It must be obvious that there is a very close connection between the type and complexity of organization and the standard of mental development of those for whom it is devised. The study of folk-music and the music of primitive savages is very enlightening in this respect; especially in respect of the organization, which is based in great part on musical phrases. As might be naturally supposed the earliest sign of awakening intelligence is found in mere reiteration of some melodic or rhythmic formula. This is essentially the primitive savage type and is met with in extraordinary persistency under varied conditions. It is a most remarkable fact that such undisguised reiteration is a conspicuous feature of the music of relatively undeveloped races in the present day, who have adopted the advanced methods of modern music with remarkable success. It is the more curious as the composers of the more developed races do not resort to such naïve reiteration except as a basis for presenting a phrase or passage in different lights by variation. And with the undeveloped races their reversion to a primitive practice, especially at points of great excitement, is an unconscious admission of the nearness of their temperamental average to that of their primitive ancestry. As a principle mere reiteration is hardly worthy of the name of organization, it might rather be called a preliminary procedure, or a means of keeping things going. It does not imply any mental development, it only implies some kind of definition and capacity of recognition. The first step toward real organization comes when a phrase or short passage of melody is alternated with another which serves as a contrast with it, and returns again to the first phrase to give the sense of completeness. Yet even such a simple principle of orderliness needed considerable progress in mental grasp before it could be attained. It might perhaps be regarded as the significant feature which distinguishes folk-music from savage music. Folk-music is indeed a very considerable advance on the music of primitive savages, and it shows the growth of power to attain to real orderliness, as the basis of art, by the employment of simple and clear forms of organization, which are evolved quite irrespective of any collusion or imitation between the races that resorted to it. As folk-music is always melodic it did not admit of great variety of elaboration in the organization of the tunes, yet there was sufficient to illustrate the average disposition toward intellectuality of the races which the songs represent. Races which are notable for the quickness of their intelligence and their delight in the exercise of it show it in the closeness and interest of the structure of their folk-music, as is the case with Scotch tunes, and those whom imagination, feeling, or sentiment are specially liable to dominate are represented by forms which are vaguer and less elaborately organized. On the side