Unwillingly leaving these songs with these few remarks, we turn to the Scandinavian countries, which are closely allied to Germany in their folk-music, yet show a definite though subtle individuality. The Danish songs retain the sincerity of the German, but add, perhaps, a little more lightness of touch, a little more feeling for delicacy of design. Their relation with the songs of the northern Scandinavian countries is tenuous but it can be noticed after a little study. The songs of Sweden are much more individual, though they can hardly be said to surpass the German in any particular. Most popular among them are the famous ‘Neck Polka,’ the spirited ‘Marching Song,’ and the old ballad, ‘Little Karen,’ the last a melody wonderful in its combination of literal musical statement with subtle artistic grace. Norway, most distant of the three countries, has quite naturally shown itself most individual in its folk-music. It is the individuality which many critics have found in the music of Grieg. It bears an air of mystery; one hardly knows whether of the past or of the future. It suggests at times the downrightness of the old Vikings, and at others the ‘atmospheric’ quality of the modern composers. However one may feel about this, it is certain that the spirit is healthy and stimulating. For variety and interest the folk-music of Norway can rank among the best. V The folk-music of the Hungarians has been made universally popular through the Hungarian Rhapsodies of Liszt, who was one of the first to perceive its high artistic possibilities. It has been generally supposed that this folk-music was invented by the Gypsies, who have always been regarded as the Hungarian musicians _par excellence_. Liszt regarded it so. Competent investigators agree that the melodies themselves are the product of the Hungarian people and that the ornaments and stylistic qualities alone have been added by the Gypsies, who, according to this view, are incapable of true invention. It is at least certain that the Gypsies are the representative musicians of Hungary to-day and have wholly stamped Hungarian folk-music with their individuality. It has been said that Hungary has no vocal folk-music--no folk-_song_ at all. This, of course, is true only in a limited sense. But it is certainly true that all the music has a predominantly instrumental character and that the greater portion of it is possible only on instruments. The Gypsies themselves, though usually without formal musical education, are frequently marvellous masters of the violin in their own way. Their love for long and meaningless decoration is famous. No tune enters their keeping that does not emerge covered from beginning to end with trills, shakes, slides, turns, scales, and cadenzas. The _rubato_ instinct among them is very strong. At the same time the rhythmical and dance instinct is almost unsurpassed. And, as anyone familiar with the Rhapsodies well