CORNELL UNIVERSITY LIBRARY MUSIC Cornell University Library ML 3545.E57 An introduction to the study of national 3 1924 022 385 979 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http ://www. arch i ve . o rg/detai Is/cu31 924022385979 AN INTEODUCTION TO THE SIlTDr OF NATIONAL MUSIC. WAINAMOINEN, TH5 OP.PH?U° O" '""" "rxT»Ta : AN INTRODUCTION T& THE STUDY OF NATIONAL MUSIC; COMPEISISG RESEARCHES INTO POPULAR SONGS, TRADITIONS, AND CUSTOMS. CARL ENGEL. LONDON LONGMANS, OkllEN, READER, AND DYER. '.IJDOCCLXVI. ^jg^ > LUNI'OH ; SAVILL ASI) EUTl'ARIlS, PRINTERS, CHAKDOS STRIiKT, COVERT GABDEH. PREFACE. The more a nation advances in civilization and self-esteem, the more will it appreciate the precept put forth by the ancient sages. Know thyself, and the more attentively will it investigate the views and tastes of other nations : since it is especially by observing others that we learn more thoroughly to understand ourselves. Uncivilized nations consider scarcely anything worthy of note except extraordi- nary events, which surprise by their novelty or by their immediate and startling effects. The historical records of such peoples generally consist of accounts of conquests and defeats in battle, and of occurrences which have produced sudden changes in their social life. The conviction that the gradual development of the mental and moral faculties of the people especially deserves consideration, because it affects most deeply the destiny and happiness of man, gains ground only after much experience, and with the increase of knowledge. The interest evinced, since the beginning of the present century, . by several European nations in the popular songs, folk-lore, and other monuments of the mental condition of man in different parts of the world, is therefore a sign of progress not less delightful than the most important discoveries which have been made through the agency of practical science. — viii PEEPAOE. That National Music has hitherto not received the same attention as National Poetry, is scarcely surprising. The researches involved in this subject can be properly carried out only by musicians, who, from the demand made on their practical skill, are generally compelled to devote a great part of their life to exercises merely mechanical. Still, there are at the present day many musicians who find time for cul- tivating the mind as well as the fingers, and Rousseau's laconic remark, Les musiciens Usent Peu* evidently becomes daily less applicable. This book is not, however, intended for professional musicians alone j and the reception which has been accorded to my contribution to the history of music, entitled ' The Music of the Most Ancient Nations,'—a recep- tion much more favourable than I ventured to anticipate gives me hope that the present work also will not be without interest to the general reader. As regards the plan which I have adopted, it will be seen that this volume is confined chiefly to the study of National Songs. In a subsequent volume, to be published as a separate work, I intend to give a description of the most remarkable musical instruments, illustrated by engravings. The field of my labour is so abundantly rich, that I should have preferred to extend the present researches through one or two more volumes, but for the fear that a larger work might prove less acceptable to most readers. This, however, appears to me certain : if the Art of Music, as it exists in the various nations and tribes on the globe, deserves to be carefully investigated and recorded, it is high time that it should be done. Through the spread of civiliza- tion and Christianity the customs and predilections of many races—as for instance the New Zealanders, the natives of the * Dictionnaire de Musique, Prdface. PREFACE. Polyaesian groups, the American Indians, —are becoming rapidly extinct, and will, not long hence, be known only as historical facts. Even in European countries the influence of the educated classes, with the dissemination of scientific knowledge, is daily obliterating more and more the ancient traditions and tastes of the people. There are, however, several countries respecting the popular music of which our information is still very scanty, but from which interesting and valuable particulars will doubtless be gradually obtained. The present work, therefore, can merely claim to be regarded as an introduction to the study of National Music, designed to facilitate subsequent researches in the same field of literature. Unquestionably, a reference to the music of Antiquity will throw light on many facbs relating to this art as we find it cultivated at the present day in different countries, and invest them with an additional interest. Nevertheless, as a frequent recurrence to the music of the ancients would have greatly increased the size of this work, I have thought it advisable to refrain from any notices