davidaulloa/AmericanStories huggingface dataset:
Americus times-recorder. [volume] (Americus, Ga.) 1891-current, 1915-02-25
Brentwood
Especial to Times-Recorder. }

BRONWOOD, Ga, Feb. 25.-Mr. and
Mrs. D. A. Gammage and daughter
Miss Hattie Mae, have gone to Eufaula
to spend some time with relatives.
We have just had nice rain through
here which will be very beneficial.
Quite a large crowd from here at
tended the trial of the A. D. Oliver
murder case at Ueesburg yesterday.
Miss Daisy Cowart was hostess to
the Girls Embroidery Club on We'd
nesday of last week and Mrs. Fred Ball
entertained the Young Matrons Sew
Americus times-recorder. [volume] (Americus, Ga.) 1891-current, 1915-02-25
SUNDAY SCHOOL
CONVENTION FOR
SCHLEY COUNTY
Especial to Times-Recorder.)

mans Christian Temperance Union
celebrated Frances E. Wizards Heav-
emily birthday at the Methodist church
last Wednesday evening with an inter-
esting program skillfully prepared by
Mrs. T. H. Collins. Miss Mary Strange
arranged the musical program and the
choir rendered several splendid selec-
tons. The w. C. T. U. in our city is in
most fiourishing condition, and has
wrought much good among us.
Rev. w. F. Culbertson preached two
interesting sermons at the Baptist
church Sunday and Sunday night. At
the conclusion of the sermon Sunday
night, Miss Daisy MCGEE made an in
teresting talk on the Sunday school
work and arranged for a county Sun
day School Institute to be held here in
March The Sunday schools from this
place will send several delegates 10
the State Sunday School convention
which convenes in Americas in April.
The Thrift Club Contest that is be-
ing conducted by the Times-Recorder
is watched with much interest by the
patrons of the paper, not only in Ella
Vile, but all over our county. We
hope it will be productive OF much
good to the paper and will result ia
many new subscribers. Here's sue
cess to any enterprise launched by the
Times-Recorder
Miss Mary Strange, Trustin Stevens
and Anthony Hearn are in Smithville
this week attending the Epworth
League Convention.
Mrs. P. G. Moss has returned from
pleasant stay in Athens, Ala, where
she was the pleasant guest of her sis
ter, Miss Annie Lawson Bailey.
Mrs. Lily Dixon has returned from
weeks visit in Americas, the guest of
her brother, DR.. C. P Davis.
Mr.. and Mrs. Leonard P. CARTIER of
Americas, are visiting Mr.. and Mrs. R.
E. L. Eason.
Miss Stokes, the efficient teacher of
the Fellowship school, spent the week
end with her aunt, Mrs. E. J Hart
Mr.. and Mrs. E. R. Jordan were in
Buena Vista Friday visiting Mrs. Jor-
dams sister, Mrs. Frank Lowe, who has
been quite i'll.
MIR. and Mrs. T. A. Collins autoed 20
Montezuma Sunday afternoon.
Miss Irene Murray spent the week
end with homefolks our city. Miss
Murray is assistant teacher in -four
ishing school near Sylvester.
Mr.. Charles Fitzgerald spent few
days here this week in the interest of
the w. o. w.
Miss Nora Harris, of Clearwater, is
spending the week in Ellaville, the
guest of Mrs. H. j. Williams.
Mr. P. G. Moss spent Sunday in Bir-
mingham, Ala.
Mrs. E. W. Strange and Miss Sara
Strange were in Americas Monday
Mrs. Aldine Pickard, of Buena Vista,
is the guest for few days this week
of Mrs H. F. Dixon.
Mr.. Harry Peacock, of Ideal, was a
Sunday visitor to our city. o
Mrs. W. H. Collins is spending few
days this week with Mrs. Emmett Dun
can at Lowe
Mr.. Henry Harris, of Glenalter, was
a visitor to our city Sunday.
Mr.. j. H. Robinson is the guest of
relatives at Anthony's Chapel.
The many friends of Mrs. j. H.
Cheney and Mrs. w. W. Dykes regret
to hear Of their illness and wish 70"
them speedy recovery.
Americus times-recorder. [volume] (Americus, Ga.) 1891-current, 1915-02-25
Luther Crawford.

