The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1920-03-13
FOLK MUSIC

/ YIN n1Oo4O.
As Tar back as we may 20 in thu
tory of European civiliyat on, we fin
races Of the use Of song in eommo
'ife. The same instinct for musies'
Nprcss;on that is universal among un
ivilizcd men, persists in civilized co"
litiOns. Song springs forth spOntanc
1uSly as the voice of the ordinary sen
lIents Of domesti" auI communal life
mbodying the feelings belong to what.
yer occupies man : interest with in
cnsity. II beguiles labor and lOneli.
ness, and enlivens all sorial festivity
IL gives outlet to exuberant vitality
md brings TO light that love for the
beautiful and the ideal that is latcn.
n healthy natures. II passes over
readily into dancing-the rhythm and
motion Of the voice fitting closely with
expressive movements of the body. IL
also turns easily 10 the use of what
ever instruments the singers wit suf-
fees to fashion.
Folk music tends TO associate itself
with several lines of effort that in moro
highly developed conditions are quite
distinct from music. II is always re-
lated to udimentary literature of
every kind. 1t is apt TO reflect vividly
religious beliefs and superstitions and
practices.
Folk music has been more notable at
certain times than at Others and among
certain PepOles. In the later Middle
Ages among such racial groups as the
kelts, Tcutons and some Others the in
icrest in popular songs and dances was
- widespread that formal music was
finally forced to reckon with it. This
mcdiaeval influence became important
- the 10th century approached and
continued potent long afterward
The various branches of the Kettle
stock have been ALWAYS musical This
influence Las been strong in France
from the TroubadOur time and TO IL is
{" be attributed some part of the
French capacity for gay. piquant and
brilliant song and dance that has been
notable since the 18th century. In
Wales, Ireland and Scotland. the inter.
ference Of formal styles has been so
slight. or so long DELAYED that extern
sivc literature of folk music have ac-
rumulatcd and have been highly val
ted. Just what relation this has to the
history of English music j. not clear.
hut that i has been useful factor
ran hardly be doubted.
still more important is the gift of
folk music among the Germans. The
healthy sturdinesS of the ancient leu
'on-virile. asSertive, masterful. vet
also tender, reflective and religious
continued for centuries to express it.
'clf in every sort of music with earnest
less and grace that have become pro.
crbial. This was the soil in which /
he Minnesinger hourished. This gave
haracter to the first German expert
nents in counterpart. This deter.
mined the form of music of the Re
Even now. in spite of the
'cryalener everywhere of more artistic
orms, the pcasnntry in Germany and
and the Tyrol continued 10
herish sOngs and dances that aIe full
# artlcss charm. The value of this
o the gedcral art of music cannot he
omputcd.
That which distinguishes folk music
5 its essential naivete.
Its production is unconscious, I'M
tudied, unfettered by rules.
Although particular specimens often
equirc precise and permanent shape,
ley can seldom be traced TO an indi-
'idual author, and their preservation
Oes not depend upon any process Of
transcription. They seem to spring
p by common consent, TO be perfected
" common effort, and to persist by
mere tradition.