In the subsequent course of developments, two matters have militated against the ultimate domination of the German influence in American composition. One is the extensive change which has since occurred in the racial nature of the population. Continued immigration from all lands has eventually produced a population too diverse to accept and perpetuate, as its dominant musical character, the tradition of any one nation, however musically great. The other is the amazing musical awakening of all Europe since the epoch of Beethoven, and especially since Wagner, and the consequent deluge of modern music from various nations which has poured in upon American musical life. In view of the infinity of newly revealed possibilities, the American composer has been unwilling to continue to reflect merely the one tradition with which his nation was formerly acquainted, in howsoever high honor that tradition was held. It is to be said, however, that the substantial character of German formal musical construction has exerted, as it should, a permanent influence upon the American attitude toward composition, and one which is certain to operate beneficially upon the creative musical life of the nation. The American point of departure has been one not so much of technical system and ideals generally, as of temperament. A third matter qualifying this emancipation of American music is the unearthing of the mass of aboriginal folk music peculiar to America, particularly that of the Indian and the negro. This has had a far more significant and widespread influence upon composers in America than critics in general have been willing to admit, and many of the strongest works now appearing in this country acknowledge an influence from these sources. The 'American folk-song' discussion arose after what has been termed the classical period of American music, of which J. K. Paine may be considered the founder, and during the period in which the romantic influence, culminating in the work of MacDowell, was beginning to yield to the influence of the ultra-moderns. The factors which broke the exclusive German domination in America were, on one hand, the following up on this side of the water of the musical individuality gained by other European nations, and, on the other hand, the movement for the development of aboriginal folk-song in America. To these causes, some may add a spontaneous climatic influence, but of this there has as yet been no material demonstration.