grown out of civil dissensions and party conflicts. What
scenes do the "Carillon," the atrocious "Carmagnole" and the
"Marseillaise" bring up! The "Carillon" had been Marie Antoinette's
favorite tune: it pursued her from her palace to her prison, startled
her on her way to her trial, and was probably the last sound she heard
as she lay bound under the guillotine.

When not breathing blood and anarchy French popular music has a
wonderful range: it is gallant, mocking, elegant, or full of absolute
nonsense and frivolity. In fact, French music has always been so
intensely national that it would have been impossible for England to
have long borrowed it; and in the days of the Tudors we find English
character beginning to explain itself in those admirable tunes and
ballads which form a regular and successive declaration of English
principles, with their sound piety, broad fun, perfect liberty of speech
and capital eating and drinking. They have neither the wailing grief nor
the boisterous merriment of Celtic music, and they lack entirely the
monotonous tenderness of the Troubadours; but they are full of buoyant,
daring independence, and have a certain _homeliness_ which strikes in a
very powerful manner some chord in the Anglo-Saxon heart.

The cosmopolitan nature of the German speaks to all the world in his
music. Of all national musics it is the grandest and the most developed:
we see this in the position it gives to rhythms. National musics with
undeveloped rhythms are the speech of people just awakening, while
music that has them strongly marked and regularly introduced belongs to
people of fully-matured energies. Only in the _Jodlers_ and _Landlers_
of the Tyrolese, Austrian and Swiss mountains is the original Teutonic
iambic preserved in its purity. In all other German music every kind of
rhythm is met with, no kind being predominant. For the musical language
of Germany embraces not only the few octaves of passion, but the whole
keyboard of existence. It has preludes, symphonies and sonatas for every
phase of life. Nothing smaller than this range would suffice to express
the multiform ideas of a people so thoughtful and cosmopolitan. And
though by this universal sympathy German music may have lost a purely
national life, it is a most sufficing compensation to have gained the
power of expressing the ideas of a whole epoch.

Musical taste in America is in progress of formation. We have no
national music: we have not ev