is the advance in musical theory, resulting in a more searching classification of details of procedure and a juster appreciation of the technical value of neglected points. Thus, just at the time when the general qualities of races and regions have been eager to find for themselves ampler expression, the study of peculiar rhythms, melodic and harmonic formulæ, specific dance- or song-types, predilections as to choral or instrumental styles, and the like, has become somewhat common and enterprising. The phrase 'national music,' which was once used mainly to describe types of unconscious folk-music, has now been extended to apply to a number of extremely complicated artistic efforts that seek to create for each principal country a somewhat complete musical style and literature of its own. In the nature of things, since music is a universal art, with a large body of technical processes that are common to all styles, and with a literature that is in cosmopolitan circulation, the amount of local variation that is possible is not extensive; but the local types are nevertheless full of interest.
Here is an appropriate place to refer to the formation at Leipsic in
1899 of the Internationale Musik-Gesellschaft, intended to bind together
musical scholars in all lands. This association has drawn into its ranks
a large number of musicians, and has active national branches or 'sections'
in nearly twenty countries. It publishes a monthly Zeitschrift and
quarterly Sammelbande, representing the highest quality of scholarship as
applied to music.
In this connection it should also be said that historical data of the first importance are constantly being supplied by several great serial publications, like the Denkmäler der Tonkunst in Oesterreich (from 1894), the Denkmäler deutscher Tonkunst (from 1892), and several other similar undertakings, each aiming to gather the most significant works of olden time in particular countries and to annotate them so that they may be fruitful objects of study.
The French is one of the most individual of recent groups,
though in the details of expression not specially marked by the
use of purely racial or local peculiarities. Its character inheres
rather in certain large qualities of style—in general elegance
and brilliance of effect, in extremely dexterous harmony and
counterpoint, in ingenious and captivating disposition of both
instrumental and vocal materials, and in great definiteness and
clarity of conception, usually combined with poetic delicacy and
genuine imagination. French musicians have been rigorous
