In no department of musical history has there been more of careless and unverified statement, of unquestioning acceptance of tradition, than in the chronicles of our national music. The author by no means claims to have cleared up the mists which hang over some parts of the subject; he may, however, state that where conflicting tales were told, which could neither be confirmed nor disproved, he has presented both sides of the question without prejudice. The origin of "Yankee Doodle," for example, has not been discovered, but it has been pointed out that many things which have . . .
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