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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1910 edition. Excerpt:...Still later, in 1861, the conductor Pasdeloup instituted his " Concerts populaires," which came to an end in 1884. The same field was taken up about this time by Colonne and Lamoureux, whose concerts still continue to rank among leading French musical institutions. The revolution of 1789 gave a great impetus to the musical art. Numberless patriotic songs came as a result of it, the most famous being the " Marseillaise," written by Rouget de l'Isle, an officer of engineers. To the Revolution is also due the founding of the Paris Conservatoire. To the same source may be traced the popular taste for the opera comique, the bourgeoisie favoring that form rather than grand opera. Since 1860, concert (that is, a " standard ") pitch has been prescribed by the French government. Albert Lavignac, in his admirable work entitled Music and Musicians, has ascribed to the three great schools of music, the German, Italian, and French, the following characteristics: Germany is heir to the old contrapuntists; to her belong scientific music, profound and philosophic combinations. Italy cultivates, above all things, melody; the art of singing specially attracts her; hers is the facile and seductive music. France seeks purity of style, emotion and sincerity of expression. Of later years, France seems to have fallen away from the broader lines as here laid down and to have followed after strange gods. The purity of style is no longer so much in evidence. True, the earlier moderns such as Franck, Saint-Saens and Massenet have continued after the manner of their predecessors, but the ultra-moderns D'Indy, Debussy, and Faure have favored a rather weird harmonic structure, which has become recognized as typical...