of error and suggestions for study, Sonneck closed his address by saying, . . . the subjects available are just as numerous as are States and cities (musical or not) or individuals who in their day or way contributed their share (or not) in winning for our country the position which it holds in the world of music today. The endless variety of subjects will keep pace with our growth as a musical nation and with the endless variety of tastes and preferences of investigators, whether the subject chosen taxes their power of research for a week, a month, a year or ten years. Ample work for all of us lies on the surface or deep beneath the surface.
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