xt7cnp1whk71 https://exploreuk.uky.edu/dips/xt7cnp1whk71/data/mets.xml Africa Coleridge-Taylor, Samuel, 1875-1912 1905 ix, 127 pages, port, 32 cm. Call Number: M1.M9 T2 Imperfect: Top left corner of cover torn (Special Collections copy) scores (documents for music) M1.M9 T2 English O. Ditson Contact the Special Collections Research Center for information regarding rights and use of this collection Piano music Folk songs -- Africa -- Instrumental settings Spirituals (Songs) -- Instrumental settings Twenty-four Negro Melodies, [c1905] text Twenty-four Negro Melodies, [c1905] 1905 1905 2023 true xt7cnp1whk71 section xt7cnp1whk71 :A

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THE MUSICIANS LIBRARY

SIXTY‘EIGHT VOLUMES ISSUED

SONG VOLUMES

JOHANNES BRAHMS : FORTY SONGS
High Voice. Low Voice

Edited by fame: Huneber

ROBERT FRANZ : FIFTY SONGS
High Voice. Low Voice

Edited by William Foster Apt/tarp

EDVARD GRIEG : FIFTY SONGS
High Voice. Low Voice

Edited by Henry T. Fincb

GEORGE FRIDERIC HANDEL
VOL. I. SONGS AND AIRS FOR HIGH VOICE
VOL. II. SONGS AND AIRS FOR LOW VOICE
Edited by Ebenezer Prout

ADOLF JENSEN : FORTY SONGS
High Voice. Low Voice

Edited by William Foster Apt/zorp

FRANZ LISZT : THIRTY SONGS
High Voice. Low Voice

Edited by Carl Armbruster

FRANZ SCHUBERT : FIFTY SONGS
High Voice. Low Voice

Edited by Henry ‘T. Finck

ROBERT SCHUMANN : FIFTY SONGS
High Voice. Low Voice

Edited by W. :7. Henderson

RICHARD STRAUSS: FORTY SONGS
High Voice. Low Voice

Edited by 7ames Huneker

P. 1. TCHA‘I‘KOVSKY: FORTY SONGS
High Voice. Low Voice

Edited by yames Huneber

RICHARD WAGNER: LYRICS FOR SOPRANO
Edited by Carl Armbruster

RICHARD WAGNER : LYRICS FOR TENOR
Edited by Carl Armbruster

RICHARD WAGNER : LYRICS FOR BARITONE AND BASS
Edited by Carl Armbruster

HUGO WOLF : FIFTY SONGS
High Voice. Low Voice

Edited by Ernest Newman

FIFTY MASTERSONGS
High Voice. Low Voice

Edited by Henry T. Finck

FIFTY SHAKSPERE SONGS
High Voice. Low Voice

Edited by Cbarles Vincent

MODERN FRENCH SONGS
High Voice. Low Voice

VOL. I. BEMBERG TO FRANCK ; VOL. II. GEORGES TO WIDOR
Edited by P/zilz‘p Hale

ONE HUNDRED FOLKSONGS OF ALL NATIONS

Medium Voice

Edited by Gran‘ville Bantock

SEVENTY SCOTTISH SONGS
High Voice. Low Voice

Edited, cwit/z accompaniments, by Helen Hopebirk
SIXTY PATRIOTIC SONGS OF ALL NATIONS

Medium Voice

Edited by Granville Bantoclz

SONGS BY THIRTY AMERICANS
High Voice. Low Voice

Edited by Rupert Hug/1e:

 

