This, however, cannot be felt by the million, to whom any musical instruction will be a gift of unspeakable value, in a social and moral point of view. The Committee of the Council well observe, that "amusements which wean the people from vicious indulgences are in themselves a great advantage; they contribute indirectly to the increase of domestic comfort, and promote the contentment of the artisan. The songs of any people may be regarded as important means of forming an industrious, brave, loyal, and religious working-class." Mr Barnett calls this, "nothing but egregious cant, got up by the teachers of the Wilhelm plan, both in France and here." In this we cannot agree with Mr Barnett, and we scarcely understand why he should be betrayed into so much heat upon the occasion. For ourselves, we rejoice to see any system at work for the purpose of instructing the working classes in the elements of music; and it seems to us a monstrous proposition, and nothing short of an insult to our countrymen, on the part of the prominent opposer of the Wilhelm system, to assert that the knowledge or cultivation of an art, which throughout all history has advanced hand in hand with civilization and refinement, should, among the labouring classes of England, be productive only of idleness, drunkenness, or debauchery. The instruction of the lower classes in vocal music, however beneficial and important as an element in civilization, or however advantageous as a means by which the general taste of the people may be elevated and refined, will not be found all-sufficient, in itself, to raise our musical reputation as a nation. Native music is at a low ebb at present; and, while musical entertainments are in such general request as almost to have excluded the "legitimate" drama from the stage, no attempt to introduce any English opera has been recently made. Into such oblivion or disrepute have English composers fallen, that some of the most eminent have actually left London. One well-known veteran now lives in honourable retirement in the Modern Athens. Another, once popular and admired, "disgusted with London and the profession," and "having given up all thoughts of again appearing before the London public as an operatic composer," is said to have migrated in the capacity of singing-master to a fashionable watering-place; while a third, once equally well known, has left the kingdom altogether, and has settled himself in Paris. The public ear has learned to appreciate music of a high class; and, judging from the past, the manager perhaps dare not incur the risk of bringing out a new native opera. It is certainly much to be regretted that the existing demand should not be supplied from native sources, and thus serve the purpose of national advancement in the art; but English music does not _take_. Does the fault rest with the public or with the musician? It is easy, and no doubt _convenient_, contemptuously to apply the epithet, "_hacknied_," to the operas