=The Gallo-Belgic and the Netherlands Schools Compared=.—The Gallo-Belgic school, in the control of churchmen, was isolated from any influence tending to develop a broad emotional scheme. And it is doubtful whether it could have caused any change in musical evolution, for the technical forms were not ready. And so the Gallo-Belgic school, in its retirement from the great world activities, confined itself to attaining the power to manipulate notes, for the sake of mere technical effects, leaving emotional development entirely out of consideration. With such a school, while its work was important, no real art feeling could be gained; and so the school of the Netherlands marks the departure into a new romantic school governed, to a great extent, by the emotional. The Netherlands, because of their more comprehensive view of the musical activities of the past and their constant intercourse, commercially and artistically, with all nations, acquired a more human sense of the beauty of music, and ceased to manipulate musical material for technical ends, producing instead of cold, lifeless forms, music pulsing with vigor, life and emotion. With this primary change of view-point came a direct growth of form, the Canon being perfected and immediately giving birth to the Fugue; the Madrigal and Canzona and many other lesser forms sprang into being, all capable of emotional development, and almost immediately producing great results. For the first time music was free from consecutive fourths, fifths and octaves because composers created from the standpoint of emotional beauty and not that of technical utility. The result was a musical technic capable of development, and refined beyond need of further reformation.