SONGS FROM THE OPERAS FOR SOPRANO
Edited by H. E. Kre/zbiel

SONGS FROM THE OPERAS FOR MEZZO SOPRANO
Edited by H. E. Kre/tbiel

SONGS FROM THE OPERAS FOR ALTO
Edited by H. E. Kre/zbiel

SONGS FROM THE OPERAS FOR TENOR
Edited by H. E. Krebbiel

SONGS FROM THE OPERAS FOR BARITONE AND BASS
Edited by H. E. Krebbz’el

PIANO VOLUMES

JOHANN SEBASTIAN BACH
VOL. I. SHORTER PIANO COMPOSITIONS
VOL. II. LARGER PIANO COMPOSITIONS
Edited by Ebenezer Prout

LUDWIG VAN BEETHOVEN : VOLS. I & II. PIANO COMPOSITIONS
Edited by Eugen d’Albert

JOHANNES BRAHMS : SELECTED PIANO COMPOSITIONS
Edited by Rafael 705w

FREDERIC CHOPIN : FORTY PIANO COMPOSITIONS
Edited by james Huneber

FREDERIC CHOPIN : THE GREATER CHOPIN
Edited by j‘ames Huneker

S. COLERIDGE—TAYLOR : TWENTY-FOUR NEGRO MELODIES
cTranscribed for t/ze piano

EDVARD GRIEG: LARGER PIANO COMPOSITIONS
Edited by Bert/2a Feiring Tapper

EDVARD GRIEG : PIANO LYRICS AND SHORTER COMPOSITIONS
Edited by Bert/1a Feiring Tapper

FRANZ JOSEPH HAYDN : TWENTY PIANO COMPOSITIONS
Edited by Xarver S c/tarrwenba

FRANZ LISZT : TWENTY ORIGINAL PIANO COMPOSITIONS
Edited by August S panut/z

FRANZ LISZT : TWENTY PIANO TRANSCRIPTIONS
Edited by August S panut/z

FRANZ LISZT : TEN HUNGARIAN RHAPSODIES
Edited by August S panut/z and 70bn Ort/z

FELIX MENDELSSOHN : THIRTY PIANO COMPOSITIONS
Edited by Percy Goetsc/tius

WOLFGANG AMADEUS MOZART :TWENTY PIANO COMPOSITIONS
Edited by Carl Reinecbe

FRANZ SCHUBERT: SELECTED PIANO COMPOSITIONS
Edited by August Spanut/z

ROBERT SCHUMANN : FIFTY PIANO COMPOSITIONS
Edited by X arver Sc/zarrwen/ea

RICHARD WAGNER: SELECTIONS FROM THE MUSIC DRAMAS
Arranged for tbe piano by Otto Singer

o A

ANTHOLOGY OF FRENCH PIANO MUSIC
VOL. I. EARLY COMPOSERS ; VOL. II. MODERN COMPOSERS
Edited by Isidor P/tz'lz'pp

ANTHOLOGY OF GERMAN PIANO MUSIC
VOL. I. EARLY COMPOSERS ; VOL. II. MODERN COMPOSERS
Edited by Moritz Moszl’owsl’i

EARLY ITALIAN PIANO MUSIC
Edited by M. Esposito

Price of eat/z wolume, paper, clot/z back, $1.50; full clotb, gilt, $2.50. Prices include postage.

 

 

 

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NEGRO MELODIES

TRANSCRIBED BY
S. COLERIDGE-TAYLOR

TWENTY-FOUR

   

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TWENTY-FOUR
* NEGRO MELODIES

TRANSCRIBED FOR THE PIANO BY

S. COLERIDGE-TAYLOR
OP. 59

WITH A PREFACE BY
BOOKER T. WASHINGTON

\LIBRARY
\\

 

BOSTON: OLIVER DITSON COMPANY

NEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALY

[PRICE: PAPER, $1.50; CLOTH, $2.50]

 

  

COPYRIGHT, 1903, BY OLIVER DITSON COMPANY

INTERNATIONAL COPYRIGHT SECURED

D. B. UPDIKE, THE MERRYMOUNT PRESS, BOSTON

 

 CONTENTS

SOUTHEAST AFRICA
At the dawn of day (Lo/{'0 ,éu ti ga)

The stonestare very hard (Maribye ma norm/2a ngopfu)
Take Nabandji (77mm Na/mndji)
They will not lend me a child (1 ba bo/ekz' nwana!)

SOUTH AFRICA
Song of Conquest (Rz'ngemljé)

Warriors’ Song

WEST AFRICA
0 lo ba

WEST INDIES
The Bamboula (African Dance)

AMERICA

The angels changed my name

Deep river

Didn’t my Lord deliver Daniel?

Don’t be weary, traveler

Going up

I’m troubled in mind

I was way down a-yonder (Dum-a—lum)
Let us cheer the weary traveler

Many thousand gone

My Lord delivered Daniel

Oh, He raise a poor Lazarus

Pilgrim’s Song

Run, Mary, run

Sometimes I feel like a mother-less child
Steal away

Wade in the water

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SAMUEL COLERIDGE-TAYLOR
3

T is given to but few men in so short a time

to create for themselves a position ofsuch pro—
minence on two continents as has fallen to the
lot of Samuel Coleridge—Taylor. Born in Lon—
don, August 15, 1875, Mr. Coleridge—Taylor is
not yet thirty. His father, an African and a native
of Sierra Leone, was educated at King’s College,
London, and his medical practice was divided be—
tween London and Sierra Leone.

