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Rh public, being rather in the nature of sonnets to my lady's eyebrow.

Like the Otukaka, the Lakalaka is in two parts, though the voices may divide into four parts in the final chord. They are contrapuntal in form as well as harmonic, and they are accompanied with the same kind of gesture dance as the Otuhaka. The singers may either sit or stand in one or two rows; if they stand, the men go through a sort of dance, while the women move their heads and arms without changing their position. The difference between the two forms lies in the scale, for the Lakalaka makes use of our scale both major and minor, with the exception of the leading note, which is generally omitted; the melody is more sustained, and, no drum being used in accompaniment, the rhythm is less marked.

The European music which have been the foundation of the Lakalaka are Wesleyan hymns, military band marches, and Mozart's Twelfth Mass, which is very well done by the students of the Wesleyan College. Most of the educated natives can read very well in the tonic sol-fa notation, and they have now begun to compose a kind of choral anthem for themselves, which is very much like the Lakalaka without the gestures. They show a great aptitude for keeping their parts, even in complicated counterpoint. That they have a strong natural turn for music is certain; it is the exception to find a native without a voice and a correct ear, and if they lack originality themselves, they have at least a very quick appreciation. I have described elsewhere how the Grand March from Tännhauser took them by storm when it was first performed, albeit imperfectly, by the king's band.