Evening star., 1925-10-01
SEEK TO PRESERVE
OLD NEGRO SINGING
Tuskegee Institute Trying to
Retain Harmony of
Plantations.
ny the Assnciated Press.

BY the Associated Press.
BIRMINGHAM, Ala, October l.
The new South is fast losing one OF
the cherished traditions of the old
South-the "SpirituelS" and unmatched
harmony in the song of the negro.
Industrial progress is believed by
music critics to be largely responsible
for the changed conditions among the
race. The large plantations of Dixie
at ono time were the homes OF the
South's chief negro musicians.
TiS different now The best muSi-
clans Of the race are to be found In
the cities and ccuters of population.
But many of these who have become
urban citizens have acquired cultural
attainments which have detracted
from the old-time song.
Farm Help Scattered.
Big cotton farms in the far South
have been cut up into many smaller
tracts. The cotton planter who
boasted once of Il 500 plows" can't be
found. His negro tenants have found
more profitable employment in the
citieS-in the factories, on the high
ways. in structural work.
With the scattering of farm help.
the olden-time harmony is passing.
One must journey far into Alabama
proximates the harmony that once
existed over the entire South.
TuSkegee Institute is making Seri'
Gus efforts to preserve for both the
white and negro races the spirit of
song originated by the negro. The
institute has produced some of the
finest singers. During the last college
year, its glee club presented an inter
probation of the negro songs of other
days which was described as being as
nearly perfect as reproduction could
be made. Fisk and Hampton likewise
have given much thought along
similar lines of endeavor at the in
stance of leaders OF both races.
Harmony Unrivalled.
Those who have never heard the
real cotton-patoh harmony can scarce
ly appreciate the apprehension of mu-
sic lovers that this art is about to
pass Fifty negroes. of varied ages, in
one cotton field are capable of pro
ducing an impromptu program of
song, chant, whistling and chatter
than can be found nowhere else on
the globe. in the opinion of music
critics who have travelled far to hear
the music in its original setting.
The song is usually one which was
never written. 1t may or may not
Dc Olic dllcdus "Oi hCu cul th'iA Aeh
miliar to those participating. A
negro does not have to know"
song to join with his fellows in sing
ing it. Every farm group has
leader" This person is nearly al
ways man. He Strikes" his key
and the group is off.
Never Monotonous.
The same song may be sung for an
hour, or all day. 1t never becomes
monotonous because of it's variations.
The present day jazz artist boasts of
his barber shop" He knows moth
ing Of 'ineideptals" and chords"
The negro singer can ring in
more notes than have ever been
written in the staff. He sings in
minor. major and unknown keys"
There's no precedent for what he
does. Today he sings a new song and
sings it differently from that of yes
terday. Tomorrow he will have a
new song and more harmony.
No matter what he sings and how
he sings it, there is that indescribable
rythm, swing and motion which is as
harmonious as the flow of a meadow
brook. He knows nothing of cresen-
dos, fortissimos, piannissimos. He
does know harmony.