The Caribs have the same song
. We find it again in Hungary, although in a still more modified form, thus:
[[MIDI]]
And last of all we meet with it in its primitive state in the folk song used by Bizet in “Carmen.” We can even see traces of it in the quasi-folk song of the present century:
[[MIDI]]
The third element of folk song shows again a great advance, for instead of the mere howl of pleasure or pain, we have a more or less exactly graded expression of feeling. In speaking of impassioned speech I explained the relative values of the inflections of the voice, how the upward skip of the fourth, fifth, and octave indicates the intensity of the emotion causing the cry. When this element is brought into music, it gives a vitality not before possessed, for by this it becomes speech. When in such music this inflection rhymes with the words, that is to say, when the speech finds its emotional reflection in the music, we have reached the highest development of folk song. In its best state, this is immeasurably superior to much of our “made” music, only too often false in rhythm, feeling, and declamation.