[Illustration: Music] But in this Eskimo tune, noted by Dr. Kane, one of the earliest Arctic explorers, while the motives follow each other with regularity and are of equal length, each motive is given twice before the contrasting motive occurs: [Illustration: Music] Two little tunes from Africa may serve as final illustrations of this contrasting phrase principle. These tunes are also interesting inasmuch as both contain a germ of 'ragtime.’ The sources of ragtime are to be found in the songs of the American negro slaves, and it is significant to find these hints also present in the songs of the parent African race. [Illustration: DANCE SONG] [Illustration: HUNTING SONG] Both the above are taken from 'Up the Niger’ by Captain A. F. Mockler-Ferryman. III Music and the dance developed side by side. Music is rhythm plus tone; the dance, rhythm plus gesture. In savage life they are well-nigh inseparable. The dance among civilized peoples is merely a diversion; a form of amusement. Among savages it is much more rarely so. Nearly all ceremonies, whether of a joyful, sorrowful, or religious character, were accompanied by appropriate dances. Many of these dances were of a very elementary character, consisting merely of certain postures, swaying of the body, or leaping into the air. Some dances were imitated from the motions of certain animals, even as some of the primitive songs were imitative of animal cries. Of such nature is the Kangaroo dance of the aborigines of Australia. The men who indulge in the dance imitate the postures and leaps of the kangaroo, and also imitate with their voices the sounds made by that animal. Meanwhile the women sing the following simple tune over and over again, and furnish a rhythmical accompaniment by knocking two pieces of wood together: [Illustration: Music] Similarly, the North American Indians have eagle dances, dog dances, etc., while the natives of Kamtschatka have a bear dance in which, says Engel,[4] 'they cleverly imitate not only the attitude and tricks of the bear, but also its voice.’ There were also war dances, love dances, funeral dances, and various ceremonial dances. In a sense, all primitive music may be considered as dance music. All primitive songs were accompanied by gestures or dances and, naturally, there was no dance without its accompanying music. The head-hunting Dyaks of Borneo have a dance in which the gestures indicate the cutting off of heads. The North American Indians have a scalp dance, celebrating the victorious exploits of a war party. The Maoris of New Zealand have a war dance in which all thrust out their tongues at once, a gesture which may indicate contempt of the enemy.