ythm were determined by the
emotion evoked by the dramatic circumstance. The simplest resultant of
this directive emotion in music is a pulsating rhythm on a single
tone. Such songs are not random shoutings, but have a definite meaning
for those who sing and for those who listen, as in this Navaho ritual
song.

[Music]

From this extremely simple expression the growth of the musical motive
can be traced in these Indian songs through the use of two or more
tones up to the employment of the full complement of the octave.[12]

[Footnote 12: A careful analysis of hundreds of aboriginal songs,
gathered from the arctic seas to the tropics, shows that in every
instance the line taken by these tones is a chord-line where the tones
are harmonically related to each other. Out of these related tones the
untutored savage has built his simple melodies. The demonstration of
the interesting fact that "the line of least resistance" in music is a
harmonic line was made by my late associate, Professor John Comfort
Fillmore.]

[Music: A PRAYER FOR RAIN.

_Mexico. Tarahumare._

From DR. CARL LUMHOLTZ.]

[Music: SONG.

_British Columbia. Kwakiutl._

PROF. J.C. FILLMORE.]

The creation of that which we know as musical form seems also to be
due to the influence of story upon song. We have already noted how the
directive emotion started the distinctive rhythm and determined the
order of the related tones, and so constructed the motive or theme.
But neither the rhythm nor the simple motive could express the
_movement_ of the dramatic story: hence we find this expressed by the
repetition, modification, and variation of the motive, the growth of
the phrase, the formation of the clause, and the grouping of clauses
into a period,--in fact, the outline of the form upon which all our
culture music is built. Culture music, however, shows an intellectual
control of emotion, a power of musical thinking, the enlarging and
embellishing of musical form,--a form, nevertheless, which we find
outlined, more or less clearly, in the songs of the untutored red man.
The difference between these spontaneous Indian melodies and the
compositions of the modern masters would seem to be not one of kind,
but one of degree.

As these songs are from a race practically without musical
instruments,--for the drum and rattle were used only to accentuate
rhythm,--they are representative of the period when the human voice
was the sole means of musical expressio