The Miami times. [volume] (Miami, Fla.) 1923-current, 1953-09-26
BY Carl Ditton for AMP
MUSIC CRITICISM

race has grown since Emancipa-
ton should be an inspiration to
every one of its IS million con-
stituents.
In fact, it has advanced so fast
that there is great danger OF Its
Understanding the resources 1t
has accumulated in the interim.
Take, for instance, the most
powerful of these (if the Negro
race, as a whole did but realize it)
the Negro newspapers. Observe
the contents of at least some of the
more prominent ones-local, state
national and International news,
convention reports, columniSts
who cover such topics as politics,
economics, churches, schools,
sports, theatre, music, plus photo
graphy and the all-important sub
iect of advertising. Such an align
ment of material hardly merits
the criticism one hears all to Of
ten that Negro newspapers con-
tain little else than crime!
Since Negro music criticism has
been the recipient of encourage
ment during this press develop
ment it would seem opportune to
relate a few facts pertaining TO
the history of that field.
Those VINO care to refer back
half century or further will re-
call that such papers as the In
dianapolis Freeman, the Chicago
Defender and the New York Age
contained musical beverages that
were in essence news items.
America itself was in its infancy
with regard to music culture and
Negro writer's did not have the
musical background with which to
write critically. Notwithstanding,
as the number of Negro news
papers heightened, accordingly
grew numerically musical reports
in various parts of the nation.
In verify, it is amusing how the
music story evolved in Philadel-
phia. The Negro musicians there
became conscious that they were
giving the community the best
of their musical outpourings with
no repertorial recognition! So they
appealed to the Philadelphia Tr1b-
me which Responded by inviting
musical criticisms. And these sub
seuuently developed into a weekly
musical column by one writer.
In the course of time, another
of our nationally known Negro
newspapers employed an "accred-
tied" music critic, stepping up pro-
gras. We note, however, that TINS
accredited" music column mas
ceased to appear, and that brings
us to the point of this sermon
ette:" Is Negro music criticism OF
value to the Negro race? Was the
accredited" music column OF thai
newspaper properly supported oy
local music lovers?
Roland Hayes was once asked
if he read the criticisms OF MS
concerts. His reply was that ne
never read them! To which we
hastily add that it was just as
well. because his interpretations
seemed so uniquely, highly en-
dowed spiritually as TO have been
imperviouS to intellectual mflu-
enceSi
But it would be dangerous for
the general run of Negro musical
artists, devoid of such spiritual
powers, to pursue Hayes doctrine.
Negro music criticism therefore
should be encouraged to protect
Negro musical interests. We DO
not depend upon the White race TO
choose our homes, our food, our
clothing. Why depend upon IT 70
evaluate our musical artists? Be-
sides, we are no longer gradua-
ting vocalistS and instrumentailsts
alone, but musicologists specially
trained in music criticism. How
are we going to absorb them eco
nomically? .
In every community boasting OF
a Nero newspaper, some one OF
the leading local Negro musicians
should nurture this field And all
concert-goers should follow up
Negro musical criticisms! II on
comparing them to the "dailieS"
they do not react favorably, we
are sure that Negro editors will
do all in their power TO correct
reasonable grievances.