except such as may be impera- tively required to elucidate a question at issue. Readers who desire more ample information on this point I must refer to the * Music of the Most Ancient Nations,^ already mentioned. It will be seen that I have sought to avoid repetitions of statements given in that book, and that I have not tarried on ground already explored. On the other hand, it appeared to me advisable to notice occasionally some interesting examples from the works of our great musical composers, in which the rules derived from the study of national music are either observed or disregarded. Indeed, for the musician the most important question in pursuits like the present will naturally'be, how to turn them to the best account for the improvement of his art ; and this : PREFACE. point can be ascertained only by carefully investigating, comparing, and sifting every subject under consideration. He would therefore do well to bear in mind Gotbe's excellent dictum, which, though addressed to a painter, is also emi- nently applicable to the musician; for the affinity of the arts is so intimate that certain fundamental rules apply with equal force to all. Moreover, as good poetry, like characteristic National Music, must necessarily lose much of its original charm if meddled with in any way, I shall give Gothe^s lines in German, as he wrote them Du libst die Hand, Du iitst den Bliok ; nun iit' auoli den Verstand. Dem gUicklichsten Genie wird's kaum einmal gelingen Sich durch Natur und durch Instinkt allein Zum Ungemeinen aufznschwingen. Die Kunst bleibt Kunst : "Wer sie nicht durchgedachl, Der darf sicli keiuen Kiinstler nennen. CONTENTS. CHAPTER I. / PAOB V'PKELmiNAEY OBSERVATIONS ON NATIONAL MUSIC 1 CHAPTEE II. ON THE MUSICAL SCALES OF DIFFERENT NATIONS 24 CHAPTER in. ON THE CONSTRUCTION OF NATIONAL TUNES 81 CHAPTER rv. MELODY AND HARMONY 135 CHAPTER V. t'THE PSYCHOLOGICAL CHARACTER OF NATIONAL MUSIC . .167 CHAPTER VI. MUSIC AND POETRY COMBINED 206 CHAPTER VII. t^N NATIONAL DANCES 236 CHAPTER VIII. THE DIFFERENT OCCASIONS ON WHICH MUSIC IS EMPLOYED . 266 CHAPTER IX. AFFINITY BETWEEN THE MUSIC OF CERTAIN NATIONS . .317 CHAPTER X. THE LIBRARY OF NATIONAL MUSIC 369 INTRODUCTION STUDY OF NATIONAL MUSIC. CHAPTER I. PRELIMINARY OBSERVATIONS ON NATIONAL MUSIC. THE term National Music implies that musicj which, appertaining to a nation or tribe, whose individual emotions and passions it expresses, exhibits certain pecu- liarities more or less characteristic, which distinguish it from the music of any other nation or tribe.* Although no people has been found without music of its own, yet the degree of susceptibility and fondness for music, as well as the form and spirit of popular musical compo- sitions, vary greatly in different nations. The characteristics are innate, and, so to say, of indigenous growth. In some instances, however, the popular music of a nation has been considerably modified by foreign influence. Thus, the Moors have exercised perceptible influence upon the Spanish music. Even in the synagogical hymns of the Sephardic Jews, who were expelled from the Spanish Penin- sula at the end of the fifteenth century, distinct traces of the characteristics of Moorish music are still preserved. The original music of the Magyars has undoubtedly been to some extent affected by the Gipsies, by whom it is, even at the present day, chiefly cultivated in Hungary. * The Germans call it Volksmvmk, a, designation which is very appropriate, and which I should have rendered folh-muaic, had this word been admissible. B — PRELIMINARY OBSERVATIONS Again, instances occur where single foreign melodies have been adopted by a nation, and have become, so to say, naturalized. The well-known German ' Dessauer Marseh,' of of Italian origin, is an example. After Prince Leopold Dessau had stormed Turin (Anno 1706), the conquered Italians met him with this march to do him homage. The taking melody pleased the Grerman soldiers, and soon their trumpeters began to blow it upon their [instruments. When it had been transmitted by them to Germany, the people soon germanized its Italian flourishes. It remains a disputed question whether even the English National Anthem is not an acquisition from abroad.* A melody thus transplanted undergoes generally a gradual change, in conformity with the music of the nation by which it has been adopted. A curious instance of this occurred in Courland. Of a number of German songs, translated into the Lettish language, and introduced into Courland by some gentlemen, a few became popular among the peasantry.! After the lapse of a certain number of years these songs exhibited a remarkable change : — originally in major, they were now sung partly in minor, and a rude kind of accompa^ niment was added, as shown in the following example : THE AIR ' BLUHB LIEBES VEILCHEN.' As originally introduced from Germany into Courland.