[14] 'A View of the History, Literature, and Religion of the Hindoos, by the Rev. W. Ward. Madras, 1863.' P. 62. [15] 'The History of Greenland, by David Crantz. London, 1767.' Vol. I., P. 233. [16] 'Journal of an Expedition to explore the Course of the Niger, by Richard and John Lander. New York, 1844.' Vol. I., P. 366. [17] 'Illustrations of Japan, by M. Titsingh. London, 1822.' P. 201. [18] 'Sagenbuch der Lausitz, von Karl Haupt. Leipzig, 1862.' P. 124. The descriptive music of the Wild Hunt in Weber's opera, 'Der Freisch¸tz,' is probably in the recollection of most musicians. It agrees remarkably well with the popular traditions. [19] 'A View of the History, Literature, and Religion of the Hindoos, by the Rev. W. Ward. Madras, 1863.' P. 160. [20] 'Stimmen des Russischen Volks, von P. v. Gˆtze. Stuttgart, 1828.' P. 17. [21] 'Die Mythologie des Nordens, von K. F. Wiborg; aus dem D‰nischen von A. v. Etzel. Berlin, 1847.' P. 147. [22] 'Volkslieder des Serben, ¸bersetzt von Talvj. Leipzig, 1853.' Vol. II., P. 380. [23] 'Travels in South-Eastern Asia, by Howard Malcolm. Boston, 1839.' Vol. I., P. 205. [24] 'First Footsteps in East Africa, 1856, by Captain Burton, London.' P. 142. [25] 'An Account of the Natives of the Tonga Islands, by Mariner and Martin. London, 1818.' Vol. II., P. 131. [26] 'Icelandic Legends, collected by JÛn Arnason; translated by Powell and Magn˙sson. London, 1866.' P. 631. [27] 'Stimmen des Russischen Volks, von P. von Gˆtze. Stuttgart, 1828.' P. 58. [Illustration] THE STUDIES OF OUR GREAT COMPOSERS. An inquiry into the gradual cultivation of the genius of our great musical composers is as instructive as it is interesting to the lover of music. Before attempting this inquiry, it is advisable to ascertain exactly what is meant by the designation "our great composers." To compose music does not only imply to invent musical ideas, but also to employ ideas which are already invented in such a way as to exhibit them in a new light. Certain modulations, passages, and rhythmical combinations occurring in our musical compositions may be regarded as common property; but how surprisingly original and fresh do they often appear to us through the new way in which they are employed by composers in connection with other ideas! Now, a composer who has the power to construct very beautiful works of art in a certain form, by inventing ideas and by showing in a new light ideas not invented by him, deserves to be regarded as a great composer. However, in order to trace the gradual progress of his genius, it is not sufficient to examine his studies, or, so to say, to watch him in his workshop; we must commence our inquiry further back, and observe him first as a promising child.