Among the Peruvians the beautiful Quichua dialect, like the melodious language of the Aztecs, encouraged the _haravecs_ or poets to compose the verses which were sung at religious festivals and at the table of the Inca. And, as in Mexico, music was intimately associated with religious dancing and ceremony. It played its part in the elaborate ritual of the Incas’ sun worship. However, little information is available concerning the development of the Inca music or that of the Aztecs before the Conquest. The Quichua and Aimara Indians of the present day are still passionately fond of music, singing and dancing to the accompaniment of the _quena_ (Peruvian flute) and guitar; and phrases of the traditional minstrelsy of the Inca haravecs may 'have been borne down the tide of rustic melody to these later generations.’ Their songs are in the ancient five-tone scale known as the pentatonic, which they have probably inherited from their proud ancestors, together with a fondness for triple rhythm, sole traces of the music of that brilliant state which sank before the power of Spain. Concerning the music of China, of Hindustan, and of the Mohammedan Orient we have definite information. The people of these countries have not been, like the Aztecs of Mexico or the Incas of Peru, either swept from the face of the earth or thrown back into a drowsy barbarism. Their own civilizations live on beneath a surface decay. They have ideals of tradition, of permanence, of racial habit, quite different from those accepted by our standards of progress and original development, which have fenced in their music from all Occidental influences. Only a few hardly noticeable variations in instrumentation and choreography mark the touch of time. Notation, rhythm, and design have remained for ages immutably the same.