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Page 54
[Figure 28]
The last type of nationalism in folk song is almost a negative
quality, its distinguishing mark being mere simplicity,
a simplicity which is affected, or possibly assimilated, by
the writer of such a song; for German folk song proper is a
made thing, springing not from the people, but from the many
composers, both ancient and modern, who have tried their hands
in that direction.
While this of course takes nationalism out of the composition
of German folk song so-called, the latter has undoubtedly gained
immensely by it; for by thus divesting music of all its national
mannerisms, it has left the thought itself untroubled by quirks
and turns and a restricted musical scale; it has allowed this
thought to shine out in all its own essential beauty, and thus,
in this so-called German folk song, the greatest effects of
poignancy are often reached through absolute simplicity and
directness.
Now let us take six folk songs and trace first their national
characteristics, and after that their scheme of design, for
it is by the latter that the vital principle, so to speak, of
a melody is to be recognized, all else being merely external,
costumes of the different countries in which they were born. And
we shall see that a melody or thought born among one people
will change its costume when it migrates to another country.
Arab Song
[Figure 29]
Scheme [Figure 29a]
Russia--Reiteration
[Figure 30]
[Figure 31]
Red Sarafan
[Figure 32]
Scotch
[Figure 33]
[Figure 34]
Irish--Emotional in character, with greater perfection in design
[Figure 35]
Spanish
[Figure 36]
Egyptian
[Figure 37] (Note augmented intervals)
The characteristics of German and English folk songs may be
observed in the familiar airs of these nations.
The epitome of folk song, divested of nationalism, is shown
in the following:
[Figure 38]
[12] The antiquity of any melody (or its primitiveness) may
be established according to its rhythmic and melodic
or human attributes.
XII
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