TUNES	47
other common characteristics of the Balkans and Russia: com-
munity of religious background and legends as shown, for instance,
in the prominence given to Elijah as a saint; negative comparisons
and great freedom in making birds or natural objects speak; a fairy
mythology which is largely common, together with reminiscences
of Slavonic deities; absence of rhyme. In western balladry we
have the opposite qualities to these, together with fixed intervals
and a greater fixity in the melodic contour. The West abstains
from ornament, save in the half-orientalized atmosphere of
Andalusia.
Within these two large divisions it is possible to discover smaller
ones corresponding to the nations and their languages. These form
'ethnophonetic' groups, and the divisions are indicated in Moller's
Lied der Volker. The reasons for such grouping are not so definite
as to be fully intelligible to me; but they do correspond pretty
closely with geographical facts and those groupings according to
form and substance which we have essayed in an earlier chapter.
Within the nation or community, musicians are able to discrimi-
nate. Sicilian songs have African and Greek colouring, and pass
easily from extreme to extreme; in Emilia and Romagna the tone
is minor, the changes gradual, the extension pentatonic, with a
flowing melodic line and cadence on the tonic; Piedmontese songs
are hesitant in the first part and of an attractive melancholy.1
Andalusian music has highly imaginative cadences, which contrast
with the European major tonal system in the north and centre.
E. M. Torner gives an interesting demonstration of the changes
suffered by a given ballad (Pastor que estds en el monte) in its passage
from south to north.2
These broader considerations have their interest, but some
observations of a more limited range throw light on the develop-
ment of the ballad in various regions. The simplest musical style
is that to be encountered in Montenegro, in the singing of men's
songs (junacke pesme). There is not so much a melody as certain
1	G. Cocchiara, UAnima delpopolo italiano nei suoi canti, Milan, 1927.
2	E. M. Torner, 'La Cancidn tradicional espanola*, in F, Carreras, Folklore y
costumbres de Espana, Barcelona, 1931, ii, pp. 29-30.   There are two cadences
involved.  The second is an elaborate run of swift demisemiquavers:
34 U8: /((a	abagf.gagf))/e.
In Ledn, Madrid, Catalonia, the Balearics, and also Tetuan the corresponding
notes are:
38U8:/fe./er
There are similar reductions of the phrase in mndt ntti**-,.««.:«—