Boston:
Music In An Abolitionst State

By Professor Arthur R. LaBrew

PREFACE – An exposure of black musical representations in Massachusetts during the nineteenth century appears to have escaped the attention of scholars of the Afro-American traditions. Indeed, there are few materials on the subject in current encyclopedias and the like. Only in Trotter’s work has there been some attempt at underscoring especially the musical history the musical history of some cities (viz. Boston, New Orleans, Cincinnati, etc.).

As an abolitionist state, Massachusetts, through its leading city, Boston, played a great role in the shaping of positive thought about blacks, however, the primary concern centered around the issue of slavery. Attitudes towards the efforts of the free black population still need a greater codification and more especially the role played by individuals within that Society. Although much is known about the so-called “free” Negro, less had been written about events which shaped his life and attitudes. Whereas slaves as a class were treated indifferently in American life and elsewhere where slavery of any kind was permitted, free blacks were often subjected to the same if not more pressures and forced to live under conditions far worse than slaves.

Most inherent in ethnic studies of these early centuries is the proving or disproving of the degree to which free blacks were subjected to mental and moral stress and economic development. These areas were the subject of much discussion during the eighteenth century and a general consensus was that their growth in a hostile environment depended upon the sum total of their own efforts through strategies developed from within their own immediate circles. Such efforts were contingent, however, upon the state of affairs of the country and carried a greater responsibility. Thus free blacks hoping to improve their lot forged for opportunities often competing with whites – a condition with which the slave black did not have to contend.

Free blacks therefore had to build their own institutions literally from scratch when and wherever such laws permitted. In addition, there was the problem of maintaining them. His churches, schools, fraternities, lodges, cultural societies, etc., and the like were his legacy to future generations. In the matter of self-help, blacks were expected to find their own avenues for bettering themselves. The nature of many of those efforts inevitably resulted in divisiveness embracing two discernible groups: [1] those favoring adopting attitudes similar to the general culture and [2] those who preferred not to identify with the former. Education was a limited avenue but to those who could afford or did receive it, the shape and scope of their endeavors point to the acculturation process.

Neither avenue may be said to have been more important than the other and only through trial and error could some middle passage govern future directions leading to a more fruitful, secure and rewarding life. In the black culture, there were those who refused to identify with the mass culture. Apparently at least two distinct thought processes evolved: (1) those who exercised a world concept of genius and who sought through their own efforts to show mental superiority and (2) those of lesser capacity who were in imitation of those with true genius.

Running concurrently at the same time, it was inevitable that the general community attempt comparison. Thus in music the distinctions between “amateur” and “professional” [viz. the life study of Elizabeth T. Greenfield and a comparison of others who, possibly possessed notable musical qualities, did not attempt to invite comparison on a broader scale] was common place.

In stressing the two thought processes, it must be admitted that those preferring not to identify with the mass, untutored black culture of the period (opting, instead, to develop their own channels in which to display their genius) have often been cruelly treated in historical perspective and by the same token neglected in major black studies.

The early Bostonians were not “elite” as some writers might suggest. Just as in every culture, people have been discriminating in their attitudes, views and ways of achieving their cultural goals. Therefore, their attitudes in music cultivation are still a difficult history to write and analyze for often daily events would shape a particular need for presenting a musical exercise. As a general rule the password was “show upward mobility.”

Contact Information

Arthur R. LaBrew, Founder/Editor in Chief
Michigan Music Research Center, Inc.
Michigan Building—Suite 840
220 Bagley Ave.
Detroit, Michigan 48226
313-655-4494
Email: Detroitmusic1865@yahoo.com
Website: http://www.citizensforaconstitutionalrepublic.com/MMRC_Cover_9.html