As a child of four and five Coleridge—Taylor
could read music before he could read a book.
His first musical instruction was on the violin.
The piano he would not touch, and did not for
some years. As one of the singing—boys in St.
George’s Church, Croydon, he received an early
training in choral work. At fifteen he entered the
Royal College of Music asastudent ofthe violin.
Afterwards winning a scholarship in composition
he entered, in 1893, the classes of Sir Charles
Villiers Stanford, with whom he studied four
years or more.

Mr. Coleridge-Taylor early gave evidence of
creative powers of a high order, and to—day,at the
age of twenty—nine, he ranks as one of the most
interesting and remarkable of British composers
and conductors. Aside from his creative work, he
is actively engaged as a teacher in Trinity Col-
lege, London, and as conductor of the Handel
Society, London, and the Rochester Choral So—
ciety. At the Gloucester Festival of 1898 Mr.
Coleridge—Taylor attracted general notice by the
performance of his Ballade in flminor, for or—
chestra, Op. 33, which he had been invited to
conduct. His remarkably sympathetic setting in
cantata form of portions of Longfellow’s Hia—
watha, Op. 30, has done much to make him
known in England and America. This triple
choral work, with its haunting melodic phrases,
bold harmonic scheme, and Vivid orchestration,
was produced one part or scene at a time. The
work was not planned as a whole, for the com—

poser’s original intention was to set Hiawatha’r
Wedding Feast only. This section was first per—
formed at a concert of the Royal College of
Music under the conduétorship of Stanford,
November 11, 1898. In response to an invita—
tion from the committee of the North Stafford-
shire Musical Festival The Death of Minnehaha,
Op. 30, No. 2, was written, and given under the
composer’s direction at Hanley, October 26,
I 899. The overture to The Song osz'awatha, for
full orchestra, Op. 30, No. 3, a distinct work, was
composed for and performed at the Norwich
Musical Festival of I 899. The entire work, with
the added third part,—Hiawatha’5 Departure,
Op. 30, No. 4,—was first given by the Royal
Choral Society in Royal Albert Hall, London,
March 22, 1900, the composer conducting.

The first performance of the entire work in
America was given under the direction of Mr.
Charles E. Knauss by the Orpheus Oratorio So—
ciety in Easton, Pa., May 5, I903. The Cecilia
Society, of Boston, under Mr. B. J. Lang, gave
the first performance of Hiawatha’s Wedding Feast
on March 14, 1900; of Hiawatha’r Departure on
December 5, 1900; and on December 2, 1902,
The Death of Minnehaha, together with Hiawa—
tha’r Departure.

In 1902 Mr. Coleridge—Taylor was invited to
conduct at the Sheffield Musical Festival his or—
chestral and choral rhapsody Meg Blane, Op.48.
The fact that this work was given on the same
program with a Bach cantata, Dvorak’s Stahat
Mater and Tchaikovsky’s Symphonie Pathétz'que
indicates the high esteem in which the composer
is held.

A sacred cantata of the dimensions and style
of a modern oratorio, T he Atonement, Op. 5 3, was
first given at the Hereford Festival, September 9,
1903, under the composer’s baton,and its success
was even greater at the first London performance

in the Royal Albert Hall on Ash Wednesday,

 

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viii SAMUEL COLERIDGE-TAYLOR

I 904, the composer conducting. The first perfor-
mance of The Atonement in this country was by
the Church Choral Society under Richard Henry
Warren at St. Thomas’s Church, New York, Feb-
ruary 24 and 25, 1904. Worthy of special men-
tion are the Quintetfor Clarinet and Strings, Op. 6
(1897), which Joachim has given, and the Sor—
row Songs, Op. 57 (1904),——-a setting of six of
Christina Rossetti’s exquisite poems.

Beside the works already mentioned are a
Nonetfor Piano, Strings andH/ina’, Op. 3 (I 894),
Symphony in flminor, Op. 7 (1895), Solemn Pre—
lude for Orchestra, Op. 40 (I 899), between thirty
and forty songs, various piano solos, anthems and
part songs, and works in both large and small
form for the violin with orchestra or piano.

