Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-09-01
SOURCES OF congo SONGS. J,
Mostly Derived From Old French and
Spanish Melodies.
From the New York Sun.

From the New York Sun.
We feel moved to say another word
about a recent article in this newspaper
discussing the late Lafcadio Hearn ana,
incidentally, making reference to the Congo
folk music of which he was in eager search
for many years. In the course Of the arti-
Gle 1t was asserted that Hearn. after all
his researches in New Orleans, Martinique
and various West Indian districts. reached
the conclusion that the so-called Congo
songs were not Of African origin at all.
He had been fascinated by the quaint
lullabies and grooming cradle chants. a.
indeed. had every one who heard them; ana
he conceived the idea that they were sim
ply refined and chastened evolutiOns OF the
ancient barbaric music of the Congo. But
after long investigation, enlightened as; ne
was by profound and varied Information
and previous discovery, he found that nine
tenths of the supposed African melodies
were simply rude adaptations Of the span.
ish and French songs which the slaves had
heard in Santo Domingo. -%5'.elss
Fifteen twenty years ago George w.
Cable. at that time one of the most Delights
full and graceful historians of Louisiana
Creole life. published in the Century Ma9Ar
zine two or three articles on the alleged
Congo songs. He gave both the words ana
the musical score The result was extreme
ly interesting and attractive. Mr.. CAbie.
however. was not a musician. he knew
nothing of the works of Lullf. Rameau,
Boieldieu. Adam, Flotow. and he 1umped
to the mistaken conclusion that the songs
exploited for his hearing were the real be-
quests of darkest Africa to the waiting
Christian world. AS a matter OF fact, pear
ly every one of his scores was vulgarized
and dilated expression OF weil-knoWn
French and Spanish compositions.
The case of Gottschalk was very dif+
ferent He was q musician, ana more; NOT
only a maestro at the piano, but 2 genius
with initiative and divination He spent
n.I@ No Auyr6 tlaF
tended the Voudoo festivals and celebra-
lions on "St. Johns eve" and heard the
wild overturesSand antiphonies OF the iran.
tic celebrants assembled on the shores OF
Pontchartran. Certainly his most attrac-
tive compositions in that line. the "Bam-
boula" and the "Callinda," would Seem TO
Indicate that he had caught the inspiration.
But Louisiana musicians, speaking In aH
reverence for Gottschalk, contend that his
compositions, magnificent though they be-
reproduce merely the Spanish and French
melodies of century or more ago, filtered
through the dull, bewildered medium OF the
Congo consciousness Competent author
tiles In New Orleans long ago declared tnat
the very nature of the scale and measure or
this music proved It's European origin.
At all events, Lafcadio Hearn accepteo
this conclusion, for after several years IN
Cincinnati and New Orleans devoted to re-
search and inquiry he went to var1ous Wesr
Indian islands in pursuit OF the knoWleaee
he had failed to accumulate in the United
States Moreover, the fact that he never
issued any declaration in the connection
would seem TO prove that he had found no
genuine Congo music worth the mention
This is the theory Of the modern cogno-
SCENT in Louisiana, who recognize In all the
so-calIed negro chants and fullabies the
under throb which marks the old Spanish
and Provencal compositions such as La
Colondrira," "A la Media Noche," and 80
or There can be no reasonable doubt that
Hearn left New Orleans. and subsequently
the west Indies. in despair Of satisfying
the interest which for so long had monopo"
lized his Intellectual solfcitudes.