28AND THEN THERE WAS WORLD MUSIC AND WORLD DANCE...Herder played a key role in the notion that each people had a unique cultural heritage. For him, folk poetry and folk music pre-eminently expressed the body of thought and the identity of a nation. Since there was already concern that the original traditions would disappear, the collecting of popular stories and folk songs increased exponentially and official institutions began to provide support.26 Around 1850, hundreds of collections of folk poems and folk songs were published in Europe.27 In Scotland alone, there were about a hundred collections at that time.28 Evidently there was a market for this kind of literature and the exotic melodies (usually arranged for harpsichord or pianoforte) were bought and played by amateur musicians.29 The first European book about Chinese music came out in 1789. It was written by the French missionary Joseph-Marie Amiot, who spent the greatest part of his life in Peking. He had a broad interest in Chinese culture and wrote books on a varied number of topics, including astronomy, medicine, conduct of war, dance, and the life of Confucius. His work about music was published in the series Mmoires concernant les Chinois and contains valuable information about both ancient Chinese music and contemporary music life in China.30 Subsequently, other monographs appeared about non-Western music, such as the three volumes on Arabian music in the colossal series Description de lgypte (1809) by Guillaume-Andr Villoteau.31 He was one of the scholars who accompanied Napoleon in 1798 during his expedition to Egypt and did research there for a good three years. He also became apprenticed to a musician. In addition to a description of music in Egyptian antiquity, Villoteau writes about contemporary art and folk music, and he also provides a detailed account of the musical instruments of the Middle East. At the same time he pays attention to dance, Arab music theory and great medieval scholars such as al-Farabi. By studying music himself, Villoteau came to the fundamental conclusion that the intervals and tunings of Arabian music sound just as off key to the European ear as European intervals to the Arab ear.32 The studies by Amiot and Villoteau were the most important sources of information on Chinese and Arabian music, but these precious works were difficult to obtain. In addition, dozens of other essays about non-Western music and dance were published.33 However, the most influential publication was n the musical modes of the Hindus�by the British orientalist William Jones.34 This multi-faceted scholar wrote on a large number of topics. With his publications he made it clear that India had a long history and an imposing culture that had brought forth innumerable great thinkers and writers.35
