as is the third, the note above the second. Thus is formed
the pentatonic scale as it is found all over the world, and
it is clear, therefore, that the development of the scale is
due to emotional influences.

The development of rhythm may be traced to the words sung
or declaimed, and the development of design or form to the
dance. In the following, from Brazil, we find a savage chant
in almost its primitive state:

[Figure 15] etc.

The next example, also from Brazil, is somewhat better, but
still formless and unemotional.

[Figure 16] etc.

Let this be danced to, however, and the change is very marked,
for immediately form, regularity, and design are noticeable:

[Figure 17] etc.

On the other hand, the emotional element marks another very
decided change, namely, by placing more sounds at the command
of the singer, and also by introducing words, which necessarily
invest the song with the rhythm of language.

Thus the emotional and declamatory elements heighten the
powers of expression by the greater range given to the voice,
and add the poignancy and rhythm of speech to song. On the
other hand, the dance gives regularity to the rhythmic and
emotional sequences.

In the following examples we can see more clearly the elements
of folk song as they exist in savage music:

Three or four note (simple)

South America [Figure 18]
Nubia [Figure 19]

Emotional (simple)

Samoa [Figure 20]

Emotional and Composite

Hudson's Bay [Figure 21]
Soudan [Figure 22]

Howl and Emotion

[Figure 23]

Dance. Brazil
[Figure 24]
Simple [Figure 25] or
Dance [Figure 26]

The fact that so many nations have the pentatonic or five-note
scale (the Chinese, Basque, Scotch, Hindu, etc.), would seem to
point to a necessary similarity of their music. This, however,
is not the case. In tracing the differences we shall find
that true folk song has but few marked national traits, it is
something which comes from the heart; whereas nationalism in
music is an outward garment which is a result of certain habits
of thought, a _mannerism_ of language so to speak. If we look at
the music of different nations we find certain characteristics;
divest the music of these same characteristics and we find
that the figure upon which this garment of nationalism has
been placed is much the same the world over, and that its
relationship to the universal language of savage music i