Of a larger mold and a more intensive beauty is the lyricism of Marcus Carroll, a composer Irish born but whose entire musical life has been spent in, and belongs to, America. Mr. Carroll's works include several short pieces for orchestra. There is an 'Intermezzo' of melodic and colorful beauty which was played by Anton Seidl, while a 'Dance of the Gnomes' and a 'Valse' have been often heard at the 'pop' concerts in Boston. Besides these there is a 'Romance' for 'cello and orchestra and some part-songs of which the charming cycle of songs for women's voices from Stevenson's 'Child's Garden of Verses,' entitled 'A Child's Day,' have been much sung. Mr. Carroll shows himself in these works to be a most gifted melodist. His style is sincere, straightforward, at times conventional, but there are a warmth of feeling and an abundance of color, grace, and vitality which render his work notably successful. Another foreign-born composer who must be counted in the list of Americans is Edward Manning. Mr. Manning was born in Canada, but came early in life to New York where he studied with MacDowell. The greater part of Mr. Manning's compositions are songs, although there has lately come from his pen a trio for strings and piano which must take rank with the very best of American chamber music. Another larger work of Manning's is an aria, 'The Tryst,' for soprano and orchestra, which has been sung by Louise Homer. Manning has the essential and rare equipment of the real composer, the melodic gift. There is a strong Grieg flavor in his melodies and often in his harmonic treatment of them, but later songs show a tendency to a more advanced modernity. Frank LaForge follows narrowly the path of the German _lied_ composers. With no decided originalities, Mr. LaForge has written many highly artistic songs which often find place in song recital programs, especially in those of Mme. Gadski. The name of Charles B. Hawley is one that for many years has figured largely on American singers' programs. Mr. Hawley has a true melodic vein which runs freely through a large number of songs. His harmonic treatment is, on the other hand, of the most conventional and there is nothing in his works to court criticism of an intimate order. Mr. Hawley in these characteristics stands as typical of quite a large group of American song writers. These composers write fluently, melodically, gracefully, and occasionally attain to a commanding lyrical eloquence, but for the greater part their work lacks distinction and flavor. Always too conventional, sometimes to a point of banality, it cannot contribute much to the upbuilding of a serious art in this country. The group thus described contains such writers as Victor Harris, C. W. Coombs, R. Huntington Woodman, Charles Gilbert Spross, James H. Rogers, Bruno Huhn, James W. Metcalfe, Ward Stephens, William G. Hammond, Franklin Riker, Oley Speaks, Jessie Gaynor, and Edna R. Parks. V