Next to these two kinds follows the song-music of the Gael, to which reference has been made already. It abounds in all parts of the Highlands, and is partly secular, partly sacred. There are beautiful, simple, touching airs, to which the common songs of the country are sung, and there are airs of a similar class, but distinct, which are used with the religious hymns of Buchanan, Matheson, Grant, and other writers of hymns, of whom there are many. The dance music of the Highlands is also distinct from that of any other country, and broadly marked by its own peculiar features. There is the strathspey confined to Scotland, a moderately rapid movement well known to every Scotchman; there is the jig in 6/8th time, common to Scotland with Ireland; and there is the reel, pretty much of the same class with the Strathspey, but marked by greater rapidity of motion. There is one thing which strikes the hearer in this music, that there is a vein of pathos runs through the whole of it. The Celtic mind is largely tinged with pathos. If a musical symbol might be employed to represent them, the mind of the Saxon may be said to be cast in the mould of the major mode, and the mind of the Celt in the minor. The majority of the ordinary airs in the Highlands are in the minor mode, and in the most rapid kinds of music, the jig and the reel, an acute ear will detect the vein of pathos running through the whole. In sacred music there is not much that is distinctive of the Celt. In forming their metrical version of the Gaelic Psalms, the Synod of Argyll say that one of the greatest difficulties they had to contend with was in adapting their poetry to the forms of the English psalm tunes. There were no psalm tunes which belonged to the Highlands, and it was necessary after the Reformation to borrow such as had been introduced among other Protestants, whether at home or abroad. More lately a peculiar form of psalm tune has developed itself in the North Highlands, which is deserving of notice. It is not a class of new tunes that has appeared, but a peculiar method of singing the old ones. The tunes in use are only six, all taken from the old Psalter of Scotland. They are--French, Dundee, Elgin, York, Martyrs, and Old London. The principal notes of the original tunes are retained, but they are attended with such a number of variations, that the tune in its new dress can hardly be at all recognised. These tunes may not be musically accurate, and artists may make light of them, but sung by a large body of people, they are eminently impressive and admirably adapted to purposes of worship. Sung on a Communion Sabbath by a crowd of worshippers in the open air, on the green sward of a Highland valley, old Dundee is incomparable, and exercises over the Highland mind a powerful influence. And truly, effect cannot be left out of view as an element in judging of the character of any music. The pity is that this music is fast going out of use even in the Highlands.