Concluding study about the musical characteristics of Czech rotative dance round and round focuses on the relation of melody and text and the problem of declamation of dance songs. Dance tune, including the text, represents a complex web of relations on specific levels (rhytmical, melodical, tonal, declamatory). Innovation of one part is necessarily balanced by changes of other substructures, in order to preserve the aesthetical outcome. Change of the text can influence the rhythm of the song, but often is also being reflected in the form, metrics, melody and tonality. For the round and round tunes is characteristic the linear ordination of musical and textual motives. The rhyme schemes a-a, b-b and a-b, c-b prevail. Number of syllables in melodical segments depends on the number of bars and concrete rhytmical figures. Czech musicologists emphasize the fact that folk dance songs in general declaim perfectly. We checked this assertion on the example of round and round tunes. In considering the rhytmical-declamatory models, I distinguish between one-bar (O), two-bar (F) and three-bar (SV) types. Only in case of one-bar type (O) the musical accents correspond completely to verbal accents. However, other rhytmical-declamatory models did not originate by chance, but through deliberate playing with verbal accents on the basis of dance metrical pulsation. Our knowledge of the historical material enables us to consider the problem of development tendencies and construction archetypes of folk song. Aside of tables and schemes, there is an interesting collection of more than three hundred dance songs round and round that destacate by poetics as well as musical refinement.