The present state of our knowledge of primitive music does not permit us to establish definite musical areas, but enough is known to prove that as all other cultural features, we may recognize a series of musical areas, each characterized by common fundamental traits. The narrow compass of tunes of east Siberian songs, the falling cadence with repetition of motives on a falling series of fundamental tones among the Plains Indians, the antiphony of Negro songs are examples of this kind. The varying systems of tonality, the use of purely instrumental music, the kind of accompaniment of song, are others. It seems quite certain that it will be possible to determine large areas in which, by diffusion, similar types of musical art have developed and in which, by subdivision, local types may be segregated similar in character to those found in decorative art. Even in the modern folk music of Europe a definite character of the folkmusic of each nation may be recognized. Borrowed melodies adapted to local forms illustrate this type of individuality. As an example of such adaptation I give on the next page a German song which has been adopted by the Mexicans. It was probably carried there by the army of Maximilian. On account of the interrelation between body movements and articulations it seems likely that rhythmic body movements release rhythmic articulations, that is song; and that in this sense, songs that consist of meaningless syllables may have their origin in movement. On the other hand the excitement engendered by song leads to movements that are related to the rhythm of the song, so that in this sense, a dance is conditioned by the song. We mean here by dance, the rhythmic movements of any part of the body, swinging of the arms, movement of the trunk or head, or movements of the legs and feet. The two forms of expression are mutually determined. We have to remember here the general remarks which we made in the beginning in regard to all art. We saw that without a formal element art does not exist. Technical work without fixed form does not create artistic enjoyment. In the same way violent, expressive movement born of the passion of the moment is not art. Art as an expression of feeling requires form as much as art born of the control of technical processes. If it were not selfevident we might have pointed out also that the passionate cry is neither poetry nor music. It is, therefore, not appropriate to call dance all the violent movements that occur in the lives of primitive people. We must reserve the term to movements of fixed form, although it may be recognized that in the height of excitement dance may turn into a formless tumult of motion, as music may change to formless cries of wildest excitement. [Music: