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Excel Module 8: Analyzing Table Data

A Guide to this Instructor’s Manual:

We have designed this Instructor’s Manual to supplement and enhance your teaching experience through classroom
activities and a cohesive module summary.

This document is organized chronologically, using the same heading in blue that you see in the textbook. Under each
heading you will find (in order):Lecture Notes that summarize the section, Teacher Tips, Classroom Activities, and Lab
Activities. Pay special attention to teaching tips, and activities geared towards quizzing your students, enhancing their
critical thinking skills, and encouraging experimentation within the software.

In addition to this Instructor’s Manual, our Instructor’s Resources Site also contains PowerPoint Presentations, Test
Banks, and other supplements to aid in your teaching experience.

Table of Contents
Module Objectives 2
Excel 178: Filter a table 2
Excel 180: Create a Custom Filter 2
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 Microsoft Excel 2016 Instructor’s Manual Page 2 of 6

Excel 182: Filter a Table with the Advanced Filter 3

Excel 184: Extract Table Data 4
Excel 186: Look Up Values in a Table 5
Excel 188: Summarize Table Data 6
Excel 190: Validate Table Data 7
Excel 192: Create Subtotals 8
End of Module Material 8

Module Objectives
Students will have mastered the material in Excel Module 8 when they can:
• Filter a table • Look up values in a table
• Create a custom filter • Summarize table data
• Filter a table with the Advanced Filter • Validate table data
• Extract table data • Create subtotals

Excel 178: Filter a table

LECTURE NOTES
• Define AutoFilter.
• Discuss what it means to filter a table.
• Explain the use of the filter list arrows.

TEACHER TIP
Point out that filtering does not change or delete any data, it only changes what records are displayed.

CLASSROOM ACTIVITIES
1. Group Activity: Discuss ways students might want to filter the Music Collection table you had them
create in the last module.

2. Quick Quiz:
1. True or False: When you create a table, arrows automatically appear next to each column header. (Answer: True)
2. The _________________ button is convenient for clearing multiple filters at once. (Answer: Sort &
Filter button)

Excel 180: Create a Custom Filter

LECTURE NOTES
• Explain how custom filters can help students create more complex filters for data.
• Define the term logical conditions.
• Review AND and OR logical functions.
• Point out that you can use conditional formatting with tables.

CLASSROOM ACTIVITIES
1. Class Discussion: Ask students how they might use a custom filter in their Music Collection table.

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Microsoft Excel 2016 Instructor’s Manual Page 3 of 6

2. Critical Thinking: Suppose you had an Excel table that listed ISBN numbers, book titles, authors,
publishers, and publication years. What custom filters might you use to answer questions about the
table.

3. Quick Quiz:
1. True/False: And and Or are logical conditions that help you narrow your filter. (Answer: True)
2. What are the two wildcard symbols?________________. (Answer: (*) and (?))

Excel 182: Filter a Table with the Advanced Filter

LECTURE NOTES
• Discuss what an advanced filter does.
• Define a criteria range.
• Define And condition and Or condition.
• Point out the use of a color scale and icon sets to emphasize top- or bottom-ranked values.

TEACHER TIP
Point out that Excel is not limited to two advanced filters, and with more than two filters, AND conditions
and OR conditions can be combined. For example, an advanced filter can be created for Depart date after
6/1/2017 AND Price less than $2,000 OR Places reserved greater than 20.

CLASSROOM ACTIVITIES
1. Class Discussion: Ask students to discuss how using an advanced filter might help them in the following
situation (or create your own): The student works in a variety store. A customer comes in and wants to
know if the store has any red beach balls and purple beach balls in stock.(Hint: You have your
inventory setup in an Excel table, and you have a field for beach ball color and a field for product typ.)

2. Quick Quiz:
Two sets of criteria on separate lines of a table indicate a(n) ____ condition. (Answer: Or)

Excel 184: Extract Table Data

LECTURE NOTES
• Discuss the reasons to extract data versus filtering it in place.
• Define the term extract.
• Explain criteria range and the copy-to location.

