VIII. SUMMARY.
In this brief study of folk-songs we have noted that the stream of pure native melody was independent of the art-song and followed its own natural channel, but that, in spite of its limitation, presents to us some well developed formal types.
We have seen how important a part modulation plays in the plan of a piece of music, and how, by means of a change of key, a new kind of variety may be imparted to a melody.
We have observed how closely the old songs reflect the characteristics of the people who produced them, and how intimate was the connection between the songs—with the verses to which they were set—and the thoughts and feelings of those who used them.
In studying the German folk-song we have observed a subtle element of form, namely, the shifting of a motive from one part of a measure to another.
In the next chapter we shall take up the study of simple polyphonic pieces, such as have already been referred to in dealing with the round, "Three Blind Mice."
SUGGESTIONS FOR COLLATERAL READING.
Parry: "The Evolution of the Art of Music," Chapter III; Grove's "Dictionary of Music and Musicians," articles "Song" and "Form."
FOOTNOTES:
[1] Sir Hubert Parry in "The Evolution of the Art of Music."
[2] Such as Schubert's "Haiden-R?slein."
[3] The reader will find an account of these modes in Grove's Dictionary of Music under "Modes, Ecclesiastical."
[4] In Hadow's "Songs of the British Islands" (Curwen & Co., London).
[5] The first partial measure is counted as one.
[6] The partial measure at the beginning is counted as one.
CHAPTER III.
THE POLYPHONIC MUSIC OF BACH.
We have seen in the last chapter some typical examples of folk-songs, which have served to give us an impression of folk-music in general, since it always conforms, in all essentials, to the type they illustrate. Folk-music is generally simple and unsophisticated in expression; it is generally cast in short and obvious forms; and it generally consists of a single melody, either sung alone or accompanied, on some primitive instrument, by a few of the commonest chords.
The prominence given to a single melody by music of this type, however, makes it unsuitable for groups of different voices, such as a vocal quartet or a chorus; and therefore when musicians began to pay attention to music intended for church use they had to work out a different style, in which several parts, sung by the various voices, could be strongly individualized. This led to what is called the "polyphonic," or "many-voiced" style. Another reason why the ecclesiastical style always remained unlike the secular was that the learned church musicians disdained any use of those methods which grew up in connection with folk-songs and dances, considering them profane or vulgar. Had they been willing to study them, they might have added much vitality to church music; but they maintained an attitude of aloofness and of contempt for the popular music.