Examples of elaborate vocal compositions, with or without instrumental accompaniment, generally performed by an appointed choir of singers and by professional musicians, would probably demand too much space in a compendium like that which has been suggested above; but, at all events, some account might be given of such compositions. Those belonging to the Roman Catholic Church are especially important. The most popular specimens should be pointed out. They are in many instances easily obtainable. True, the most popular ones are by no means generally also the best; but it would be desirable to ascertain accurately the popular taste of the present day. As regards the Chorales of the Lutheran Church, it would be necessary to trace the alterations which they have undergone in the course of time. For this purpose the best Chorale books published in Germany during the 16th and 17th centuries would require especial attention; as for instance, those by Spangenberg, 1545; PrÊtorius, 1604; Hassler, 1607; Schein, 1627; Sch¸tz, 1628; Cr¸ger, 1640, and others. The division of Germany into many little principalities may be the chief cause of the enormous number of published collections of songs for congregational use, since every petty sovereign liked to have in his dominion something exclusive, and the people liked it too. Thus, there is no hymn-book which is universally adopted in the Lutheran Church of Germany, and many publications of the kind are but poor compilations,--at any rate, as far as the music is concerned. The noble Chorale of the time of Luther has gradually lost, by tamperings with its harmony and its rhythmical flow, much of its original dignity and impressiveness. It has suffered especially by the objectionable interludes which the organists introduced, and still introduce, not only between the verses, but also at every line which terminates with a pause in the musical notation. These interludes, which not unfrequently are extempore effusions of the organist, may afford him an opportunity to display his skill in counterpoint, and perhaps his manual dexterity; but they are for this reason all the more out of place in a Chorale. Still, as they constitute one of the characteristics of certain congregational musical performances of the present day, some examples of them should be given in the work.