The "Tambourin," for instance, an old French dance of Provence, was played by one performer, the melody with one hand on the "galoubet," a kind of pipe or flageolet, and the accompanying rhythm with the other on a small drum. The quotation in Figure XV, taken from Wekerlin's collection, "Echos du Temps Pass?" (Vol. III), is a good example of this ancient dance. In this arrangement for piano, the left hand imitates the drum, and the right hand the "galoubet" or pipe. This quotation illustrates the common use of dance melodies in songs. Many primitive airs were so used in the olden times.

II. PRIMITIVE DANCES.

The rude dances which spring up spontaneously in all communities, savage as well as civilized, and of which we in America have examples in the war-dances of Indians and the cake-walks of negroes, are thus seen to be pregnant of influence on developed musical art, no less than the folk-songs which we discussed in the second chapter, and the more academic music in the polyphonic style which we treated in the third. Both songs and dances, indeed, sometimes enter into artistic music even in their crude form, but in most cases composers treat them with a certain freedom, and in various ways enhance their effectiveness, as Haydn, for instance, treats the Croatian folk-tune "Jur Postaje," in the Andante of his "Paukenwirbel" Symphony. In Figure XVI the reader will see both the crude form of the tune and the shape into which Haydn moulds it for his purposes.

"Jur Postaje."

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HAYDN'S Version.

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FIGURE XVI.