anti-Semitism in this country" and affirming "the loyalty and patriotism of our fellow citizens of the Jewish faith," he had written only two months earlier: The Oriental, especially the Jewish, infection in our music, seemingly less widespread than the German was or the French is, may prove even more virulent... The insidiousness of the Jewish menace to our artistic integrity is due partly to the speciousness of Hebrew art, its brilliance, its violently juxtaposed extremes of passion, its poignant eroticism and pessimism, and partly to the fact that the strain in us which might make head against it, the deepest, most fundamental strain perhaps in our mixed nature, is diluted and confused by a hundred other tendencies. The Anglo-Saxon group of qualities, the Anglo-Saxon point of view... are nevertheless the vital nucleus of the American temper. And the Jewish domination of our music, even more than the Teutonic and the Gallic, threatens to submerge and stultify them at every point. By 1931, Mason was arguing that the national taste might be permanently debased by the "intoxication of alien art," generating enough controversy that he wrote to the New York Times in 1933 that he had been "misinterpreted" as "friendly to jingoism and Hitlerian nationalism." Mason and other "Yankee" composers such as Charles Ives saw their duty as the preservation and redemption of the American spirit, and saw their enemy in composers such as George Gershwin, Aaron Copland, Ernest Bloch (all of Jewish heritage), Igor Stravinsky, and jazz music generally. List of books From Grieg to Brahms (New York, 1902, 2/1927/R) Beethoven and his Forerunners (New York, 1904, 2/1930) The Romantic Composers (New York, 1906) with T.W. Surette : The Appreciation of Music (New York, 1907) The Orchestral Instruments (New York, 1908) A Child's Guide to Music (New York, 1909) A Neglected Sense in Piano Playing (New York, 1912) The Dance (New York, 1916) with M.L. Mason : Great Modern Composers (New York, 1916, 2/1968) Contemporary Composers (New York, 1918) Short Studies of Great Masterpieces (New York, 1918) Music as a Humanity (New York, 1920) From Song to Symphony (New York, 1924) Artistic Ideals (New York, 1925) The Chamber Music of Brahms (New York, 1928/R) The Dilemma of American Music and Other Essays (New York, 1928) Tune in, America (New York, 1928/R) Music in my Time, and Other Reminiscences (New York, 1938) The Quartets of Beethoven (New York, 1947) Sources Boris