New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-12-01

n national song, and, SO far as known,
all have been utter failures
glance at the material submitted shows
wholly wrong conception of a national
song; indeed, a wrong idea OF the whole
subject of song
Apparently none of the aspirants recng-
nized the wide difference between song
and a poem; not enc OF them recognized
the difference between a poem and an
anthem; not one of them realized the DIFF
ference between a lyric and marching song
poem is more or less pleasing sue
cession of statements, utilizing the beauties
of language and ideas; it Is designed Id be
spoken by one voice.
An anthem Is a simple poem lin re-
sponsive parts originally set to music,
which must be slow enough to permit
enunciation by many voices singing at once.
A lyric is slight poem a succession
of sketch ideas, tied together by repeti-
tive portion, set to music, to be sung by
one voice
national song must consist Of sue
cession of very brief, simple inspiring
statements, alternating with a succession
of mere vocables - that is, modulated
rhythmic shouting, which begets and vents
enthusiasm, but does not count for its
effect words enunciated ideas. 1t
should be in marching time, for that is the
time of heroic thought and action, and It
must be suitable for multitude of voices
singing together. 1t may may not be
antiphonal or arranged IN responses Hike
the original anthem
If these definitions be accepted and used
as tests we shall find that all recent at
tempts at a national song have been poems
of varying merit, but fnredoomed failures
from their plan
1t Is generally conceded that at present
we have no truly national song; certainly
none officially established, We rise to the
flag song" but no one considers it salts
factory or permanent 1t is accepted till
we get better An examination of its
parts shows that it fails in every essential
but one, and that it is ,verdone. 1t is re-
plete with heroic statement But it is not
simple; it is not good rhythm; it is not
suitable for singing; it is rat marching
song; it does not offer a repeated phrase OF
swinging, stirring vocables IN which all
can join.
1 do not know anything to commend its
rival "America.' except the dignity of the
music, which is preempted by Great Britain.
q
tonal songs examples which have been kept
alive by or more of the essentials al
ready listed, in spite Of their lack Of the
other elements. The "Marseilaise" for in
stance, though superb in rhythm ring and
tramp, is far overburdened by statements.
for which Weakness however, the national
genius has found remedy by ignoring the
statements, except the initial one of each
section, turning the rest into mere trum-
! petesGue vocabe-
Very rarely do we hear more than the
first two lines of the "Marseillaise." The
genius of the people is greater than the
genius of the man who wrote it, The fact
is that it is the French national air, but
it is not truly their national song.
On the other hand, every song that has
sprung spontaneously from the heart Of the
people responds in form TO these rules but
not always, alas! in the elevation Of its
sentiment. The darky plantation songs and
revival hymns cases in point
MARY and Martha or Swing Low,
Sweet Chariot" are good examples of per
feet song form carried by ring and swing,
by the appeal to the popular ear without any
appeal to the higher instincts or emotions.
Shakespeare's songs are commonly cor
rect as ip pl, eNai'piN LIE page sung III -
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