After the destruction of Roman culture in the invasion of the barbarians in the 4th and 5th centuries, a new Christian culture was built along with the new states in Western Europe. But this time, church music failed to displace or destroy folk song, which began to spread by street singers - musicians who used their music to create entertainment for the people and gradually for the upper classes.
Thus folk music passed unnoticed by the jugglers and itinerant musicians into the private, i.e., written, work of the troubadours and the troubadours. The first troubadours were jugglers. The troubadours composed their songs from folk melodies and entrusted their performance to itinerant professional singers, jugglers and minstrels.
The development of so-called art or professional mp3 music in Western Europe began at this time. And this process continues to this day. But even during this time the link between personal creativity and folklore was not broken. On the contrary, almost all art music in the West originated and developed on the basis of folk song and folk dance. The involvement of folk music in the creation of the rondeau form is particularly clear. If we trace the historical development of the instrumental rondo, we find that this genre has its origins in the vocal rondo, some varieties of which continue to exist today alongside the instrumental form of the same genre. And the vocal rondo has already been known in polyphonic music since the 13th century, since we find it in its simplest form among the compositions of Adam de la Al (1240-1287). We encounter this vocal genre in the Middle Ages in the professional work of troubadours, where it differs very little from the ronde, a choral song that has existed in French folklore since time immemorial. The ronde resembles some of our choral 'songs, where one or several singers sing the melody and the rest 'sing' it in chorus. In the vocal rondo form of professional (compositional) music something of the form of this dance has remained, and the same form has passed from the vocal rondo to the instrumental. Some of these choral songs are preserved in French folklore to this day.
All in all, folk music and folk dance are at the heart of all artistic music-making, of all compositional music, which in moments of impoverishment and decline has always returned to folklore to renew and revive itself through it. The evangelistic church melodies, the instrumental music of the Mannheim School and the late eighteenth-century Lied had their origins directly in folk song. The polyphonic music of the Dutch, the suites of Buxtehude, Bach and Handel are living monuments of folk music. Many folk elements can also be found in the works of the German classics, especially Haydn. Professional compositional work and folk music are most evident when one traces the history and development of the sonata form and the sonata as an instrumental genre. This musical genre emerged around 1600, when the first developments of purely instrumental forms were created independently of vocal music. At that time, "sonata" meant music for playing an instrument at all, as opposed to the cantata, which was a piece for singing-without these two names denoting any particular musical genres at the beginning. During the first period of its existence, the sonata was mixed with the suite, indicating that these two instrumental genres were related.
Indeed, as far as the sonata is concerned, which is the principal instrumental form of art music, it is known that it has its origins in an older musical form known as the 'chamber sonata' or suite. This oldest cyclical musical form, which was also called'partita, prdr or ballet, was, as its name indicates, a series of folk dances and pieces of different character, following immediately one after another in the same key. The suite has its origins in the dance practice of the Middle Ages, when certain folk dances were linked in groups of two pieces, like the pavane and galliard in the 16th and 17th centuries.
Already in the first half of the 16th 'c., the Italian lutenists Castellione and Barone began to link two pairs of folk dance tunes, usually adding a toccata in the form of a postlude. Soon new dances were added to the pavane and galliard. Thus in the suites of Shine we find, besides these, the cu- ranta, the alemande and the tripla. The alemandes, chacons, sarabandes, louras, and jigs of the suites of Bach, Hengel, and others, if no longer written to be danced, as in the old dance suite, still retained much of their dance character.