Since the time of the sixteenth century choral school, Spain's place in the history of music has not been particularly impressive. That a change has come about in the musical status of this nation is demonstrated by the fact that two concerts devoted wholly or in part to the keyboard music of Spain will be given here this week. Thursday evening George Copeland, celebrated for his interpretation of the modern Spaniards, will play a program in Jordan Hall including several compositions of this school. We are primarily interested, however, in Joaquin Nin-Culmell's concert of Spanish music from Cabezon to the moderns which will be given in Paine Hall Friday evening.

The Diferencias by Cabezon is the earliest composition on the program and represents the work of one of the first great figures in Spanish music. It also typifies one of the first forms in which keyboard music was composed. Writing variations on a melody was of course a very obvious way of employing in extended compositions the capabilities of these newly developed instruments. Its ascetic reserve, the strong influence of vocal style, and the simple form of Cabezon's compositions give them a quiet charm characteristic of early keyboard music.

After the sixteenth century the Spanish school as such disappeared, eclipsed by the other European idioms. Compositions from the seventeenth and eighteenth centuries will be played on Friday's concert, but we are unfamiliar with the pieces which have been selected.

When a distinctly nationalistic school began to develop in Spin, the stimulus came at first from outside. In their search for folk-songs and new and exotic types of musical material the musicians of the late nineteenth century, especially the colorists of Russia and France, exploited the brilliant melodies and rhythms of Spanish popular song. The number of French and Russian compositions at the end of the last century with titles like Spanish Caprice, Spanish Symphony, Espana, and Iberia demonstrates how potent an influence the Spanish idiom had become.

As if stimulated by foreign recognition of their musical possibilities, Spaniards, began to apply themselves with greater success to serious composition. By combining characteristics of their national folk song with a basic European idiom the modern Spanish school has developed a brilliant style full of highly decorated melodies and dancelike rhythms. . . Selections from Iberia by Albeniz are the only familiar pieces from the modern group, which includes works by Rodriguo, and Rodolpho and Ernesto Halffter.

A much more traditional program will be given tonight at the Longy School by Miss Huminston, contralto, who will sing works of Brahms, Purcell, and Vaughn-Williams. The accompanist, Mr. Heiber, will play the Beethoven Sonata in C major, Op. 2, no. 3.