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NOTES
Chapter I
1. Julian von Pulikowski, Geschichte des Begriffes Volkslied im musikal-
ischen Schrifttum (Heidelberg, 1933) illustrates this diversity.
2. "Folklore," in Funk and WagnalFs Standard Dictionary of Folklore. Mythology, and Legend (New York, 1949), I, 398-403.
3. Halsey Stevens, The Life and Music of Bela Bartok (New York, 1953), pp. 21-27; Bela Bartok, Hungarian Folk Music (London, 1931).
4. Wilhelm and Jacob Grimm, Deutsche Mythologie (Leipzig, 1835).
5. Hans Naumann, GrundzUge der deutschen Volkskunde (Frankfurt, 1922).
6. Franz Magnus Boehme, Altdeutsches Liederbuch (Leipzig, 1877), pp. xii-xiii.
7. Phillips Barry, "Communal Recreation," Bulletin of the Folk Song Society of the North East, No. 5 (1933), pp. 4-6.
Chapter II
1. Theories on the functionaHty of folk and primitive music have been developed by George Herzog and are discussed in various papers mentioned in the bibliographical aids.
2. Siegfried Nadel, "The Origins of Music," Musical Quarterly, XVI (1930), 531-546.
3. Karl Buecher, Arbeit and Rhythmus (Leipzig, 1924).
4. Hugh Tracey, Chopi Musicians (Oxford, 1948).
5. These form types are introduced by George Herzog, "A Comparison of Pueblo and Pima Musical Styles," Journal of American Folklore, XLIX (1938), 305.
6. Bruno Nettl, "Stylistic Change in Folk Music," Southern Folklore Quarterly, XVII (1953), 216-220.
Chapter IV
1. From Arapaho informant William Shakespeare, 1952. See also A. L. Kroeber, The Arapaho (New York, 1902), pp. 418-421,
2. Bruno Nettl, "Notes on Musical Composition in Primitive Culture," Anthropological Quarterly, XXVII (1954), 81-90.
3. George Herzog, "SaHsh Music," in Marian Smith, ed., Indians of the Urban Northwest (New York, 1949), p. 107.
4. George Herzog, "Music in the Thinking of the American Indian," Peabody Bulletin (May, 1938), p. 4.
5. Ibid., p. 5.
6. Frances Densmore, Cheyenne and Arapaho Music (Los Angeles, 1930), p. 40.
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