THE FORMS SPONTANEOUSLY ASSUMED BY 
FOLK-SONGS. 
JOHN COMFORT FILLMORE. 
Among the interesting problems which the study of folk- 
music offers us are several relating to the origins of music. 
We inquire what impulses lead to the production of musical 
tone, to the orderly arrangement of successive tones into 
rhythmical and metrical groups; what are the origins of the 
rhythmic, melodic and harmonic elements of music. 
Mr. Richard Wallascheck of London, the distinguished author 
of the very important work entitled “ Primitive Music, ” has 
shown conclusively, I think, that the rhythmic impulse pre¬ 
cedes the impulse to produce musical tones, and, indeed, leads 
up to the production of tones. The rythmic impulse is primary; 
the tendency of certain motions, which are the expression of 
emotional excitement, to recur in regular rhythmic pulsations 
is inherent in the constitution of human nature and is due to 
peculiarities which it is not the province of this paper to dis¬ 
cuss. Doubtless the members of this body are already familiar 
with them. Probably the greatest service which Mr. Wallas¬ 
check has done us is to call our attention to the importance of 
sonant rhythm as a means of emotional expression. For exam¬ 
ple, the rhythm of a war-dance beaten on a hollow log is vastly 
more effective than when beaten on a solid tree or post. The 
rhythm beaten on a skin stretched tightly over the end of such 
a log is still more effective; and here we come to a tone which 
has a more or less definite musical quality; so that the most 
effective rhythm is that which tends to the production of musi¬ 
cal tone. 
The emotional excitement which generates the impulse to 
rhythmic beating with the hands or club and to the rhythmic 
