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• W201854147 abstract "Introduction Black Americans can be proud of the many reputable artists and cultural innovators in the African American community during the nine-teenth century that composed and performed a variety of popular musical styles. These styles included but were not limited to ragtime, dance music, salon pieces, plantation songs, spirituals, minstrel tunes, band music, blues, instrumental and choral arrangements, light classics and other incidental music. However, during this period, America generally ignored its own musicians, white as well as black, preferring to import its musical culture from Europe. Black musicians were further handicapped by racial prejudice, especially when they attempted to perform anything other than spirituals, minstrel songs or dance music. Although European music dominated most concert programs, one could listen to indigenous, black musical styles performed by syncopated jazz bands in theatres and other houses of entertainment. In addition, one could listen to traditional African-American choral music in the black churches and concert halls. It is interesting to note that during this period, concert promoters utilized dance music to encourage community patronage of classical concerts. There were appeals made at the beginning of a concert program for greater participation at classical concerts, during the late nineteenth and early twentieth century. Our people are drifting too far away from the classics. We like moving pictures, vaudeville, but will not pay 50 cents to attend a classical concert unless there is a dance to follow. (Tribune) The Philadelphia Tribune a black owned and operated newspaper reported on the debut of the. Mendelssohn Club, an organization of black postal employees, who perform European classical music. James Austin a Tribune music critic indicated that the first concert by the Mendelssohn Male chorus of thirty voices in Musical Fund Hail was a resounding success and that Professor A. Croppers orchestra played for the dance that followed the concert. The Mendelssohn Male Chorus under the baton of Stanley C. Gilbert grew to fifty voices and after Gilbert's classical portion of the concert was completed, dance music was provided by Walter F. Craig's orchestra of New York. (Tribune). In large urban areas such as Philadelphia, Boston, Washington D.C., New York and New Orleans African Americans felt that they would be accepted by the majority culture if they performed music in the European classical tradition and imitated the social graces of the European aristocracy. The history of music education among blacks dates from the first black music teacher Newport Gardner (African name- Occramer Marycoo-1746-1826) an African slave who was sold to Caleb Gardner, a prominent merchant of Newport, Rhode Island. In 1791 Gardner won money in a lottery that enabled him to purchase freedom for himself and his family. Gardener began to write music when he was only eighteen and started a singing school that taught the rudiments of music. He composed songs such as Crooked Shanks and a collection of a number of Original Airs, Duettos and Trios (1803) that were sung by musical amateurs. His choral piece Promise Anthem was sung in both Newport, Rhode Island and in Boston, Massachusetts. Gardner's singing school led to the establishment of singing schools for blacks in Boston, New York, Charleston and New Orleans. (Southern, 68-70) The training that blacks received in reading music and playing instruments from Gardner enabled them to play for dances for the wealthy, military parades and bails. Francis Frank Johnson (1792-1844), composer, bandmaster and orchestral conductor, became an international celebrity as a performer on the violin; as a composer of marches, cotillions and popular songs. His introduction in 1816 to the keyed bugle, later known as the Kent bugle had an impact on his rise to international acclaim. Richard Willis, a scotsman who later became the first bandmaster of the United States Military Academy Band at West Point, immigrated to the United States and brought with him a newly invented brass instrument called the Kent bugle. …" @default.
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• W201854147 date "2005-09-22" @default.
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• W201854147 title "Black Music and Musicians in the Nineteenth Century" @default.
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