Mr. Coleridge—Taylor has written much, has
achieved much. His work, moreover, possesses
not only charm and power but distinction, the
individual note. The genuineness, depth and in—
tensity of his feeling, coupled with his mastery
of technique, spontaneity, and ability to think in
his own way, explain the force of the appeal his
compositions make. Another element in the per-
suasiveness of his music lies in its naturalness,
the direétness of its appeal, the use of simple and
expressive melodic themes, a happy freedom
from the artificial. These traits, employed in the
freedom of modern musical speech, coupled with
emotional power and supported by ample tech-
nical resource, beget an utterance quick to evoke
response.

The paternity of Mr. Coleridge—Taylor and
his love for what is elemental and racial found
rich expression in the choral work by which he
is best known, and more obviously in his flfriean
Romances, Op. I 7,a set of seven songs; the flfriean
Suite for the piano, Op. 35 ; and Five C/zoral Bal-
lads, for baritone solo, quartet, chorus and or-
chestra, Op. 54, being a setting of five of Long—
fellow’s Poems on Slavery. The transcription of
Negro melodies contained in this volume is,
however, the most complete expression of Mr.
Coleridge-Taylor’s native bent and power. Using
some of the native songs of Africa and the West
Indies with songs that came into being in Amer-

ica during the slavery regime, he has in handling
these melodies preserved their distinétive traits
and individuality, at the same time giving them
an art form fully imbued with their essential
spirit.

It is especially gratifying that at this time,
when interest in the plantation songs seems to
be dying out with the generation that gave them
birth, when the Negro song is in too many minds
associated with “rag.” music and the more repre-
hensible “coon” song, that the most cultivated
musician of his race, a man of the highest aes-
thetic ideals, should seek to give permanence to
the folk-songs of his people by giving them a
new interpretation and an added dignity.

*

Negro music is essentially spontaneous. In Africa
it sprang into life at the war dance, at funerals,
and at marriage festivals. Upon this African
foundation the plantation songs of the. South
were built. According to the testimony of African
students at Tuskegee there are in the native Afri-
can melodies strains that reveal the close rela-
tionship between the Negro music of America
and Africa, but the imagery and sentiments to
which the plantation songs give expression are
the outcome of the conditions in America under
which the transported children of Africa lived.
Wherever companies of Negroes were working
together, in the cotton fields and tobacco factories,
on the levees and steamboats, on sugar planta—
tions, and chiefly in the fervor ofreligious gather—
ings, these melodies sprang into life.

Oftentimes in slavery, as to-day in certain
parts of the South, some man or woman with an
exceptional voice was paid to lead the singing,
the idea being to increase the amount of labor by
such singing.

The Negro folk-song has for the Negro race
the same value that the folk—song of any other
people has for that people. It reminds the race
of the “ rock whence it was hewn,” it fosters race
pride, and in the days of slavery it furnished an
outlet for the anguish of smitten hearts. The

 

 

 “' mid? \

SAMUEL COLERIDGE-TAYLOR ix

plantation song in America, although an out—
growth of oppression and bondage, contains sur-
prisingly few references to slavery. No race has
ever sung so sweetly or with such perfeét charity,
while looking forward to the “year of Jubilee.”
The songs abound in Scriptural allusions, and
in many instances are unique interpretations of
standard hymns.

The songs that had their origin in Virginia
and the more northern of the Southern States,
where the slave changed masters less often, and
where he was under the personal care and guid-
ance of his owner, are more bright andjoyous in
tone than are those which were sung in the Gulf
States, where the yoke of slavery was more op-
pressive. The songs of the lower South are sad-
der in tone, less buoyant than are those of the
upper South.

The plantation songs known as the “Spirit-
uals” are the spontaneous outbursts of intense
religious fervor,and had their origin chiefly in the
camp meetings, the revivals and in other reli-
gious exercises. They breathe a child—like faith
in a personal Father, and glow with the hope that
the children of bondage will ultimately pass out
of the wilderness of slavery into the land of free-
dom. In singing of a deliverance which they be-
lieved would surely come, with bodies swaying,
with the enthusiasm born of a common expe—
rience and ofa common hope, they lost sight for
the moment of the auction—block, of the sepa-
ration of mother and child, of sister and brother.
There is in the plantation songs a pathos and
a beauty that appeals to a wide range of tastes,
and their harmony makes abidingimpression up—
on persons of the highest culture. The music of
these songs goes to the heart because it comes
from the heart.

