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dolins, guitars, a few violins, violas, celli, double basses, here and there a wind instrument, some drums, eloquent in syncopation, and the sonorous background of ten upright pianos corresponding in efficiency t the cymbalom of the Hungarian band. Europe uplifted his baton and the orchestra began (with an accuracy of "attack" that many a greater band might envy) a stirring march composed by the leader. It was the "Pied Piper" again, for as one looked through the audience, one saw heads swaying and feet tapping in time to the incisive rhythm, and when the march neared the end, and the whole band burst out singing as well as playing, the novelty of this climax-a novelty to the whites, at least-brought a very storm of tumultuous applause. After that, the audience settled back with a broad smile of enjoyment.

Most of these Clef Club men play by ear; two-thirds of them could not read a note when they first joined the organization. They have "picked up" the ability to play an instrument, and like the Hungarians and the gypsies, when they have caught the melody they are quick to catch by ear their own orchestral parts also, or even to fill in and improvise the harmonies-but always subject to the criticism and leadership of the conductor, who corrects and drills his musicians carefully at rehearsals. These Negro players, who sing also, think nothing of playing a bass part and singing tenor at the same time, or of playing alto and singing bass! Yet these are men with only odd hours for practice-many of them being waiters, porters, elevator boys, barbers, employees or tradesmen of different kinds. Even as the Negroes in the South sing naturally in four-part harmonies at their work in field or factory, so too these Negroes in the North, almost equally untrained musically, play and sing by virtue of sheer natural ability.

The program on May second was made up entirely of the modern work of Negro musicians, most of these composers taking part in the performance. There were in the audience many of New York's best white musicians, and also contributors to our Philharmonic and Symphony orchestras; and the musical editors of the New York papers had come in order to give this enterprise serious consideration. Never before had the Negroes had such an opportunity. 

An unexpected force for better understanding between whites and blacks has been liberated in this conscious admission of the Negro into our musical life. Music has always sprung from people who labor out of doors- simple people who sing as they work and pray and dance. Whether the Negroes, any of them, will develop into great artists is not the present question; what we hope is that the Negro of today shall carry into his free industrial life in ennobling form the same love of song that upheld him spiritually in the days of bondage and made slavery bearable. For us, the fact is here that the untaught Negro has already unconsciously given to this country the elements of a type of music that the people love, while the Negro with a little education now gives us the promise of a development of that type. The folk song of the Negro has something to give to art-something that is original and convincing because it speaks directly from the heart. Like all music born of the need of song in a people, it appeals to the listener with that elemental truth of feeling in which race has no part and humanity is one.

If anything can bring harmony from the present clashing of the two races during this difficult period of problem and adjustment, it might well be the peace-giver- music!
-NATALIE CURTIS

[[image - black and white photograph of two African American composers in suits]]
[[caption]]COMPOSERS BOB COLE (STANDING), J. ROSAMOND JOHNSON (SEATED), c. 1905/SCHOMBURG COLLECTION, NYPL[[/caption]]

[[image - black and white photograph of two African American men standing in suits and top hats]]
[[caption]]BERT WILLIAMS AND GEORGE WALKER, "TWO REAL COONS," c. 1905/SCHOMBURG COLLECTION, NYPL[[/caption]]

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