From the beginning of the first chapter:

I purpose to give some account of the books relating to National Music which have been published in different countries. Before entering upon this subject, I venture to submit to the consideration of the intelligent musician a few introductory remarks, which may perhaps be of assistance to him in his perusal of the following survey, in case he should not previously have given particular attention to National Music as a science. Indeed, there is reason to surmise that the subject is rather new to many musicians; at all events, the present essay cannot claim to supply a long-felt want in literature. Still, whoever has obtained some insight into the rich treasures of popular songs and tunes, which have been hitherto but little explored, will probably be convinced that the study of National Music is sure to become gradually more appreciated by the earnest promoters of the art.

As regards the term National Music, it must be remembered that, taken in its widest sense, it designates any music which, being composed in the peculiar taste of the nation to which it appertains, appeals more powerfully than other music to the feelings of that nation, and is consequently pre-eminently cultivated in a certain country. In this sense, Haydn, Mozart, and Beethoven may be regarded as representatives of German National Music; Rossini, Bellini, and Donizetti of Italian National Music; Auber, Boïeldieu, and Hérold of French National Music. However, distinguished composers have developed their style in great measure by studying the works of previous masters of different countries. The peculiar characteristics of the music of the nation are therefore more strongly exhibited in the popular songs and dance-tunes traditionally preserved by the country-people and the lower classes of society, which form the great majority of a nation. These musical conceptions, generally simple and unpretending in construction, often retain their popularity for a long period, since the views and sentiments of the uneducated or simple-minded man are less subjected to external influences than are those of the educated or ambitious man. Thus may perhaps be explained the fact that we find among the rural population in some countries tunes still sung which are known to be above a century old. True, they have been somewhat altered in the course of time. It is surprising that their alteration is not very great, considering that they have been preserved traditionally from mouth to mouth, at least only so by the country-people who own them.

Now, it is with this kind of music, or with National Music in a more strict sense of the term, and not with the elaborate productions of distinguished composers, with which the reader is invited to occupy his attention. But, it may be asked, what is the advantage of carefully investigating such inartistic musical effusions? The reply is: The study of National Music is useful on account of the great originality of popular tunes. Professional musicians have many inducements to compose or perform music which they do not feel, while the untaught peasant will sing when his hearts emotions impel him to it. No wonder that his musical effusions, artless as they may be, should often be a truer expression of feelings than well-constructed productions of clever artists.

The study of National Music is useful on account of the great variety in the popular tunes. This variety is really astounding, almost every nations music having its own peculiar stamp. Through a familiarity with the popular tunes of many countries, so very different from each other, our musical conception becomes enlarged, and we learn more clearly that the rules laid down for our guidance in art are by no means so infallible as they may appear at first sight, but that most of them cannot unfrequently be disregarded with advantageȦ.