The question is often asked to what extent
are these songs being sung by the colored people
and to what extent are they being preserved. In
the larger city churches they are being used but

little; but in the smaller towns, and in the coun—
try distriéts, where the colored people live in
greater numbers, their use is quite general, and
new ones appear from time to time. Several
schools and colleges of the South make an ef-
fort to preserve these songs, and at Fisk, Hamp-
ton and Tuskegee, they are sung constantly.
New students coming from remote parts of the
South occasionally bring in new ones. While
some of the colored people do not encourage the
singing of the songs because they bring up me-
mories of the trying conditions which gave them
rise, the race as a whole realizes that apart from
the music of the Red Man the Negro folk—song
is the only distinctively American music, and is
taking pride in using and preserving it.

It is, I repeat, a cause for special gratitude

. that the foremost musician of his race, a man in

the zenith of his powers, should seek to chronicle,
and thus perpetuate, the old melodies that are so
rapidly passing away.

Mr. Coleridge-Taylor is himself an inspiration
to the Negro, since he himself, the child of an
African father, is an embodiment of what are the
possibilities of the Negro under favorable envi—
ronment. In his preface to the Caein and Planta—
lz'on Songs, as sung by Hampton students, Mr.
Thomas P. Fenner said four decades ago, “The
freedmen have an unfortunate inclination to de-
spise this music [Negro music] as a vestige of
slavery; those who learned it in the old time,
when it was the natural outpouring of their sor—
rows and longings, are dying off, and if efforts
are not made for its preservation, the country
will soon have lost this wonderful music of bond—
age. It may be that this people which has de-
veloped such a wonderful musical sense in its
degradation will, in its maturity, produce a com—
poser who would bring the music of the future
out of this music of the past.” May we not look
to Samuel Coleridge—Taylor for a fulfilment of
this prophecy?

WM NW

Tuskegee Institute, A'labama, 050/2” 24, 1904.

 

  

TWENTY-FOUR NEGRO MELODIES
TRANSCRIBED BY
S. COLERIDGE-TAYLOR

 

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FOREWORD

HE Negro Melodies in this volume are not merely arranged—on the contrary they have
heen amp/flied, harmonized and altered in other respeéts to suit the purpose of the hooh. I do
not thinh any apology for the system adopted is necessary. However heautg‘ul the aétual melodies
are in themselves, there can he no douht that much of their value is lost on account of their extreme

uitahility for the ordinary amateur.
us has done for the Hungarian folh-music, Dvora’h for the Bohemian, and Grieg
gian, I have tried to do for these Negro Melodies. The plan adopted has heen al—
iception that if the Tenia con Variazioni. T he aotual melody has in every case
,‘ the head of each piece as a motto. ‘The music which follows is nothing more nor
ies of variations huilt on the said motto. Therg‘ore my share in the matter can he
and must not he confounded with any idea of “improving” the original material
Brahms’ Variations on the Haydn Theme “improved” that.
cplanation may not he out of place regarding the meanings of some Qf the Melodies —
ose from flfrica, which have in some instances no words to guide the reader. Some of
,7 ta/een figuratively ; thus, “ T he stones are very hard” may mean, “ Life is dif-
e path which the singer was treading at the time was really stony. The meaning of
‘lend me a child” is more ohvious. In countries where a childless married woman is
than nothing, it is only natural that such an one should try to horrow a child for
'an not, I helieve, hy any means unhnown among more civilized peoples. Her lament
is unahle to discover a child is therefore literal in every sense of the word.
{reat distinction hetween the African Negro and the American Negro Melodies.
would seem to he more martial and free in charac‘ter, whereas the American are
and tender, though notahle exceptions to this rule can he found on either side. One
hing points regarding this music is, in the author’s opinion, its liheness to that of the
*e. The native music of India, China and japan, and in faét all non—European
w more cultivated ears most unsatisfactory, in its monotony and shapelessness. The
'a ( I am not thin/zing if American Negro music, which may or may not have felt
uencej is the great and noteworthy exception. Primitive as it is, it nevertheless has
s of the European folh—song and it is remarhahle that no alterations have had to he
'ating the Melodies. This is even so with the example from West Africa—a highly
'r. One conclusion may he safely drawn from this—the Negro is really and truly
l personality. What culture may do for the race in this respec‘t has yet to he deter-
underlying musical nature cannot for a moment he questioned.
he to achnowledge the valuahle material I have ohtained from Monsieur Henri
lent and sympathetic little hooh “ Les Chants et les Contes des Ba Ronga.” fllso I
Mrs. V ihtoria Randall for the only specimen of West flfrican music. Nor must
'te world—renowned and deeply lamented Frederich :7. Loudin, manager of the fa—
Singers, through whom I first learned to appreciate the heautfulfolh—music of my
did so much to mahe it hnown the world over.