TEACHER TIP
Make sure students know that if they make an error when extracting data, they should make sure they
clear or delete any incorrect data that was generated in the new location.

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Microsoft Excel 2016 Instructor’s Manual Page 4 of 6

CLASSROOM ACTIVITIES
1. Quick Quiz:
1. True/False: When you extract data, you place a copy of a filtered table in a range that you specify
in the Advanced Filter dialog box. (Answer: True)
2. True/False: Excel automatically creates the names Criteria and Extract for the range you define.
(Answer: True)

2. Class Discussion: Ask students to explain why it’s a good idea to extract the matching records, rather
than filtering it in place when time has been invested in specifying a complicate set or search criteria. Ask
them to brainstorm scenarios in which extracting data would be helpful.

Excel 186: Look Up Values in a Table

LECTURE NOTES
• Define the VLOOKUP function and demonstrate how to use it.
• Explain the HLOOKUP function and how it relates to VLOOKUP.
• Discuss the MATCH function and the TRANSPOSE function.

TEACHER TIP
Make sure students are comfortable with named ranges and how to check what ranges are named in their
current worksheet.

CLASSROOM ACTIVITIES
1. Class Discussion: Discuss and compare the following functions: VLOOKUP,, HLOOKUP, and MATCH.

2. Critical Thinking: What are some practical uses for the HLOOKUP and VLOOKUP functions? (Hint:
assigning student grades and calculating postal rates for packages are two very common uses. What are
some others?)

3. Quick Quiz:
1. The ________ function helps you locate specific values in a table by searching vertically down the
far left column of a table and then reading across the row. (Answer: VLOOKUP)
2. True/False:If you want to find only the closest match for a value, enter FALSE in the Range lookup
text box. (Answer: False)

Excel 188: Summarize Table Data

LECTURE NOTES
• Discuss Excel’s database features.
• Use Table 8-1 to review common database functions.

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Microsoft Excel 2016 Instructor’s Manual Page 5 of 6

CLASSROOM ACTIVITIES
1. Group Activity: Have students create a summary of their music Collection table using the field that
identifies the type of music (jazz, hip-hop, reggae, rap, etc.).

2. Quick Quiz:
1. True or False: A table acts much like a database. (Answer: True)

Excel 190: Validate Table Data

LECTURE NOTES
• Discuss the importance of accuracy in data entry.
• Explain what the data validation feature allows you to do.
• Explain the Input Message and Error Alert features.

TEACHER TIP
Remind students that if data validation is used, it is very important to provide information on valid choices
to minimize user confusion.

CLASSROOM ACTIVITIES
1. Quick Quiz:
1. True/False: If you get an invalid data error, you can open the Data Validation dialog box, click Clear
All, click OK, then begin again. (Answer: True)
2. True/False: The Error Alert tab lets you set only one alert level if a user enters invalid data.
(Answer: False)

2. Critical Thinking: Have the class think about why and when restricting the data entered into specific
cells should be used. Is it beneficial or not?

Excel 192: Create Subtotals

LECTURE NOTES
• Discuss and demonstrate how to create subtotals using the SUM, COUNT, AVERAGE, MAX, and MIN
functions.
CLASSROOM ACTIVITIES
1. Quick Quiz:
1. True/False: Before you can add subtotals to a table, you must first convert the data to a range and
sort the data. (Answer: True)
2. True/False: You can remove subtotals in a worksheet by clicking the Subtotal button and clicking
Remove All. (Answer: True)

2. Class Discussion: Ask students to brainstorm types of Excel worksheets would benefit from the
inclusion of subtotals.

End of Module Material

• Concepts Reviews consist of multiple choice, matching, and screen identification questions.
• Skills Reviews provide additional hands-on, step-by-step reinforcement.

