Thus far we have been considering the traditional indigenous music of the land. To come now to that which has been and is being produced in Hawaii by Hawaiians to-day, under influences from abroad, it will not be possible to mistake the presence in it of two strains: The foreign, showing its hand in the lopping away of much redundant foliage, has brought it largely within the compass of scientific and technical expression; the native element reveals itself, now [Page 164] in plaintive reminiscence and now in a riotous _bonhommie_, a rollicking love of the sensuous, and in a style of delivery and vocal technique which demands a voluptuous throatiness, and which must be heard to be appreciated. The foreign influence has repressed and well-nigh driven from the field the monotonous fluctuations of the i’i, has lifted the starveling melodies of Hawaii out of the old ruts and enriched them with new notes, thus giving them a spring and _élan_ that appeal alike to the cultivated ear and to the popular taste of the day. It has, moreover, tapped the springs of folk-song that lay hidden in the Hawaiian nature. This same influence has also caused to germinate a Hawaiian appreciation of harmony and has endowed its music with new chords, the tonic and dominant, as well as with those of the subdominant and various minor chords. The persistence of the Hawaiian quality is, however, most apparent in the language and imagery of the song-poetry. This will be seen in the text of the various mele and oli now to be given. Every musician will also note for himself the peculiar intervals and shadings of these melodies as well as the odd effects produced by rhythmic syncopation. The songs must speak for themselves. The first song to be given, though dating from no longer ago than about the sixth decade of the last century, has already scattered its wind-borne seed and reproduced its kind in many variants, after the manner of other folklore. This love-lyric represents a type, very popular in Hawaii, that has continued to grow more and more personal and subjective in contrast with the objective epic style of the earliest Hawaiian mele. IX—Song, Poli Anuanu Arranged by Mrs. YARNDLEY _Andante cantabile_ [Music] [Illustration: BUREAU OF AMERICAN ETHNOLOGY BULLETIN 38 PLATE XVII HAWAIIAN MUSICIAN PLAYING ON THE UKU-LELE (By permission of Hubert Voss)] [Page 165] _Poli Anuanu_