[28] The example quoted, together with others equally beautiful, may be found in the collection edited by the Scottish composer, Hamish MacCunn. See, as well, the Cycle of Old Scotch Melodies arranged for four solo voices with pianoforte accompaniment by Arthur Whiting.
[29] For Irish folk-songs the best collections are the one by Villiers Stanford and a Cycle by Arthur Whiting, prepared in the same way as that just cited on Scottish melodies.
[30] Taken from an excellent collection of Chansons Populaires edited by Julien Tiersot.
[31] The best popular collection of Hungarian melodies is that by Francis Korbay, the texts for which were translated and arranged by the American novelist, J.S. of Dale. It is well known what artistic use has been made of Hungarian melodies and rhythms by Schubert, Liszt and Brahms.
[32] The statement might be qualified by saying that, since Beethoven, instrumental style has become a happy mixture of homophony for the chief melodies and polyphony for the supporting harmonic basis. Stress is laid in the above text on the polyphonic aspect merely to emphasize the matter under discussion.
[33] Notable names are Léonin and Pérotin, both organists of Nôtre Dame at Paris.
[34] Although this is not the place to set forth all the details of this development, in the interest of historical justice we should not think of Bach without gratefully acknowledging the remarkable work of such pioneers as the Dutchman, Sweelinck (1562-1621), organist at Amsterdam; the Italian, Frescobaldi (1583-1644), organist at Rome, and—greatest of all, in his stimulating influence upon Bach—the Dane, Buxtehude (1636-1707), organist at Lübeck. Sweelinck and Frescobaldi may fairly be called the founders of the genuine Fugue, and there is a romantic warmth in Buxtehude's best work which makes it thoroughly modern in sentiment.
[35] In connection with the statement that music has developed according to natural law, it is worth noting that the four-part chorus early became the standard for both vocal and instrumental groups for the simple reason that there exist two kinds of women's voices—soprano and alto, and two of men's voices—tenor and bass. Originally, the chief voice in the ecclesiastical chorus was the tenor (teneo), because the tenors sustained the melody. Below them were the basses (bassus, low); above the tenors came the altos (altus, high) and still higher the sopranos (sopra, above).
[36] The best edition is that by Busoni, published by Breitkopf and Härtel.
[37] This technical term as well as others will later be more fully explained.