SONGS AND SWORDS

Evening Star, Issue 19774, 26 January 1928, Page 16

SONGS AND SWORDS

A MUSICIAN LOOKS AT HISTORY [ By George Nkwelu, in the New York L ‘Outlook.’] A pistol shot. The Archduke of Austria is murdered at Serajevo, 1914, mid the World War is the result. To be sure, the assassination furnishes the immediate spark to explode Europe’s tinder box. But what do historians say in regard to the other less obvious reasons? “Germany desired a larger place in the sun, England was jealous; Italy’s growing pains caused resentment of Austria’s transgressions,” etc. But how many historians seriously consider music (primarily song) as a potential cause of this war? Where is the chronicler who remarks of the influence on Germany’s “kultur” of the song ‘Deutschland nber Alios,’ and of similar patriotic songs •of . the World War participants? Think back. Recollect some occasion when you were one of a largo congregation singing, perhaps your own 'National Anthem’ or some stirring hymn. Recall the electrifying effect it had on you. Could you ever accurately estimate its influence on the thoughts and actions of your life in the years that came after? _ Then imagine the arrogant point of view that might very well have been brought about by great gatherings of Germans singing on every suitable occasion.

Our Germany, our Germany, O’er all the world transcending. A people which, from the formative days of childhood, have heard and sung such sentiments cannot but be tremendously influenced by them. It is comparatively easy to see and estimate the influence of music on so concrete an event as a battle—a piping band of Scotch Highlanders, for instance. Most historians admit and give credit to the power of music in a case of this kind. But the subtle, yeast-like fermentation of song upon the less spectacular movements of mankind is not so readily recognised. Would we be exaggerating to claim that the ‘ Internationale ’ was one of the causes of the Russian; Revolution ? Though the historians might rightly say; “ Yes, but without the oppression of the Tsars there would have been no ‘ Internationale.’ ” But what historians can claim that ‘ Lilliburlcro ’ was not an important cause of the English Revolution of 1688 (the uprising against King James 11., whose ruthlctss treatment of Protestants con tributed to this uprising) ?

Writers of this rebellion speak of this song as “more powerful than a Cicero or a Demosthenes.” Jts words were merest doggerel referring to tho tyrannical conduct of one General Talbot (appointed to tho Lieutenancy of Ireland by King James in 1687) and his arbitrary treatment of Protestants. The singing of this song by the enemies of the King, with whom it was tremendously popular, aroused such ill-feeling, however, that bloodshed was not long in following. Lord Wharton, who wrote tho words to this 1 Lillibnrlero,’ boasted that to this tune the King had been sung out of three kingdoms. ‘Lillibnrlero’ continued to be popular in later British campaigns. Then, coming to America, it became, with ‘Yankee Doodle,’ one of tho popular tunes of the Continental Army. Many a sinking heart was raised by its martial lilt, and many a harassed Britisher trembled when ho heard it shrilling away on the Yankee fifes. Another song ranking in historic significance with this ‘Lillibnrlero’ was our own popular tune of Civil War days, ‘John Brown’s Body.’ Tho value of music as a solace or inspiration during times of tribulation is well known. 1 have had a marine tell mo that but for tho ‘Long, Long Trail ’ he might never have come hack from tho hospital at all. And there is the storv of the wounded Scotch piper, a leg shot from under him, piping ‘The Campbells Are Coming’ to keep up the courage of his comrades in the retreat from Mons. “ Ay, more powerful than rum it was I” At no matter what movement of mankind we look music seems to he an important factor, either as an accessory before tho fact, during the fact, or after the fact. There are some interesting examples where music has even decided tho issue of some momentous event. . , , In tho vear 1212 a certain Ramilph, Earl of Chester, being besieged in his castle by the Welsh, sent for help to Do Lacy, Constable of Chester. Tho latter gathered together the many minstrels who wore present <\t the Chester fair, and had them play an allurinc tunc, which gathered a vast assembly of townfolk. Then the minstrels marched_ away, lollowed by an enamored audience. As they approached the beleaguered castle they wore spied upon by the Welsh, who, thinking them a vast army of relief, raised the siege and departed. As good a ruse as the Trojan horse was the musical one practiced by Alfred of England in the war with the Danes, 878. Being desirous of information regarding the strength and plans of the Danes, Alfred disguised himself ns a wandering minstrel. And as in that day tho minstrel was a man of high position, and accorded entrance into any court or camp, the approach of such a one to tho Danish outpost was nothing unusual, and Alfred was passed within tho ranks. He stayed long enough to get the desired information, and left with the best wishes of his enemy, whom ho was subsequently enabled to out-campaign. This anecdote of Alfred out-loxing the Danes throws interesting light upon tho medieval minstrel. He is perhaps more readily recognisable to modern readers by tho name of “ trouhador.” The political and historic importance of this medieval singer was enormous. His social station*was high —in fact, he often camo of 'good family. His position of influence was analogous to almost that of a presentday’ newspaper, for his ballads were the chronicle of tho time, and because of his value as an entertainer lie was always welcome in any court in the land —listened to and believed by all. Honored by the kings and princes, he fought by ‘their side in many a hardwoiT battle. Witness the prowess of Taillerfer, William the Conqueror’s minstrel, who rode singing before the Norman army at tho Battle of Hastings, then rushed into the fray and fell fighting. Richard the Lion-hearted had a favorite minstrel who occupied a position of trust and influence equal to almost that of a prime minister. Blonde! was his name; “ stout was his heart and sweet was his harp.” To Blondel’s heart and harp Richard owed his life. Tho phenomenal spread of Christianity throughout Europe alter the fall of Rome, was in no small measure due to the allurement of the musical liturgy. The work of Alenin of York, Chief Assistant to Charlemagne, strengthened Christianity throughout France and Germany by means of plain song. (A most important musical form of the early Catholic Church—chanted to this day in Catholic and Episcopal churches throughout the world.) It is interesting to speculate here on the subtle effect this music had upon l,ne people who listened to these plain songs. One cannot live in a certain locality for long without having his life, habits, and thoughts colored by the nature of his surroundings. Mark the difference between a city-bred man and a mountaineer from Kentiu.kv, In a like manner one must be influenced, though less obviously of course, by the nature of the music in so important a thing as church liturgy—particularly where, as was the case during the Middle Ages—the church was the biggest thing in a man's life.

Very good, then—let us grant that there are some grounds for this speculation. Now the plain chants of the early Christian church were hteuHy rather plain, smacking of Greek musical origin and lending to the religious service a simple, ■ naive atmosphere. Then came the Crusades in the eleventh century. The returning Crusaders brought back a wealth of Arab customs. (The evolution of the present-day violin is believed to have been brought about through Arab ingenuity.) Not the least of the customs brought back by the Crusaders was the florid, decorative style of certain Arab songs. This flowery singing finds its way into the plain song of the churches and changes to not a little extent the character of the liturgy. And if our speculation be correct, it changed to not a little extent tho character of the people who sang the chants. Of the ‘Mighty Fortress,’ Heine said: “It was the ‘ Marseillaise’ of the Reformation.” Who can estimate the strength that it gave to tho followers of Martin Luther? .It seemed to put courage into tho most oppressed. The Huguenols became willing martyrs to the tunc of it.

And so it goes—mi every page of history there runs some music; a. gay ballad, a solemn hymn, nr some bloodtingling inarch. We have but lleetingly touched the high lights here. But we leave it with the hope that it may prove a gesture, a musician's gesture, to the historians who have sometimes missed the thread of mnsic in tho tapestry of history.