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license distributed with a certain product or service or otherwise on a password-protected website for classroom use.
Another document from Scribd.com that is
random and unrelated content:
perfection as that of the octave (1:2) and the seventeenth (1:5). Yet the
twelfth is not so pleasing an interval as the seventeenth, and the octave is
inferior to them both. Nevertheless the twelfth and octave are
mathematically closer relationships than the seventeenth. Evidently there
is another principle to be discovered, and I will call it the principle of
affinity in unlikeness and illustrate it by an analogy which may seem far-
fetched but which I believe to be illuminating and significant.
Let us imagine that the unison or note A represents oneself; that the
relationship of the octave (1:2) represents that of father and daughter; the
relationship of the perfect fifth (2:3) that of brother and sister; the
relationship of the perfect fourth (3:4) that of two brothers; the
relationship of the twelfth (1:3) that of male and female cousins—in
which a new element that of sexual affinity, is introduced, bringing with
it a deeper reverberation although the blood relationship is more distant.
And, finally, the relationship of the seventeenth, that of unrelated lovers
which—although the most distant of all in blood—strikes a still
profounder sympathy and beauty. It is now possible to understand more
clearly why my analogy of the relation of Beethoven to the rest of music
as that of a more fundamental note is not to be taken in its literal
meaning. With Beethoven, a new element came into music, an element
of such sublimity and beauty that its advent into the world of imagination
is comparable in importance with that of sex in the physical world.
Sex as we know it did not always exist; it does not exist in the
inorganic world, hardly in the vegetable world, but dimly in the animal
world. It is a human discovery, and upon that new more fundamental
note (fundamental not in the vertical sense but in a focal sense) rises the
whole wealth of man’s intellectual and physical harmony. But even in
sex we have not touched an absolute. The presage of a still profounder
intimacy trembles fitfully here and there in music throughout the
historical European period. In the music of Palestrina, of Byrd, of all the
rarer spirits up to Bach, Mozart and Wagner there are fitful gleams of a
more central desire until, finally, a love that plumbs deeper than even the
love of sex rings forth unmistakeably in the music of Beethoven and
immediately creates for us a new hierarchy of values. And so here we
find for the time being an Absolute. The world of art, we find, resembles
both the world of the atom and the world of solar space. There are
greater and lesser planets and greater and lesser satellites. We can
imagine that if there were inhabitants upon the Moon they might think
the Earth was the primary fact of their being, since it was the focal point
of their orbit, whereas the Sun would seem so eccentrically placed as to
be an irregular and incomprehensible singularity; until by a process of
more profound imagining they conceived the more fundamental though
more distant relationship in which it stood to them.
Just as the Sun is the centre of the only system of the physical universe
so far formulated—for no centre has been found to the innumerable suns
of the stellar universe—so Beethoven is our temporary Absolute in the
world of music. And just as the Sun is the source of all vegetable and
animal life upon the earth, so I believe that in art we find the vital spirit
which animates our human life. Thus it would seem to be true—as I
suggested we might discover—that the function of art in the world is to
create absolute values in the imagination upon which the human species
can continually re-create its intellectual, moral, and physical structures.
And if this is so it means that in the values of art we approach most
nearly to Truth.

FOOTNOTES:
[4] See Mr. Harvey Grace’s excellent book on the organ works of J. S.
Bach.
 C VI
E S

