Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-09-30
Mrs. Lyman B. KenlM Has
Compiled Songs Of Her Old
Georgia Nurse.

word of mouth. 1t was only i'll very re-
cent years that they were put on paper.
Origin Obscure.
The exact origin of these songs Is
obscure. although they are accepted as
spontaneous expressions OF the slaves
emotions They comprise one OF the
most perfect tonal portraits of any
people. With their range of pathos,
their strength, and at times almost
weird beauty, the forty-odd spirituals
that have been preserved furnish the
most accurate surviving index to the
minds and hearts of the slaves.
Mrs. Kendall is on her way home
from Europe, where she spent the
Summer. In the midst of the. strenu-
Gus rounds of dinners. teas and dances
of the social season Mrs. kendaH TOOK
time to prepare the collection of songs.
Familiar with these songs from
childhood. Mrs. Kendall has taken un-
usual interest in putting them into per-
manent form so that others may en-
Joy them There are about Az songs
in the collection and musical arrange
ments have been completed for about
% of them. All of the proceeds from
the sale of the books will go toward
the education of poor colored chlloren
of the South.
Learned of Value.
Mrs Kendall first learned them be-
cause she loved them and had been
raised on them. Then she found
commercial value in them in the draw.
ing rooms of New York, Boston ana ana
Newport. This was when she was sun
Young and had found it necessary 10
produce an income for herself. she
and her plantation songs became tne
vogue in the large cities.
Since her marriage some years ago
she has been heard only by the mem
bers of their own social circle, tnougn
she has continued her daily practice
and constant study.
The spirituals. in their original forms,
had no accomplishments unless banjo
was handy. Mrs. Kendalls first real
ization of how the Spirituals would be
appreciated in other countries than our
own. was during visit in London some
years ago. They were at supper Win
friends in a popular restaurant IN the
British capital. where an orchestra OF
American negroes was playing. They
gave modern Jazz. calling it the music
of the colored race Mrs. Kendall step
ned up to the leader and asked him II
he would play the we'll known planta-
ton melody, Swing Low Low, Sw aeS
to start it, The members OF her party
urged her to get up and sing 1t Tor
them. which she finally did, creating
great enthusiasm with demands for
more from band as we'll as patrons. SO
she sang for some little time, but soon
found that these "colored boys" from
the States knew less of their own 1olk
tunes than she, so she sang "lthout
their accompaniment.
Searched for Musician.
Mrs. Kendall searched for some years
for a musician able 10 WrlCe WORTH
while accon1paniments for the piano
and retain the rhythns and spirit OF
the songs. She found it difficult task
in New York and Boston and finally
found lust the gifts and accomplish
ments She was searching for IN Wash.
ineton in Mrs. Schulze. she Is wen
known pianist and mas recenCy 90
cuired considerable success as a COM
Y3oeer of some charming songs and vlo-
lin numbers.
The volume of songs has cover page
drawing by Mrs. KendalPS daugnter,
Mrs. George Grant Mason, Jr., OF NeW
York. 1t represents the colored preacher
at a revival with some who nave got
religion" .r..u 1-,,,,
beth Covle of Georgia, has written a
preface to her first volume which IS
descriptive of her intention in PUBLISH
ing the collection. She says:
I'm the whole treasury OF song tnere
is perhaps no more per1ect Ionat p 4;r
lyric melodies of the Negro OF the OLD
South. Melodies whose great range
of pathos, strength and at times al
most weird beauty. thrill the neart
strings of all mankind, irrespective OF
caste, color or creed.
To Preserve Spirituals.
"The origin of vocal music must be
sought in the urge for emotional ex.
preston. In presenting the old planta-
fion HYMNS contained in this little
volume, it is with sincere desire to pre-
serve for generations to come tnese
melodies, rich with beauty and pathos,
through which the soul OF the southern
Negro found expression. HIS Joys sor-
rows, hopes and fears are all en-
balmed in this language of primitive
emotion. Moved by these feelings, ne
raised his rugged voice to his Coo ana
never did anthem ring more clear IMAM
when at sunset, from the old log cnurcn
in the pines chorus OF voices WnoNe
rich natural tones blended like the tones
of a mighty organ. rolled upward on
the evening air-'I'm so glad truoole
dom las always
"The Negro of the old South belongs
to Yesterday, but his song lives on. IL
stands out against background OF pic
turesque beauty and historical interest.
THE Negro spirituals of the South,
like the dialect, differed with the To-
cality. The metrical peculiarities were
varied to suit the taste of a given
community Fundamentally, the old
songs are the same, but the Negro in
the rice fields of South Carolina. the
slaves on the sugar plantations down
in louisiana the darkies in the cotton
fields of South Georgia, each had their
own individual interpretations, which
were as different in meter as they were
interesting in dialect. After all, the
Spiritual was a matter of feeling and
instinct rather than intellect. 1t de-
ponds for its melody upon the musical
quality of time, and not upon accented
or unaccented syllables. There is no
technical pattern, nor is it intended to
so conform.
$50, this contribution to Southern
folk lore is intended to preserve few
of the priceless spirituals of old South
Georgia, in the eternal cleaning Of
thousands of slaves who loved them and
sang them in the years that are gone"