New-York tribune., 1906-09-16

q soottsh ar. Then Il VIII be time for the
writer o. ne recent sdlto.!h IN The sun" on
Congo music % assert thEt IL 8 a perversion OF
score" by Rameau. Idly. .4.Am or FIotow.
j Is thus that the wige men SaO scorn inves-
tssno1 ana analysis evolve the characteristics
n fok music out Of their inner consciousness.
Nr Hale recently quoted an English writer with
aplsoya and gentle correction on one point),
vfo esause ot the Scots snap and pentatonic
scale Ecnounoed all American slave music
limitations q The songs which the blacks heard
ihsr HsiFesses sing In the sections OF the South
settled by Scottish people. Unfortunately. the
iaesn Wlsescre neglected 20 tell US where these
s'd'h settlements are 20 be found. as well as
70 explain how the field hands came into such
huHaie relationship with their mistresses'
a'sVihg rooms. Moreover. there IS much more
iah the pentstonic scale and the Scots snap
NE germ Of rag timer IN the songs Of the
'slEs q our South. There are many singularly
fsliiia 'spirltuals, which have not Yet got
Ip Nht which ere based on scales that are as
i1'gh 70 Scottish music as they are 20 English,
''aan Italian or French. This was pointed out
s+' !sars ago IN the Studies Of Folk Song"
-A appeared I'm The Tribune. How did
~-D| ana Slavic echoes get into baptizing
,a 'anp meeting songs in Kentucky? Did the
'S near singers from the border countries OF
l-'t and Asia IN Boone County? Mr.. Hale.
'Io'e entertainingly on the subject re-
seems disinolined 70 believe that the
'ans who were brought 20 America in the
~ shlps had songs 20 sing either al home or
Nlav'y. He might have satisfied himself Of
aa by listening 20 the songs with corrupt
h words which are still sung at the weird
-'e oeremonials in Louisiana. This brings
-aa one u the late Lafcadio Hearn's letters
writer describing how he had got al the
-s Of one q these African echoes. Here
aaIasssge:
r. the only Creole song know Of with
sh refrain thar is still sung
oleudt. oueude macaya,
40 uas barass6 macaga-
hstloe. oueudt, maCaya,
Mo bois bon dEin macays.
".trae ogeude macayai
No mango hon pouler, macaya'
'senoe, ouendf. cayai
Mo JAS harasse macaya.
'lenae. oIende macayai
A. I'VE nom dictation Of Louise Roche. She
-, Know the meaning Of the refrain: her
- nae taught her and the mother had
-. from the grandmother However. I
=, '-. ne meaning, ana asked her IL she
y Nneinbered. She leaped In the air for
a. Nl4Fehi.y "OUeadai" or "ouende." has a
- meaning In the Eastern Soudan: but
\, congo OF Fiot dialect 81 means ito go"
s.ale'" 10 go on" found 7he word in
- Vocabulary. Then "macaya" I found
ts.s 'E'ude sur Ia Language Creole de
lnique": ca vent dire "manger tout le
s'ss,ion. i''''e'o'e mere i oU'
20 on eaf enormously,
g on ro on ashamed: eat outrageousiyl
drrtt on. eat dgioUsly!
g or o. Esoo wine; eat ferociously,
ssi ~ ON eat INCREASINGLY
% cfi sooo chicken, gorging myself
=, this FOR a linguistic discovery The
| ns Almost precisely ike the American
y chant. almost a recitative until
a.f,. ne line Is reached: then FOR your
music,
d, - letter IIearu explained that Louise
IA - whom he got the song. was an old
ars -1h of real African blood-an ex-slave.
len - 1alek of terror-sGspected of yO0-
NJ Nr a.,
sg "a. i@e The Negroes brought few, II
70 =, Ianis with them from The African
20, "ese natives were not a race OF
. On. ~" chief musical instrument was
'Tisss isHoTite because 81 noise and
M Mr. Hale thinks that ii is only
S.s4.- Negro 10 refer 10 the spirituals Of
@tgt. sa'es ~ his folk-songs They
sss,.s ,a-'ea American This might easily
''a n, ne songs were imporiations from
Yea - ntfe Set 10 hear anybody make
1ttsp.- II rs only the songs made here
1haer local influences and rsfeet-