Such depressing musical antecedents have not prepared New England for greater efforts of melody than are to be found in the simple ballads supposed to originate with the plantation negro, who, in addition to his other burdens, is thus chosen to assume the onerous one of Northern song, as being the only creature frivolous enough to indulge in vain carolling. If we can scarcely affirm that the Americans are yet a musical people, that they would be is an undeniable fact, and one constantly evinced in their lavish support of artists, from the highest to the lowest grade. Among the musical aspirants to popular favor, none has of late enjoyed so large a share of notice and admiration as Mr. Gottschalk; and to return from our recent digression, we will proceed to the consideration of his compositions. Fragmentary and suggestive as are his ideas, there is infinite method and system in their treatment. Avoiding thus far what is termed '_sustained effort_,' and which frequently implies the same demands on the patience of the listener as on the creative power of the composer, Mr. Gottschalk's compositions contain just so much of the true poetic vein as can be successfully digested and enjoyed in a piano piece of moderate length. With the power to conceive, and the will and discipline of mind to execute, there is no reason why, with perhaps a diminished tendency to fritter away positive excellence at the shrine of effect, enduring proofs of the genius of our American pianist should not be given to the world.