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E HAD a large stone church in our suburb which was not quite paid for, and a society of church-women called “The Ladies’ Aid” occasionally gave a fair or concert and sometimes a play with local talent, in order to obtain money to add to the fund.

One evening Mother, Matsuo, and I attended one of these concerts. On the programme was a vocal solo of some classic selection. The singer was the gifted daughter of a wealthy citizen and had received her musical education in Europe. I knew her as a rather quiet young woman with a gentle voice and dignified manner; therefore I was surprised, when the music began, to see her step forward briskly and informally, bow smilingly to the audience, right and left, and then, with much facial expression, give a vocal exhibition of high, clear trills and echoes that to my untrained ears was a strange and marvellous discord, but the most wonderful thing that I had ever heard in my life.

The effect left on my mind was of brightness, quick motion, and high-pitched sound. In strong contrast is our classic music, which always suggests subdued colours, slow movement, and deep, mellow tones. Also, like most Japanese art, our music requires listening eyes as well as ears. Otherwise its appeal is lost.

Our classic stage is always the same. The entire back is one solid board of natural cedar wood, on which is painted a gigantic dwarf pine. The floor is of camphor