Mrs. M. M. Jennings spent Wednes-
day in Americas.
Mrs James French and Mrs. J. NJ.
SneIlings and little daughter, of Rich
land, are guests of Mrs. r. Thinner
nran, Jr
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22

1t is fitted for such bayonet charges as 1t Is
said to have inspired in 1878. In one brief
and lurd picture it calls up visions, the
atrocities the contemplation of which turn
simple men into frenetic patriots and fiends.
It's melody, an educated Bulgarian told me,
was adapted from a German students song,
but have never heard the tune sung to Ger
man words nor found it in any collection OF
German songs. The poem, if poem 1t may
be called, may have been created by popular
poet; but it rings as if it had not been made
at all, but had sprung up spontaneously and
complete in the hearts of a people-a folk
song of the truest type. 1t is easy to imagine
it having an effect upon the excitable Bulgars
like the "Marseillaise" upon the French or
the "Rakoczy March" upon the Magyars.
when | hear the 'Rakoczy," said an Hun
garian gentleman II feel as il | must go to
war to conquer the world. My fingers twitcn
convulsively to seize a sword pistol, budgeon
or whatever else is at hand. want TO Gluten
it and march forward"
The people of Rumania are heterogeneous
folk, and mixed also are their language ana
their music For centuries Moldavia ana
Wallachia, which chiefly constitute the MOD
ern country, left the cultivation of music l
the hands of the peripatetic gypsy, and 1t -
scarcely matter OF WOHutI bhab "ANh
mania ffty-fve years ago felt the need OF
national anthem it resorted to the generally
Intellectual means of a prize competition 10
secure one. The result, quite naturally. was
hybrid product-a poem written IN the IAN
cuage of the country by native, set to music
of the Western type by German and snow
ing in both respects the influence OF the
British HYMN. The author of the words was
Vasili Alexai iri, a poet of excellent parts
whose interest in the folksongs of his native
land is proved by the fact that he made the
first collection of Rumanian ballads. Inc
COMPOSER of the music was Edward A. Hubscn'
a German military bandmaster, who took part
in the movement made to revive interest IN
Rumanian music in the early part OF the
nineteenth century. Here is the first stanza
Of the HYMN in the original, to show the large
remnant of Latin in the language, as IN a
translation borrowed from Sixty Patriotic
Songs of All Nations" published by the Oliver
Ditson Company:
"Tracasca Reggie, in pace 81 onor'
De teara inbitor separator de teara!
Fl Domn Glorios pestenoi,
Fie'n veci norOeos, in resboi
o Domino sfinte,
Cerese parinte,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22

IfIvere 10 attempt to characterize minute
l.. ,be music Of the patriotic songs Of the
cations which are grouped in the Balkan Pen
;rsyla I should be compelled TO make a wide
.Yeprsion in the field of folksong-too wide.
;,8eed. 10 further the purpose Of these
,,u6ies The temptation 70 do so is strong,
Gov in sense, the songs with which the Bal
kan peoples stimulate their patriotic ardor
are the only political songs that preserve
soltsong characteristics in their music.
pocial idioms are found in them in forms.
rhvthms and scales: but the mixture Of these
;diors is as confusing TO the musical folklor-
lei as is the racial to the chronological investi-
Gator One might almost as well undertake
"a separate and group accurately the racial
elements in the peninsula as TO try 20 indi-
rate the hsllmsrks Of the melodies affected by
,be inhabitants. The Albsnians are looked
mon as the oldest OF these inhabitants, be-
ING the surviving representatives Of the
nrirtive Illyrian population. Next in order
n antiquity come the Greeks. The Rumani'
ans humans, Nlachs, ArumanD are rem
rapt Of Latinized natives with an infusion OF
Roman refugees Then are found Turks.
Serbo-Croats. Bulgars Armenisns, Jews and
Gvpsies: and the ubiquitous Romany, being
q natural-born minstrel, with singular ca
nseity for assimilating the music of the peo-
ple among whom he sojourns as we'll as to
impose his own characteristics upon it, has
contributed not little toward making the
task Of the musical folklorist difficult.
The Slsvonic element has occupied the ter
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22

is said to be an impossibility because the
glorfcation Of the Sultan must always be ar
individual one, though, as have pointed ou
in an earlier article in the series, song be
ginning with a prayer for a long life for the
ruler has in at least one instance gone ove'
from one reign to another. There is also il
official use in Turkey a piece for military
band composed by an Egyptian, Nebjet
Pacha, on the European model. The language
Of the Montenegrin songs is dialect of thu
Illyrico- Serbian Slavic interrupted by ad
mixture of foreign words In Macedoai'
there are two classes of folksongs, one max
ing use of pure Macedonian, the other cor
rupted by Serbian and Turkish words. One
of the political songs which | have heard Is
thus sophisticated in language, but is a'
spirited in melody as in sentiment anC
shares one of its poetical images with the
national song of Bulgaria. It is called Jan
UNI ma sred selo." and like "Rise, Serbians,
it ends on the supertonic. Strong and pict
uresque is its text:
"A bright light lies spread over the vii
lage, and the fountain is radiant with many
colors. But | see a troubled and turbl'
stream. Why is the Martha so turbid? II Is
not rolled with mud; it is red-red with
blood, red with the blood of Macedonians Civ
en- to their enemies. Give me to drink of the
turbn water, and will give myself a sacri
flee to my country"
The blood-dyed Martha figures also in TIL
war song of Bulgaria. Like other patriotic
hosts told of in story, the Bulgars marched
into battle three years ago to the tune anC
tramp of national song which has the power
to stir up a tremendous enthusiasm among
those who hear as we'll as those who sing It
Of this | had proof in the time of the re
cent Balkan War, when, at an informal en-
tertainment for the Authors Club in New
York, Mr. Savine, Serbian singer and com
poser, was called on to sing it over and ovel
again to an accompaniment of cheers
"Choumi, Martha" is at once the simples
and the stoutest Of the national songs Of the
Balkan peoples. There was no difficulty il
paraphrasing its words:
"Wild rolls Martha; red are its waters,
Swoll'n with the tears of widows and theil
daughters
March March! Forward, valiant soldiers,
One, two, three-and vct'ry will be ours"
Equally simple is the tune, but it fits The
words like glove of steel, and every note
deals blow The song was first sung by the
Bulgarian volunteers in the war with Turkey
and to its measures Shipka Pass was stormed
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22
PATRIOTIC SONGS OF
War and National Songs
from Balkan Peninsula
Rise Servians National Hymn of Montenegro and
the Battle Song Of Greece.
BY II. E. KREHBlEL

ritory since the third century Of the Chris
tian era. An invasion of the Serbo-C roatS
took place in the seventh century, and in the
twelfth was founded the Serbian dynasty OF
Nemanys, which endured two hundred years
This was the period of old Serbian glory
dreams Of which are haunting the minds OF
patriots to-day The rule of the Turks be-
gan In the fourteenth century; its decline
began in the eighteenth. and the last yes
tiges Of il will probably end with the present
war.
The Serbians lead the Balkan peoples o.
Slavic origin in musical culture and have
done more than any of them to collect their
folksongs, those true indices Of innate love
for the art. Many collections have been
printed of late years, and hundreds of songs
not yet printed are preserved in the Academy
OF Arts and Sciences at Belgrade Very true
of the melodies as well as the words of these
songs is what Owen Meredith said of Ser
ban poetry: "Such flowers as grow here may
be merely mountain weeds; but the dew of
the morning is on them" When Tschai-
kowsky sought characteristic melody TO as
sociate with the Russian national anthem in
his "Marche Slave" designed for patriots
purpose, he chose a Serbian folksong. "Sunce
Zarko." Its distinguishing marks are the
employment of a scale containing two in
stances Of the interval known as the aug
mented, or superfuous, second and the con-
cluson OF the final cadence on the super
tonic, or second of the scale. The former
Characteristic is found in nearly all Oriental
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22
TEACHING SINGING BY COMMUNITY EFFORT THE

Most of the women in the audience don't
believe in single blessedness; neither do the
men. They sang better. Nobody remains
silent The professor is enthusiastic; he puts
out his hands to the singers, asking for still
better work; he liven up the orchestra; at the
first sign of weakening he sings louder and
louder. The quality of the music gets more
satisfactory. The audience is surprised; 1t
wants to applaud itself, but is doubtful as to
the modesty of the proceeding.
81 knew you didn't believe in single blessed
ness" says the professor. And the singers
it down happy.
Now what is the god of it all? Let Pro-
fessor Dykema explain.
"The trouble with American audiences" he
says, "is that they passive, and proud Of
being passive. They have the monograph to
ing for them, and the automatic piano to
play for them and the movies to act and even
to dance for them. The tired business man.
tina. worst specimen Of pasivity, is glorihed.
Now, as a result, any form of amusement TO
appeal to such an audience as ! have de-
scribed must berome Increasingly snappy and
spiry and risque. But if the audiende uould
be prevailed upon to be active instead Of pas
sive we should have no such artificial enter
tainment.
Take baseball, for instance. You never
heard the people who play baseball-not the
rooters-demand that the game be made spi-
cier. Now, if we can get people to play a
singing game just as they play baseball
game, they would be just as spontaneously
joyous.
"Gct people to sing together and in the first
place they will give beautiful expression to
their emotions That is the artistic fan.
Then they will get rid of form of energy
that otherwise might lead to less innocent
pleasures. And finally, these people, after
singing together. will become organized
social group. No amount of talking at them
will make them community -conscious to the
same degree as half an hour of singing.
81 90 not believe for a moment" continued
Professor Dykema, "that music viii cure all
our social ills But if we have more music il
will help make US healthier socially. You can
compare singing TO fruit at the table. Fruit
in itself Of course, is not enough for meal.
But, on the other hand, fruit is not, or should
not be, a luxury. 1t has its place in the daily
menu; it goes well with other foods, and 1t
helps the digestion"
Professor Dykemas plan was put to ala I'M
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22

Dosta bete nevoJe,
Dosta be . tuge
Sad Sc dr5e duSmGntnS
Rad te Sr6in skruSef
Va nose Sr0' brace,
Sloboda E0vel
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22

Coaxing a reluctant young woman with
coubtful musical attainments to sing for the
company in the parlor is q hard and thank
less piece Of work; coaxing two thousand
reluctant men and women ought to be two
thousand times as hard and thankless. But
Professor Peter W. Dykema, who teaches
music al the University of Wisconsin, and has
just finished giving some courses at the Co.
lumbil Summer Session, has not found it so ,
Professor Dykema is an advocate Of commu-
nifty singing-an expert coaxer Of bashful, un-
musical audiences.
The distinguishing Characteristic Of com
munity singing leader, says Professor Dykema
i versatility. lie must be consummate
musician and resourceful public speaker;
teache. or a social worker; scholar and
variety actor. He must have the GOODNESS of
an auctioneer and the enthusiasm Of preach
er.
lie must be able to fatter and amuse and
instruct and cajole and browbeat an audience
and all this so skilfully that the technique
Of his art escapes the audience while the re-
suits delight them. He must sing well enough
to inspire the falterers; but he must not let
HiiIatl sing wei CHOuBH W gam SHN
ton that is expressed by silence. He must be
leader, soloist and chorus all at once, inter
jecting advice whenever he gets chance. He
nut forget high art, and become jubilant over
voices that are rough and cracked and impos-
sible. lie must take hold of two thousand
strangers and after half an hours singing
weld them into a social group.
The occasion may be lecture or moving
picture show, or that manner OF spending an
evening known as an entertainment"
This is the way Professor Dykema gets
the people 70 sing:
Professor Dykema stands on the platform
and smiles at the audience and waits, while
the potential musicians before him wonder.
Then, with convincing mingling of the IN
terrogstive and the imperative he says, Shall
we all stand up and sing MY old Kentucky
Home?" The audience stands up, bashfully,
almost distrustingly. The orchestra goes
through the tune, and the people read the
words Of the song printed on the programme
Now" says Professor Dykema, and begins
The audience sings weakly despite the exhor-
Ations of the leader. He stops them. The
women sit. "Now the men will sing alone"
lie smiles and mods encouragingly, and all but
oiesses them with his outstretched hands.
That was good. Now the men may sit and
The women will stand. and sing They are on
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22