A technical analysis of the art of music as practised in Europe during

the past few hundred years would be interesting, but it lies outside the
scope of this book. What is relevant is to consider the emotional and
intellectual significance of the music composed during that period.
Folksong, from which most great composers have consciously or
unconsciously drawn, is the emotional substratum of all European music.
At its best it is simple, sensuous and passionate—the heart-cry of men
whose desires are frustrated by the accidents of life, whose joys are too
short, or whose griefs are too enduring. Where it chiefly differs from
similar, later, more sophisticated music is in the simple intensity of the
emotion. In a society more subject to extreme vicissitudes of fortune than
later and more stable social states it was easier, and natural, to believe
that mere irresponsible “accident” or mischance separated men from
happiness.[5] In a beautiful old Neapolitan song collected by Madame
Geni Sadero the singer bewails the loss of his love carried off by
Moorish pirates in a raid on the Italian coast. Such a song has an
extraordinary plasticity of melody, rivalling in expressiveness the
melodic invention of the greatest composers. These melodies were
modelled by an intense sincerity, of a kind inconceivable to men in a
more complex environment, richly provided with compensations. Any
attempt at such sincerity would to-day be insincere.[6] Equally insincere
would be any modern composer’s attempt to express the simple natural
thrill of the Sardinian shepherd boy who greets the rising of the Sun in a
wonderful song included in the Sadero collection. In our civilized society
man knows that the sun will rise to-morrow as it did yesterday, and that
next year or the year after he may love again. It is not Moorish pirates, or
the accident of plague, or the malefic interference of an unfriendly God
that will bear away his happiness. It is happiness itself that has flown
away as he sits securely in the midst of his possessions and asks himself,
what he used not to ask himself: “Why do I live?”
I do not lament this change as a disaster. I merely wish to point out the
difference and to show why the music of to-day must differ from the
music of yesterday. Those who believe that music is a purely abstract art
(mere negation this, which I have abundantly shown to be empty of
reality) will be shocked at the dependence of music upon man’s life; but
the great composers themselves knew better:
“The error in the art-genre of opera consists in the fact that a
Means of Expression (Music) has been made the object, while the
Object of Expression (the Drama) has been made a means.”
Those words of Wagner’s show clearly that to Wagner, as Mr.
Newman aptly puts it:
“To invent a theme for its own abstract sake, to pare and shape
it till it was ‘workable’ and then to weave it along with others of
the same kind into a pattern of which the main lines were
predetermined for him by tradition—this was something he could
not imagine himself doing, and that he scoffed at when he found
the Conservatoire musicians engaged in.... Wagner always
protested against the current fashion of performing Beethoven’s
symphonies as if they were nothing more than agreeable or
exciting musical patterns.”
My preceding chapters will have made it quite clear why Wagner’s
instinct was right, although his mode of expression is so inexact as to be
often confusing and misleading.[7] What Wagner means is that
intellectual forms or death-shapes are given no significance by being
manipulated, dove-tailed, and re-arranged by the intelligence working
from rules and examples. It is “life” that gives significance, a spiritual
urge into creation, and where this is absent there is no artistic creation.
We may perceive by his use of the word “drama” that Wagner’s
conception of “life” was a limited one; but he could only express the life
that was in him and his soundness lay in his recognizing this. But we
shall not make the mistake of inventing an artificial and unilluminating
distinction between Wagner as a dramatic or programmatic composer
and, for example, Mozart or Bach as absolute composers. The difference
between all these composers (including Beethoven) lies mainly in inner
feeling, in spiritual life, in the individual psyche—not in their musical
faculty as composers. It was natural to each one of them that his vital
activity should run into the form of sound-patterns. It is this idiosyncrasy
which has made them all musicians and not poets, sculptors, or painters.
But this peculiarity is only a physiological bias for—to quote Mr.
Newman again, since he is a musician and what he says will be more
appropriate here than the words of a poet or sculptor, besides being
admirably clear—
“It is only the most superficial of psychologists and
æstheticians who can regard any human faculty as wholly cut off
