4, 1v, pf (1906) 6 Love Songs (M.L. Mason), Op. 15, 1v, pf, 1914–15, arr. S, orch (1935) Russians (W. Bynner), song cycle, Op. 18, 1v, pf, 1915–17, arr. Bar, orch (1915–17) Songs of the Countryside (A.E. Housman), Op. 23, chorus, orch (1923) 5 Songs of Love and Life, Op. 36, 1v, pf, (1895–1922) 3 (Nautical) Songs (W. Irwin), Op. 38, 1v, pf (1941) 2 Songs, Op. 41, Bar, pf (1946–7) Soldiers, song cycle, Op. 42, Bar, pf (1948–9) Also wrote ~50 songs without opus numbers. Unaccompanied choral pieces, Opp. 25, 29 Chamber works Sonata, Op. 5, vn, pf (1907–8) Piano Quartet, Op. 7 (1909–11) Pastorale, Op. 8, vn, cl/va, pf (1909–12) 3 Pieces, Op. 13, fl, hp, str qt (1911–12) Sonata, Op. 14, cl/vn, pf (1912–15) Intermezzo, Op. 17, str qt (1916) String Quartet on Negro Themes, Op. 19 (1918–19) Variations on a Theme of John Powell, str qt (1924–5) Divertimento, Op. 26b, wind quintet (1926) Fanny Blair, folksong fantasy, Op. 28, str qt, (1927) Serenade, Op. 31, str qt (1931) Sentimental Sketches, pf trio (Op. 34) Variations on a Quiet Theme, Op. 40, str qt (1939) Keyboard works Birthday Waltzes, Op. 1, pf (1894) Variations on Yankee Doodle, Op. 6, pf (c1911) Passacaglia and Fugue, Op. 10, org (1912) 2 Choral Preludes on Lowell Mason’s Tunes, Op. 39, organ (1941), organ work written for Lowell Mason's sesquicentennial celebrations (one of which was Dort). other piano pieces, Opp. 2, 3, 9, 16, 21, 33 Writings Mason was once "the most widely read author in America of books about music and composers." Mason wrote or co-wrote eighteen books on music, including an autobiography and a number of music appreciation works written for a general audience. His analyses of the chamber music of Brahms and Beethoven have been recognized as insightful. In his more polemical works, he attacked modern music, urged American composers to stop imitating Continental models and find an individual style, and criticized European conductors in America (such as Toscanini) for rarely including American works in their programs. Retrospective analysts of Mason's career have observed that his conservative aesthetic opinions were intertwined with "troubling" rhetoric about national, racial, and religious identity. Mason insisted that America's culture was "Anglo-Saxon" at its core and must not be corrupted by foreign, particularly Jewish and African, influences, such as jazz and ragtime. Although he co-signed a 1921 open letter condemning "a campaign of