Abstract
THIS PAPER REPRESENTS a chapter of the speaker's so far unpublished new book, Nationalism and Internationalism in Music. It investigates folk-song as the most direct and plain expression of national music in any country, taking into account folk-song not only as a self-sufficient product of the people, but as material serving for more pretentious art. After a general definition of the nature of folk-song, a survey was made of the folk-song literature from about 12oo in England, France, Italy, and Germany. Adam de la Ha'le's Robin et Marion, one of the oldest art documents of French folk music, was described in some detail. From the collections of Weckerlin (Chansons populaires du pays de France) a number of characteristic tunes were picked and commented upon. A survey was next made of French folk-song in the advanced art music of the I6th, I7th, i8th and I9th centuries, pointing out how relatively small the part assigned to folk-song has been in later French art music.
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