The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1895-07-13
THE SINGING OF THE NEGROES.
Marvellous Melody of the Unframed
Voices of the Black People.

Voices of the Black People.
New York Tribune
To those who are convinced OF the in
nate talent for music of the negro, as
we'll as to those who deny him the pos
session of any musical gift except slfch
as is implied in his unquestioned capac-
ity for mimfcry, a visit to the show
called BLACK America is recommended
There is large amount of extraneous
and uninteresting matter in the enter
taiEment which Mr.. Salisbury has pro-
vided. but the good things outweigh the
bad many times over. and are capable OF
giving jaded and mentally weary NOR
tai such stimulus as he will wait for in
vain at the conventional diversion of our
theaters. No one can listen to the sing
ing of the 500 choristers at Ambrose park
without marvelling at the results pro-
duced by the rude people who have been
gathered together there. The question IS
one entirely distinct from the ethnologi-
cal value OF the songs which are sung.
The list. II mast be confessed. is dis
tinctly disappointing to the student of
negro song in America, and viii help to
confirm the notion, already widespread.
that the negro, in slavery and out Of
slavery sang and sings only songs
learned from the whites.
But that Is little to the present purpose;
here Is the great and impressive fact in
the case: A choir of black people, inno-
cent of all culture, produces effects with
its singing which may without exaggera-
ton be said to be unique in the history
OF choral singing in America or any other
country. Singing In the open air at a
great distance from the listeners. without
acoustical helps save the open sheds in
which the listeners sit, this black choir
gives our volume of tone compared with
which the singing of Our largest choral
society in a hall is as chiIdrens
mur-murings. This result is not due to a
studied pursuit OF effects. 1t IS an ebul-
Ntion OF the Unborn feeling which the
singers have for music. The choir sings
because its members love TO sing. Study,
even curSarily, the work of the best OF
our amateur choirS devoted to artistic
music and you Will be compelled to rec
ogn.Ze that large percentage OF the peo-
pie in the singerS seats do not sing at
all. Not so with the singers at Ambrose
park. 1t Is probably az difficult 10 keep
them from singing as II seems impossi-
bic to keep them from dancing when
ever the programme leaves them unoc-
cupied for a moment. The result Is that
their whole souls go into the music. To
listen long TO the torture to which their
voices are frequently subjected would
drive ''voice builder" into a mad house.
but frequently II is just this want of
temperance and artistic correctn ess which
lends the peculiar charm 10 the singing.
II enhances the singular quality which
negro voices possess.
This quality is most prominent in the
low notes.-the contraltos and BASES:
in the mass choir the sopranos are not
asserttve. The effect IS rather that OF an
organ used In the old-fashionsd way,
that IS, as frs: or all harmony instru-
ment: but the contrattos. singing a voice
which IL would not be easy TO reconcile
with conventional notions OF part-writ-
ing, are very much IN the foreground.
A crescendo passage rising upward
through the scale brings out the quality
in the BASES. IL is quite indescribabe.
Following the example OF the conductors,
who seek to convey their wishes touch
ing oonal qualities by calling in analogues
in other arts, one might say that IL had
the color OF bronZe: but that might con-
vey a vague impression, II any at all
Enough that IL IS full of vitality-at once
the product and the cause OF profound
feeling. Ever and anon. when che choir
reaches climax. the tonai ground swell
rolls upward like the fun dlapa sons of a
mighty organ. Then like
1.-The fioodgate rush
OF water bursts It forth ..
The living temple is instinct. ablaze
With the uncontrolled exuberance OF
sound"
II is the rhythmical sense, however.
which is the most developed In these
rude singers. That e IL walich enables
them TO sing with precision which puts
the best OF our trained choruses 10
shame: that IL - which keeps them dane
ing Ike persons bewitched whenever CD
y,ortunity offers. The PUNK. PUNK Of a
banjo or the simple Attenuation Of hand
clan and foot ~ amp in .'pafting juba'' is
sure 10 set tan times "A many feet in
motion as the programme demands.
This is a heritage from their ancestral
Africa. as all must know who studied the
music Of the Dahomans at the WorlTs
fair In Chicago.