from the rest. Our perceptions of sight, of taste, of touch, of
hearing are inextricably interblended as is shown by our
constantly expressing one set of sensations in terms of another, as
when we speak of the colour of music, the height or depth or
thickness or clarity or muddiness of musical tone. In every poet
there is something of the painter and the musician; in every
musician something of the poet and the painter; in every painter
something of the musician and the poet. The character of the
man’s work will depend upon the strength or weakness of the
tinge that is given to his own special art by the relative strength or
weakness of the infusion of one or more of the other arts.”
Thus we can explain the sensuous individuality of an artist as being a
result of the special and peculiar bias and intermixture of his senses. But
this is only a part of his character or personality, and it is my argument
that it is the minor (though essential and indispensable) and not the major
or most important part. For besides this physical individuality he has a
spiritual individuality. The former is the instrument, the latter is the
“life,” and, in the case of music, the physical expression, the
communication, the tangible (eye and ear are “touch” at a distance)
death-shape is the musical creation or form—a Bach fugue, a Beethoven
symphony, a Mozart or Wagner opera, a Schubert song.
The importance of Beethoven—which Wagner was the first to
understand—lay in that stupendous stream of “life” within him which
burst through all the old academic forms, as the sap bursts through a tree
into colour and blossom, and strewed the history of music with those
gigantic skeletons of spiritual life which we know as his works. But we
have yet to discover the meaning of these compositions. Their full
meaning can only be felt, it cannot be re-stated—except when his works
are adequately performed; but they have a characteristic to which I shall
try to give a verbal construction because I think it immensely important.
It is not a quality for which there exists a word, or a phrase, or even a
poem; but it is a particular kind of desire. “Like as a hart desireth the
water-brooks so thirsteth my soul after the living God,” that—were it not
for its association with the desires of Baptists, Methodists, Wesleyans,
Anglicans, Catholics, Mohammedans, Buddhists, Christian Scientists,
Mormons, and all those bodies of people known to-day as “religious”—
would perhaps be suggestive. At any rate it would serve to distinguish
the quality of this desire or passion from the passion which created
Tristan und Isolde. And, magnificent and beautiful as that was, its
magnificence compared with the magnificence of Beethoven’s passion is
as the magnificence of a coloured duck to a black swan. The simile is a
totally unworthy one, for we have nothing to which we can compare
Beethoven. We can easily find similes for Wagner, but Beethoven is a
rara avis.
It is natural to the young to be idealists, an old idealist is generally
either a rogue or a fool—unless he happens to be a Beethoven. The
young find something stirring in their hearts when listening to Beethoven
which they never find when listening to Bach, Mozart or Wagner, great
as these composers are. Beethoven awakes a feeling so romantic, so
idealistic, of so fine and exquisite a bloom that it is guarded by everyone
who experiences it as a precious secret. What Beethoven imagined
inevitably lures men away from the sensuous delights of Debussy and
Strauss, from the fatiguing excitements of Stravinsky and Jazz, from the
gaieties of Verdi and Rossini, from the sentimental nostalgia of Brahms,
from the solid satisfaction of Bach, from the sensitive melancholy of
Mozart and from the lesser loves of Wagner; but why it does so we
cannot tell.
“Had I been willing,” said Beethoven to Schindler in 1823, in the
course of a conversation about the Countess Giulietta Guicciardi, “to
surrender thus my vital power and my life what would have been left of
the best and noblest in me?” What a different ring this plain statement
has beside the rhetorical pæans to renunciation on the lips of Wagner,
who was satisfied to accept what would never have satisfied Beethoven.
It is a peculiarity of Beethoven that he can use the words “best” and
“noblest” without making an intelligent man laugh up his sleeve. If we
do succeed in laughing it is with the wrong side of our mouths. The very
words “good,” “noble,” “spiritual,” “sublime,” have all become in our
time synonymous with humbug. In Beethoven’s music they take on a
new and tremendous significance and not all the corrosive acid of the
most powerful intellect and the profoundest scepticism can burn through
them into any leaden substratum. They are gold throughout. Am I wrong
in thinking this an achievement without parallel in the modern world?
