an Argentine is first introduced to a Christian family, they at once invite him to the piano, or hand him a guitar, and if he excuses himself on the ground that he not know how to play, they express wonder and incredulity, saying, "An Argentine, and not understand music!" This general supposition bears witness to our national habits. It is the fact, that the young city people of the better classes, play the piano, flute, violin, or guitar: the half-breeds devote themselves almost wholly to music, and many skillful composers and players have sprung up among them. Guitars are constantly heard at the shop-doors on summer evenings; and late in the night, one's sleep is pleasantly disturbed by serenades and peripatetic concerts.
The country people have songs peculiar to themselves. The "Ariste," prevalent among the people of the northern districts, is a fugue melody expressive of lamentation, such as Rousseau considers natural to man in his primitive state of barbarism.
The "Vidalita" is a popular song with a chorus, accompanied by the guitar and tabor, in the refrain of which the bystanders join, and the number and volume of the voices increase. I suppose this melody originated with the aborigines, for I once heard it at an Indian festival at Copiapo, held to celebrate Candlemas. As a religious song it must be very old, and the Indians of Chili can hardly have adopted it from the Spaniards of the Argentine Republic.
The "Vidalita" is the popular measure for songs about the topics of the day, or for warlike odes; the gauchos compose the words which they sing, and trust to the associations which the song arouses, to make
