Jasper County Democrat, Volume 6, Number 22, Rensselaer, Jasper County, 5 September 1903 — QUEER THINGS ABOUT SONGS. [ARTICLE]

QUEER THINGS ABOUT SONGS.

Some Favorites of Latter Times Were Composed Centuries Ako. Martin Luther was not the first to object to “letting the devil have all the good tunes,” says the International Quarterly. The bishop of Ossory In the fourteenth century used such tunes as “Do, Do, Nightingale, Sing Full Merry,” in compiling a book of hymns. The song of Deborah and Barak in the scriptures, with Its extemporization, Its clapping of hands to mark the rhythm, Its alternation of solo and chorus, would not be unlike the singing at a camp-meeting on a Southern plantation. The drum major of a military band Is a survival of the champion who strode, twirling his sword at the head of an army In the old days, challenging the champion of the other side to combat. “We won’t Go Home Till Morning” has a more interesting history than any other song. It was first sung In the Holy Land In honor of a French crusader named Mambron. The melody was caught by the Saracens and is still sung In the east. In France the name “Mambron” was centuries afterward altered to “Malbrooke,” derisively applied to the Duke of Marlborough. “Malbrooke he went to war”—the words fitted well enough. The further statement, true of the old crusader, “he’s dead and burled,” was applied in spirit of hope to the victor of Blenheim. Du Maurier In “Trilby” makes great use of “Malbrooke,” as he does of "Ben Bolt.” Beethoven used the theme In an orchestral score, “The Battle of Vittoria.” In England the son Is oftenest fitted to the words, “For He’s a Jolly Good Fellow.” Scottish folksongs are most difficult to imitate. Mendelssohn did it so successfully, however, that most people who sing “Oh, Wert Thou in the Cauld Blast?” take It for an old native air.