/IIIIIIIIII

December 17, 1904.

 

 

 

 

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FOREWORD

HE Negro Melodies in this volume are not merely arranged—on the contrary they have

heen amp/flied, harmonized and altered in other respeht's to suit the purpose of the hook. I do
not think any apology for the system adopted is necessary. However heautg‘ul the afiual melodies
are in themselves, there can he no douht that much of their value is lost on account of their extreme
hrevity and unsuitahilityjor the ordinary amateur.

What Brahms has done fiyr the Hungarian folk-music, Dvordk for the Bohemian, and Grieg
for the Norwegian, I have tried to do for these Negro Melodies. The plan adopted has heen al—
most without exception that of the Tema con Variazioni. The aé‘t’ual melody has in every case
heen inserted at the head of each piece as a motto. The music which follows is nothing more nor
less than a series of variations huilt on the said motto. Therefore my share in the matter can he
clearly traced, and must not he confounded with any idea of“ improving” the original material
any more than Brahms’ Variations on the Haydn Theme “improved” that.

A word of explanation may not he out of place regarding the meanings of some of the Melodies—
particularly those from Africa, which have in some instances no words to guide the reader. Some of
the titles may he taken figuratively ; thus, “ The stones are very hard ” may mean, “ Lye is dfi-
cult,”or that the path which the singer was treading at the time was really stony. The meaning of
“ They will not lend me a child” is more ohvious. In countries where a childless married woman is
considered less than nothing, it is only natural that such an one should try to horrow a child for
adoption—a plan not, I helieve, hy any means unknown among more civilized peoples. Her lament
on finding she is unahle to discover a child is therefore literal in every sense of the word.

There is a great distinétion hetween the African Negro and the American Negro Melodies.
The African would seem to he more martial and free in charac‘ter, whereas the American are
more personal and tender, though notahle exceptions to this rule can he found on either side. One
of the most striking points regarding this music is, in the author’s opinion, its likeness to that of the
Caucasian race. The native music if India, China and japan, and in faé? all non—European
music, is to our more cultivated ears most unsatisfactory, in its monotony and shapelessness. ‘The
music (f Africa { I am not thinking of American Negro music, which may or may not have felt
some white influence j is the great and noteworthy exception. Primitive as it is, it nevertheless has
all the elements of the European folk—song and it is remarkahle that no alterations have had to he
made hefore treating the Melodies. This is even so with the example from West Africa—a highly
original numher. One conclusion may he safely drawn from this—the Negro is really and truly
a most musical personality. What culture may do for the race in this respec‘? has yet to he deter-
mined, hut the underlying musical nature cannot for a moment he questioned.

I should like to acknowledge the valuahle material I have ohtained from Monsieur Henri
:‘funod’s excellent and sympathetic little hook “ Les Chants et les Contes des Ba Ronga.” Also I
am indehted to Mrs. V iftoria Randall for the only specimen of West African music. Nor must
I forget the late world—renowned and deeply lamented Frederick :7. Loudin, manager of the fa—
mous yuhilee Singers, through whom I first learned to appreciate the heautifulfllk-music of my
race, and who did so much to make it known the world over.

I“

London, England, Decemher I7, 1904. '

   

 

 

  

AT THE DAWN OF DAY
(LOKO KU TI GA)

 

 

 

 

 

 

 

 

 

 

 

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From M. Henri Junod‘s ,
“Les C/umts at [6.5 Contes dam BmBnga” South East Africa
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klaestoso S. COLERIDGE- TAYLOR

Op.59, NO 1
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Allegro energico 0p.59, N93.
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