alize it and make it
reducible to our system of notation.

EXPLANATORY NOTE

_Hoaeae_.--This term calls for a quiet, sentimental style of
recitation, in which the fluctuating trill i'i, if it occurs
at all, is not made prominent. It is contrasted with the
_olioli_, in which the style is warmer and the fluctuations
of the i'i are carried to the extreme.

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
_elan_ 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.