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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
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Scheme
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