From these citations alone it is evident that there are any number of doctrines now current about nationalism and internationalism in music, theories of all degrees of good sense, part-sense and downright nonsense. Mr. Keller enjoys himself hugely among them. For his views and conclusions, however, I must refer my readers to the article itself; for my own part I can do no more in my limited space than timidly put forward one or two reflections of my own.