The fifth type, like the fourth, is open to the objection that it is merely a phase of the oriental type.  It consists of the incessant use of the augmented second and diminished third, a distinctively Arabian characteristic, and is to be found in Egypt, also, strange to say, occasionally among our own North American Indians.  This, however, is not to be wondered at, considering that we know nothing of their ancestry.  Only now and then on that broad sea of mystery do we see a half submerged rock, which gives rise to all sorts of conjectures; for example, the custom of the Jutes to wear green robes and use fans in certain dances, the finding in the heart of America of such an Arab tune as this: 

    [Figure 27]

or such a Russian tune as this: 

    [Figure 28]

The last type of nationalism in folk song is almost a negative quality, its distinguishing mark being mere simplicity, a simplicity which is affected, or possibly assimilated, by the writer of such a song; for German folk song proper is a made thing, springing not from the people, but from the many composers, both ancient and modern, who have tried their hands in that direction.

While this of course takes nationalism out of the composition of German folk song so-called, the latter has undoubtedly gained immensely by it; for by thus divesting music of all its national mannerisms, it has left the thought itself untroubled by quirks and turns and a restricted musical scale; it has allowed this thought to shine out in all its own essential beauty, and thus, in this so-called German folk song, the greatest effects of poignancy are often reached through absolute simplicity and directness.

Now let us take six folk songs and trace first their national characteristics, and after that their scheme of design, for it is by the latter that the vital principle, so to speak, of a melody is to be recognized, all else being merely external, costumes of the different countries in which they were born.  And we shall see that a melody or thought born among one people will change its costume when it migrates to another country.

  Arab Song

    [Figure 29]

    Scheme [Figure 29a]

  Russia—­Reiteration

    [Figure 30]

    [Figure 31]

  Red Sarafan

    [Figure 32]

  Scotch

    [Figure 33]

    [Figure 34]

  Irish—­Emotional in character, with greater perfection in design

    [Figure 35]

  Spanish

    [Figure 36]

  Egyptian

    [Figure 37] (Note augmented intervals)

The characteristics of German and English folk songs may be observed in the familiar airs of these nations.

The epitome of folk song, divested of nationalism, is shown in the following: 

    [Figure 38]

[12] The antiquity of any melody (or its primitiveness) may
     be established according to its rhythmic and melodic
     or human attributes.