expected test on Tuesday evening. Thomas
Mott Osborne warden of Sing Sing, invited
him to lead the prisoners in community sing
ing. Because of some misunderstanding the
arrangements were not complete; the words
of the songs had not ben printed and no
orchestra had been engaged Professor Dyke
ma was not discouraged. At the end Of
ive-reel movie he got up on the platform and
talked to the prisoners
81 was careful nit to choose a pathetic
song" he said afterward, cor a song that
might remind them of home or freedom. l
selected some very simple rounds"
The prisoners took to the new idea.
Row, row, row your boat
Gently down the stream;
Merrily, merrily, merrily
Life is but dream"
So sang Professor Dykema. And the $50
prisoners in the Sing Sing chapel listened and
sang after him. They tried another song and
another When it was all over they were so
surprised that they applauded themselves.
THAT. remarked Professor Dykema after
ward, twas a touching example Of the in
articulate man paying homage TO the must
clan within himself; or if you will, the hope
less prisoner Of the old order giving praise to
the prisoner humanized."
Just as Professor Dykema was leaving
Sing Sing one of the convicts approached him
You're all right" he said, you're all right
Come back to US and let sing again"
Con tronted with the question Of how he
would adapt community singing to New York,
Professor Dykema had his answer ready.
AT every public lecture, at every concert.
at every appropriate mas meeting" he said.
81 should make the audience sing at least one
song At a lecture on popular music, for in
stance instead of letting the lecturer do all
the illustrating should ask the audience for
help. As for the public schools, should in
sist on teaching the children the folk-songs
of many nations. This is a cosmopolitan city;
the children ought to know the music Of the
lands that send their people to live here. IL
will broaden their sympathies
"You see, this isn't visionary programme
at all 1t viii cost the city almost nothing"
Where will the city get the leaders," ne
was asked.
THAT is hard question 10 answer" said
Professor Dykema, but not hopeless one.
am training ten Of them right here" And
he pointed to his classroom.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22
THE WARNING NATIONS
Serbians Lead Balkan
Slavs in Music Culture
Have Done More Than Oohers to Collect and Preserve
Their Folk Songs.
nd I know that glance embracing

And I know that glance embracing
All the world within its light
Fore thee, sprung from blood of heroes,
Liberty the tyrants quail,
Hail, o Freedom; hail. o Freedom,
Ours the victory. All hall"
This was set to music of an agreeably me-
lodious type by a native composer named
Manzaros, but il is greatly inferior in all the
elements which make for effectiveness in
political song to the war song 30 kairos
adelphoi," which is the true popular express
sion of Greek enthusiasm. This is a later
product of whose origin nothing seems 10 be
known, though there would seem TO be evil
dence in its parallelisms that il was inspired
by the song beginning "Deute paides ton
'Ellenon, % kairos ties doxes ilthon," which
Byron translated. The poet who wrote Sons
of the Greeks, Arise!" was Riga, who per-
ished in the struggle for independence in the
eos of the nineteenth century. Byron's ver-
sion Of his song begins:
"Sons of the Greeks, arise!
The glorious hours gone forth,
And, worthy of such ties,
Display who gave US birth
CHORUS.
"Sons Of Greece, let US go
In arms against the foe,
Till the hated blood shall flow
In river past our feet."
Mr.. Bantock, in his "Sixty Patriotic Songs"
confounds this poem with the modern 20
kairos adelphoi."
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-22

music, especially in the synagogal chants OF
the Jews; the latter may be found in the
national hymn Of Serbia printed on this page
("Ustaj, ustaj Srbine"). This Is a true
folksong. Its authorship is unknown, but II
was long handed down by tradition, and an
old copy was found in the library at Neu-
stadt. AS political song it came into promi-
nence in lS4S, when the Serbians were 1T
war as they are again, with Hungary.
have made a translation Of two stanzss OF the
original song and placed IL under the music;
other stanzas which have only In an English
version are given here. Whether or not they
are contemporaneous with the first stanzas
cannot state:
Serbia, peaceful land of fow'rs.
Home of vines and leafy bowrs,-
Thou. the Danube's gentle daughter,
Rise. prepare for slaughter!
Foes are near.-will Serbia cover?
Rise. and strike for freedoms dover.
Free are Saw and Dumas waves
Shall then we be Turkish slaves?
Like Stefan, so fam'd in story,
We will lead in glory
Foes are near,--will Serbia cover?
Rise, and strike for freedoms dowerl
Though no stately tow'rs have we,
Yet our land is fair and free!
Balkan wales, Moravian land,
Free shall be from tyrants hand
Serbans quit the plough and tether.
One and all Wen fight together,
We will fight together
Foes are near,-will Serbia cover?
Rise, and fight for freedoms dover!
The Stefan referred TO in the second
stanza was Nemanya, who about 1l65 freed
Serbia from the Byzantine yoke. The King OF
Montenegro belongs not only to royal but
also literary family He is poet and has
tried his hand at play writing. His brother Is
also a poet and the author of the national
hymn of Montenegro, "Ohama "a opga oha,
of which have attempted paraphrase with
the help of q Serbian friend Musicians will
note that it ends on the mediant instead OF
the tonic as is the Occidental rule, leaving a
decidedly sentimental rather than martial
effect. though there is something stirring IN
the change from double to triple time at the
close The hymn, as have it, is doubtless
fragment.
As | write Serbs, Montenegrins and Turks
are the only Balkan peoples physically EN-
broiled in the war. Turkish national hymn