Point to me in poetry, painting, sculpture, music, anywhere, one other
artist who has recreated (not paid lip-service to) the meaning of good and
left to us the imagination of a love transcending both the sacred and the
profane. There is none.
We cannot live without values and at present we cannot conceive a
state when men would not ask themselves: “Why do I live?” “Is life
worth living?” This is the theme which touches us to-day when we marry
and settle down with our love, measure the spots on the Sun, and fear
neither plagues, pirates, nor eclipses:
“Here I am an old man in a dry month,
Being read to by a boy, waiting for rain.
I was neither at the hot gates
Nor fought in the warm rain
Nor knee-deep in the salt marsh, heaving a cutlass,
Bitten by flies, fought.
My house is a decayed house,
And the jew squats on the window-sill, the owner,
Spawned in some estaminet of Antwerp,
Blistered in Brussels, patched and peeled in London.
The goat coughs at night in the field overhead;
Rocks, moss, stonecrop, iron, merds.
The woman keeps the kitchen, makes tea,
Sneezes at evening, poking the peevish gutter.
I am an old man,
A dull head among windy spaces.”
The bravest, the most intelligent, the most sensitive are oppressed with
that profound sense of the futility of life which Mr. Eliot expresses so
admirably in the above lines. It is, indeed, the constant burden of the
most characteristic of our modern poets:
“This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.”
Yes, we are convinced. This is the way the world ends and we have no
more faith in anything. Democracy, Liberty, Equality, Fraternity, have all
been added to the list of the Great Superstitions. Mussolini and Lenin
have made moonshine of Socialism and Communism. God is a word
used only in treatises on tribal magic, when it is spelt correctly as god.
Love has been appropriated by the writers of silly magazine stories and
even sillier novels. All honest men are reduced to silence before the daily
avalanche of fraudulent lies from pulpit, printing press, parliament and
platform. Everywhere men speak with the tongues of serpents and the
minds of manufacturers of chewing gum. And deep in all men’s hearts
there is only one thought:
“I grow old—I grow old
I shall wear the bottoms of my trousers rolled.”
But in the midst of futility and inanity, in the midst of desperation and
despair there sounds the music of Beethoven which says without
bombast or credo: “This is not the way the world ends.” And says it in
such a way that we are forced to listen. We listen to Beethoven when we
would listen to nobody else because he is a man without any of the
world’s illusions. How feeble and superficial seems the disillusionment
of Mr. T. S. Eliot’s poems compared with the agony of the Cavatina in
the B flat Quartet with its mysterious pause—as if the pulse of the whole
Universe were stopped and might not continue; of the Fugue in B flat
Op. 133; and of the last Pianoforte Sonata which Beethoven wrote. In
this last Sonata we feel the agony of a man whose imagination is
grappling with some insupportable horror. Let us conceive the Captain of
a ship standing on its bridge in a calm, unconscious sea. The boats are
useless because land does not exist anywhere. From the deck come the
cries, curses and weeping of the doomed crew, who are only his own
embodied emotions, for he is really alone. Slowly they are going down
into the unruffled water. The Captain does not shake his fist defiantly
into the sky and deny that he is going down, but knowing that he is going
down never to return sinks passionately into the sea. Such is the mind
and temper of Beethoven. There is agony but no whimper, and if that is
not ending with a bang I don’t know what is. In the music of Beethoven
there are no anodynes, no lullings of sense, no deceits of the intelligence,
but pure virtus. And this virtus is thrilling absolutely, without
reservations. After the tremendous drama of the first movement of the C
minor Sonata, for example—a drama in which there is the whole ecstatic
misery of life—we are not assuaged by a dream. The conflict does not
cease. That wonderful Arietta—surely the most wonderful thing in all
music—is no bringer of peace and resignation. In it something passes
away but its passing away is an act of creation not of extinction. It is this
which gives Beethoven’s music its peculiar significance, for Creation not
Nirvana is the essence of Beethoven. It has its root therefore in human
personality and may be most accurately described as the supremest
imagination of love in human art. But though beyond the conception of
the Neapolitan fisherman mourning for his lost bride it does not lessen
but enriches that ancient love-song, making it impossible for us to feel
that it was meaningless.
And if anyone should say that the question: “Why do I live?” has not
been answered, I reply that Beethoven has rendered it ridiculous.

