General expodsby contemporary music. We no longer find Gothic or Ars Nova po-
lyphony ‘awkward’, or think it necessary to harmonize Gregorian or
Byzantine melodies.
Religion, too, is the richer for a body of music in which differences
of creed yield to masterpieces that are honoured throughout the world.
We need not consider that Bach was a ‘Catholic at heart’ in order to
allow his great oratorios and cantatas to be performed in Roman Ca-
tholic churches.
The present position with regard to music seems very favourable
to the spread of knowledge and a wider familiarity with musical works,
which may do much to bring the various peoples into touch with one
another. No one now finds anything disconcerting in early Oriental
civilizations, distant history, or the folk music of foreign countries.
We can now make use of a truly universal repertoire to foster the
ideals of union and understanding amongst men.
Why should we concern ourselves with the effects of music on inter-
national understanding? Are not these effects the inevitable result of
the practice of music as we understand it at the present day?
I have given much thought to this question and have indeed strugg-
led against my own habits and convictions, for I was convinced that art
ought not to be used for ends which are essentially foreign to it. At
the present time, however, it is impossible to conceive of an intellectual
gathering of this sort without considering its international reper-
cussions.
We are passing through a period in which the most terrible tragedy
which has afflicted humanity is being played out. We seem fated to
live between wars. Man has gained power by means of science; with
the technical means at his command he can almost work miracles; but
he is still a very primitive creature. We see him arming to the teeth
against his fellow-men, persecuting and slaying them out of sheer
racial hatred or artificially stimulated ideological enmity. The simplest
things affecting the welfare of the whole community are warped and
put to inhuman ends. Each country dreams of dominating the others,
as if men were not destined to agree among themselves. Despite our
efforts, Ovid’s deteriora seqzlor seems truly to be the rule of our age in
international relations.
Nevertheless, thinking men have banded together beneath the stan-
dard of education, science and culture to consider what constructive
part the arts can play in abating antagonism and showing man that,
as Marcus Aurelius says, he is made to co-operate with his fellows in