New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-07-06
CHAPTER I.

The decks having been cleared for ac-
ton in the PREDATORY chapter printed last
week the investigation into the nature
and origin Of what the title Of these
articles calls Afro-American Folksongs
may now begin. II will be we'll to have
an agreement at the outset to forefend'
so tar as possible. against misconceptions
of terms and aims hereafter. 1t is es-
sential, nots only 10 an understanding OF
the argument but also to a necessary
limitation of the scope of the investiga-
ton, that the term ''folksong" be defined
The definition must not include too much
lest at the last IL prove TO compass 100
little. SO far as possible the method OF
presentation must be rational and scien-
tiho rather than rhetorical and senti-
mental and the argument be directed
straight and unswervingly toward the
establishment Of facts concerning single
and distinct body Of song, regardless of
any other body, even though the latter be
closely related or actually derived from
the former.
1t is very essential that the word folk
song be understood as having as dis
tinctive a meaning as folklore, myth
legend or Mdrchen-which last word, for
the sake of accuracy, English folklorists
have been forced to borrow from the Ger
mans. 1t will also be necessary in this
exposition TO appeal to the Germans 10
enforce a distinction which is ignored or
set aside by the majority of English
writer's on folksong-popular writer's, that
is. The Germans who write accurately
on the subject call what I would have
understood TO be folksong dds Volkshed;
for a larger body of song which has com
munity of characteristics with the FOLK
song but is not of it, they have the term
UolkSthumlicheS Lied. This body OF song
embraces all vocal compositions which
have come to be so fondN liked. loved
admired by the people that they nave
become a native and naive popular utter
ance. So generous, indeed. is the term
that II embraces not only the simple
songs based on genuine folksong texts
which musicians have set to music, ana
the large number Of artistic compositions
which initiate the sentiment and structure
of folksongs, but also many lyrics maze
with conscious art by eminent composers
In the family circles of Germany and at
popular gatherings one may hear not only
Slcher's setting of "Zu Strasburg auf
der Schanz" (which is music set by an
artist to a folkpoem), but the same COM
poser's melody TO Itch weiss NIGHT was
sell es bedeuten" tan artificial folkpoem
by Heine) Weber's 'Wir winden dir den
Jungfernkranz' and Schuberts Am
Brunnen vor dem Thore" (Which are ar
tistic products in conception and execu-
tom. The English term popular song
might we'll and properly be used as
synonyme for the German term and be
applied TO the same kinds of songs IN
English without prejudice to the scientific
"folksong" were 1t not for its DEGRADED
and degrading association with the vui-
gar music hall ditties. These ditties,
which wise Providence has cursed with
o. the blessing of transientness have COM
partnership in this study with the so-called
coon songs" and "ragtime tunes in
which some of the elements Of the Afro
+ American folksongs are employed.