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."