emotion. Five characteristic
examples are herewith cited:

[Music: I]

[Music: II]

[Music: III Harmonized by RIMSKY-KORSAKOFF]

[Music: IV]

[Music: V]

This last melody is of particular significance, because Tchaikowsky
has used it so prominently in the Finale of his Fourth Symphony.

The growing interest in folk-music in America is a tendency concerning
which the progressive student should inform himself. For a national
basis of creative work, our country has always been at a disadvantage
in comparison with nations which, as their birthright, have much music
in their blood. Moreover, with the exception of the tunes of the
aboriginal Indians and the plantation melodies of the Negroes, it has
been asserted that America could boast no folk-songs. Recent
investigations have shown, however, that this is not entirely true.
Cecil Sharp, Henry Gilbert, Arthur Farwell and other musical scholars
have proved that there are several regions of our country, settled by
colonists from England, Ireland and Scotland, where folk-songs exist
practically in the condition in which they were first brought over.
One of the best collections of such material is the set of so-called
_Lonesome Tunes from the Kentucky Mountains_, taken down by Miss
Lorraine Wyman and Mr. Howard Brockway directly from the mountaineers
and other dwellers in that region. These melodies have great
individuality, directness and no little poetic charm. It is certainly
encouraging to feel that, in this industrial age, there are still
places where people express their emotions and ideals in song; for a
nation that has not learned to sing--or has forgotten how--can never
create music that endures.

CHAPTER III

POLYPHONIC MUSIC; SEBASTIAN BACH

We have traced, in the preceding chapter, some of the fundamental
principles of design in musical expression, as they were manifested in
the Folk-music of the different nations. All music of this type was
homophonic, _i.e._, a single melodic line, either entirely
unaccompanied or with a slight amount of instrumental support. Hence
however perfect in itself, it was necessarily limited in scope and in
opportunity for organic development. Before music could become an
independent art, set free from reliance on poetry, and could attain to
a breadth of expression commensurate with the growth in other fields
of art, there had to be established some principle of development, far
more extensive than could be found i