This is a very interesting popular account of the theory of Chinese music, with numerous wood-cuts illustrating the principal instruments and the mode of musical notation used by Chinese musicians. The author states his aim to have been 'to point out the contrasts or similarity between Western and Chinese music, to present abstruse theories in the least tiresome way, to add details never before published and to give a. short yet concise account of Chinese music.' After an introductory chapter on ancient music in general or rather on the history of European music, which our author believes to have 'gradually risen and progressed with Christianity, ' follows a chapter entitled, 'on Chinese music.' Here we are told that of the ancient music of China nothing remains now but a few abstruse theories, and that, at the rise of the Han dynasty the great music master Chi, whose ancestors had for generations held the same dignity, scarcely remembered anything about (ancient) music but the noise of tickling bells and dancers' drums.' We venture to say, that the author Would have modified his opinions regarding ancient Chinese music very considerably, if he had read Faber's essays on the subject. In the same chapter it is asserted, that ever since the Han dynasty nothing has been done of any value in the sphere of music, either practically or theoretically, that the attempt of Kanghi and Kienlung to revive the study of music in China failed, and that the Chinese people, erroneously supposed to be quite unchangeable in their predilections, have so radically changed in the course of ages, that the musical art, which anciently always occupied the place of honour, is now deemed the lowest calling a man can profess. Serious music, according to Mr. Van Aalst, has been totally abandoned, and the kind of music in which the populace of China. now-a-days delights in, consisting of the deafening noise of gong or drum accompanied by the shrieking tones of the clarinet, requires no scientific study. But as Mr. van Aalst informs his readers at the same time, that ' Chinese music must be divided into two different kinds, ritual 0r sacred music, which is passably sweet and generally of a minor character, and the theatrical or popular music, ' and as he subsequently describes the ritual music now used at Court and at religious ceremonies in the temples of Confucius and elsewhere, we are constrained to assume, either that ritual music is not serious because it is passably sweet, or that his previous allegation, that ' serious music is totally abandoned in China, ' goes for nothing. The next chapter treats the twelve Lii of ancient Chinese music, and we are told that they form ' a kind of semi-diatomic scale of 12 degrees, nearly identical with our chromatic gamut, the only difference being that our scale is tempered, while that of the Chinese is untouched.' Then follow five brief sentences on the pitch of Chinese music, and we learn that 'the present pitch approaches our D (601.5 vibrations per second) as nearly as possible.' Next we have a chapter on the Chinese system of notation, illustrated by diagrams, a few words on the stave, the value of notes, the rests, the time, the signs of alteration of notes, the diatonic gamut, etc