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 natural to them. But during the last century, and especially since about 1850, representatives of other nations and races have become increasingly prominent in composition, introducing turns of expression, peculiarities of temperament, and currents of thought and feeling that are different. This infusion of new forms and materials into current style has been full of picturesque interest and often of essential importance.

None of these modern groups is really homogeneous, all of them consisting of more or less distinct subgroups or sections, each with its native traditions and modes of expression; but in a brief summary they may be treated roughly as units.

The Scandinavian group (Denmark, Sweden and Norway) is the oldest of these modern groups in point of organized artistic life. It attained its first development early in the 19th century under masters who were in close touch with German music, and was for a time only an offshoot of the latter. But from about 1860, especially under the lead of Grieg, it has been diligently cultivating its own peculiar field with enthusiasm. Scandinavian writing has usually shown a tendency to utilize the minor tonality, the abrupt and whimsical rhythms, and the somewhat pathetic, or at least dreamy, emotion of the national folk-songs and dances. Through it all runs a strain of seriousness which may be a reflection of the colder and darker climate of the North, but also the refreshing vigor and sturdiness that belong to a region where mountains and sea are the salient physical features. Conjoined with these pervading racial qualities has been the eminent poetic delicacy and insight of several individual composers, who have found means of touching the heart of the whole musical world by a striking intimacy and depth of imagination, displayed especially in the smaller forms of composition.

In Denmark are to be noted Emil Hartmann [Jr.] (d. 1898), son of a distinguished father (see secs. 205, 213), with 5 operas (from 1867), 3 symphonies, string-concertos and other chamber works, and national songs and dances; August Winding (d. 1899), a fine pianist, with much piano music, including a concerto, 2 symphonies, etc.; Asger Hamerik, born in 1843, since 1871 head of the Peabody Conservatory in Baltimore, with 4 operas, as Hjalmar und Ingeborg (1868), 5 symphonies, 5 Nordische Suiten, many other orchestral and choral works of large dimensions, etc.; Otto Malling, born in 1848, with a symphony, an overture, national choruses with orchestra,