TO H. E. KREHBIEL
New Orleans, 1885.
Dear Krehbiel,—You are a terribly neglectful correspondent: I have asked you nearly one hundred questions, not a single one of which you have ever deemed it worth while to answer. However, that makes no matter now,—as none of the questions were very important, certainly not in your estimation. I think you are right about the negro-American music, and that a Southern trip will be absolutely essential,—because I have never yet met a person here able to reproduce on paper those fractional tones we used to talk about, which lend such weirdness to those songs. The naked melody robbed of these has absolutely no national characteristic. The other day a couple of darkeys from the country passed my corner, singing—not a Creole song, but a plain negro ditty—with a recurrent burthen consisting of the cry:—
Oh! Jee-roo-sa-le-e-em!
I can’t describe to you the manner in which the syllable lem was broken up into four tiny notes, the utterance of which did not occupy one second,—all in a very low but very powerful key. The rest of the song was in a regular descending scale: the oh being very much prolonged and the other notes very quick and sudden. Wish I could write it; but I can’t. I think all the original negro-Creole songs were characterized by similar eccentricities. If you could visit a Creole plantation,—and I know Cable could arrange that for you,—you would be able to make some excellent studies.
Cable told me he wanted you to treat these things musically. I am sure, however, that his versions of them lack something—as regards rhythm (musical), time, and that shivering of notes into musical splinters which I can’t describe. I have never told him I thought so; but I suggest the matter to you for consideration. I think it would be a good idea to have a chat with him about a Southern trip in the interest of these Creole studies. I am also sure that one must study the original Creole-ditty among the full-blooded French-speaking blacks of the country,—not among the city singers, who are too much civilized to retain originality. When the bamboulas were danced there was some real “Congo” music; but the musicians are gone God knows where. The results of your Southern trip might be something very important. There is a rage in Europe for musical folk-lore. Considering what Gottschalk did with Creole musical themes, it is surprising more attention has not been paid to the ditties of the Antilles, etc. I am told there are stunning treasures of such curiosities in Cuba, Martinique,—all the Spanish and French possessions, but especially the former. The outlook is delightful; but I think with you that it were best to rely chiefly upon personal study. It strikes me the thing ought to be scientifically undertaken,—so as to leave as little as possible for others to improve upon or even to glean. If you care for names of French writers on African music, I can send.
Didst ever hear the music of the Zamacueca?
L. H.