FOOTNOTES:
[5] The ancient Greeks with characteristic intellectual power did not
believe in mere irresponsible accident.
[6] Compare for example the feebleness of our contemporary love-songs
and ballads.
[7] For example we can ask nothing more than that a composer should
write “exciting musical patterns.” It all depends upon what is meant by
“exciting.”
 C VII
B S

Music will not end with Beethoven. It is possible that the very
problems that confronted him and still confront us will fade out of the
imagination just as those political problems which occupied so much of
the attention of the historical world from the Greek Republics to the
British Empire are ceasing to exist before our very eyes. And when we
think of the religious dissensions of Christendom and reflect on the
questions which once divided father from son, sect from sect, church
from church, it is with difficulty that we can give them a meaning
intelligible to our minds, much less feel any shadow of the life that was
once in them. In the memory of living men, heartburning intellectual
problems have become empty phrases. Darwin, Huxley, and the
Anglican Bishops all seem as unreal as the waxworks of Madame
Tussaud and are seen to be the complementary phenomena of an
intellectual nightmare. No one to-day imagines that Truth wears the
strange Victorian get-up of any of these gentlemen.
Similarly the sociological phantoms of the age of Bernard Shaw and
H. G. Wells, of Karl Marx and Lenin are cutting the last of their
antithetical capers. Socialist and Anti-Socialist, Communist and Anti-
Communist, Conservative and Revolutionary have suddenly caught sight
of their own faces behind the masks of their opponents. Their passionate
reality is seen to be no more than a Fancy Dress Ball—for all these
figments, these fictions, these Ideas were never any more than the Masks
of false passions, passions which have never succeeded in begetting a
progeny, since they are the mere nightmare passions of social
indigestion.
In another five generations there will be no poverty, there may be no
matrimony, there will certainly, if there is no poverty, be no patrimony.
Children may take their mother’s name and then fathers will have not
even a fifty-year royalty upon their creations. Men and women will look
upon their children as artists look upon their works and will wish others
to enjoy them. The world will be so changed that none of the problems
which to-day set our newspapers printing and our politicians talking will
even exist. Our present ideas on sex, morality, beauty and value will in
those days appear as strange, as fantastic, as illusory as the ideas of our
ancestors who took Beecham’s pills to cure all ills.
Will the music of such a world differ from the music of to-day?
Necessarily, since life without change is inconceivable to us and music
that is alive must be changing. But the meaning of this change is not to
be apprehended by the mind, for it is no less than life itself. A part of it,
however, can be apprehended, for, although we feel instinctively that the
more the world changes the more that it is the same[8] yet we cannot
deny that it is the same with a difference. And it is the difference which
matters and is matter—that which appears, is visible and audible—the
death-shape of the spirit.
It would be boring and futile to consider the methods which may be
invented of distributing music or of making music heard. That a million
persons listen to Beethoven by wireless or gramophone where,
previously, a thousand listened in a concert hall is one of those statistical
changes which it is beyond the wit of man to value.
Fortunately there is a period fixed to the possibilities of “progress” of
this kind; and when every baby is born to Beethoven and to Freedom
then culture and statistics of culture, education and measurements of
education will have simultaneously ceased. There will be in those days
no newspaper interviews with Neo-Edisons because there will be no
newspapers; the people will have forgotten that it is interesting to know
whether a celebrity drinks de-caffeined coffee or dehydrogened water
because there will be no “people” and no celebrities. The Age of
Vulgarity will have passed.
What sort of music will be listened to in those days? The music of
Orpheus, the music that comes out of darkness.
According to Plato when Orpheus descended into hell and succeeded
by the strains of his mysterious music in softening the hearts of Pluto and
Persephone—who themselves were phantoms, prisoners of the
imagination, supernal beings chained to the bottom of Hades because
they were imagined there and existed only in Imagination—he brought
back with him but an Apparition. It was an Apparition that he gazed at so
fondly, and which nevertheless vanished before his eyes. His music was
that Apparition; those heavenly strains, mysterious, profound, issuing
from his mouth took form, the form of Eurydice—the imagination of
light in darkness, of love in the midst of death.
 The forms that music will take in the future are as yet unimagined; but
these forms will always be the form of Eurydice plucked by Orpheus
vainly out of Hell. And they will not be abstract forms but the apparition
of a real love which, bitten by the serpent of life, descended into the
kingdom of Pluto.

FOOTNOTES:
[8] The evolutionary theory will no longer be thought of as a continuous or
a discontinuous ascent; biological species will be regarded as ripples on a
pool; the Astronomical Universe will be conceived as stationary.

THE END
*** END OF THE PROJECT GUTENBERG EBOOK ORPHEUS; OR,
THE MUSIC OF THE FUTURE ***

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