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Music from the East. 57
Nevertheless, Spain, with its Alhambra, and its wondrous church (once mosque) at Cordova, its
Alcazar of Seville, its later cathedrals, its splendid : hool of painters—headed by Velasquez—and its affluent and gorgeous world of drama (one which has only of late been fully displayed to us), has not yielded a single universal name to the annals of written music, whether the same be ecclesiastical or theatrical, save the one of Morales; and his to all intents and purposes is a name, and nothing more. That during the past half-century Spain has given to Europe a family of representative artists —the Garcia family—whose power, genius and originality have printed a permanent trace in the record of methods of vocal execution and ornament, may be in some sort the exception which proves the rule.
And yet so early as the fifteenth century, Spain possessed an accomplished theoretical historian in Ramis or Rames de Pareja : a man of such mark and repute, that he was sent for from Salamanca to Italy, by Pope Nicholas the Fifth, to take the direction of a music-school at Eologna la doltay in which learned town he died. A century later, Salinas, the blind musician, probably the greatest among blind musicians on record, was invited by the Cardinal