Corresponding to these differences in the character of the masks that are worn, are _two_ main forms of the dance, particularly of the cult dance. The first of these is the _ceremonial dance_, which moves in slow and solemn rhythm. This is the dance that generally inaugurates the great cult festivals of the semi-cultural peoples of totemism or that accompanies certain of the chief features of the festival--such, for example, as the entrance and procession of the cloud-masked ancestral spirits in the vegetation festivals of New Mexico. Contrasting with the ceremonial dance are the _ecstatic dances_, which for the most part form the climax of the festival. Only the men are allowed to take part in the ceremonial dances, and the same is generally true also of the ecstatic dances. The women, if not altogether excluded from the ceremonies, are either silent witnesses or accompany the dance with songs or screams. It is only in the more extreme form of the ecstatic-orgiastic dance that both sexes participate. The mixed dances probably arose in connection with the vegetation festivals, as a result of the relation which was thought to exist between the sexual emotions and the creative forces of nature. It was doubtless because of this late origin that the Greeks long continued to regard the dances of the Dionysian festivals, which were borrowed from Oriental cults and executed by women alone or by women and men together, as in part a degeneration of good custom. In the drama, whose origin was the mimetic dance, the rôle of women was taken by men.
Closely connected with the dance is _music_, the preparatory stage of which is constituted by the participation of the voice in the rhythm of the external movements of the body. These articulatory movements, which form a part of the mimicking activity of the face, supplement the dynamic rhythm of the dance with the melodic rise and fall of tones. The emotion which finds its outlet in the dance itself, then seeks a further enhancement through objective means. These means also involve the activity of the bodily organs; noises are produced by clapping the hands, by stamping on the ground, or by the rhythmic clash of sticks. In the latter case, the transition from instruments of noise to those of tone is easily made. The earliest forms of tone instruments are of two sorts, according as they copy the production of sound by external means, on the one hand, or by the vocal organs, in the accompanying tones, on the other. Thus, the two original forms of musical instruments are _instruments of concussion_ and _wind instruments_. In origin, these are directly connected with the dance. They are natural means of intensification created directly by the emotion, though later modified by systematic invention. The later development of musical art continues to remain in close relation to the two main forms of the dance, the solemn ceremonial and the ecstatic dance, between which there come to be numerous transitions. From the most primitive to the highest stages of music, we continually find two sorts of musical expression, the _sustained_ and the _animated_. These correspond to the contrasting feelings of rest and excitement, which are experienced even by animals, and which man therefore doubtless carried with him from his natural state into his cultural life. With the progress of culture, these feelings constantly become more richly differentiated.