The Spanish-American songs of further south, of Central America and Mexico, hardly come within our scope, though American composers would be quite justified in drawing upon them for material. A collection recently made by Miss Eleanor Hague, of the American Folklore Society, and published with accompaniments by Edward Kilenyi, does not reveal much beyond the standard of salon music, though in their own home the characteristic environment of Spanish America and the peculiar manner of their performance may add greatly to their effect. To quote Miss Hague: 'To sit in the plaza of some quaint Mexican town on a starry perfumed evening is to realize the significance of highly colored and impassioned utterance. One's blood is fired by the rhythmic quality of the music which floats out from the gaily lighted central pavilion, and the groups of people are a delight to one's eyes: Indians in white cotton clothes, gaudy _serapes_ and big hats; groups of young girls with scarfs over their heads walking about; other groups of young men in the picturesque _charro_ costume, as well as occasional older people of dignified mien. On a bench an exquisitely pretty girl sits beside her mother, with her eyes fixed on space, but quite conscious of the youth in his best embroidered jacket and sombrero, at the further end of the bench, who gazes shyly at her and then looks away with rapture in his eyes. If he has not already begun to "play the bear" under her window he undoubtedly will soon reach that point in his courtship.... In Mexico the guitar is used everywhere for accompanying and also for solos. As a rule in playing accompaniments the natives content themselves with simple harmonies in chord form or as arpeggios; but they have a deep affection for successions of thirds and never seem to tire of their honied sweetness.'