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 THIS PAGE TO A FRIEND International Dictionary of Musicians of Color Commemorative Issue Black Music in a Slave State Captain Francis JohnstonState Boston: Music In An Abolitionst State The Black Swan Elisabeth T. Greenfield History of the National Association of Negro Musicians Inc. 300th YEAR CELEBRATION THE BLACK COMMUNITY |
The Black Swan
PREFACE– Recent events which have focused upon Negro achievement and involvement in the North American sphere, has seen a rapid growth of documentary material. Much of this material, however, deals with the socio-political rather than the socio-cultural aspect of the Negro. Thus far, material dealing with the cultural explosions of the early years remains in fragmented sources, The negro, (the capitalization of this word is used when the reference is post-Civil War) along with his socio-political strivings, also sought development in cultural pursuits. The story of Elizabeth Taylor is only one of hundreds. The Negro has always tired to develop his social graces and it is our attempt to show the particular development as it existed in music, contemporary with the period in which the Negro flourished. Far from lacking social graces, parallel to that of affluent whites, the Negro musician has always tried to integrate his knowledge, skill and personality into as many avenues as were available to him, To be sure, his acceptance has been slow and we have witnessed many instances of talents, forced by living conditions etc., wasted or channeled into areas other than that which they were peculiarly adapted. Many endeavors have been criticized from within the Negro communities themselves while from without, such talents have been excluded on grounds that such inclusion would be intrusive. If we can profit from Miss Greenfield's story then we have taken another step forward. Many parallels may be drawn from it and it is not our intention to exploit the areas of injustices or point out the harmful results through the centuries. This writer believes that a great deal of Negro history of music should be re-evaluated and re-interpreted by Negro scholars whose particular nuance of having borne witness to such practices of ''interpretation (in many instances so badly distorted in historical perspective) may serve as an effective toil and help in all re-evaluative processes. The writer is indebted to many people and sources for their invaluable aid in revealing this narrative. Credit must be given to the librarians of Albany Public Library, Rochester Public Library. Troy Public Library, Springfield Public Library. In addition I wish to thank the following people, Miss Lee Wilson, Niles, Michigan and Mr. Richard Schoolmaster, Ypsilanti. Michigan, Mr. Kurz Myers. Detroit, Michigan, who helped read through the work and offered invaluable suggestions. I am particularly indebted to the Burton Historical Collection, Detroit Public Library for permission to reproduce the only original program I have been able to find, to the historical societies of Buffalo, New York and Pennsylvania and particularly the Free Library of Philadelphia for the biography of Elizabeth Greenfield. I must also thank my co-workers who helped in the publication: Jack L. Splane, Gene Robertson, Lloyd Lanpher, Lawrence Splane and Herman Layne. We dedicate this story of Elizabeth Taylor Greenfield, of Philadelphia to another Philadelphia songstress, Miss Marian Anderson, honorary chairman of the 50th Jubilee Convention of the National Association of Negro Musicians, Incorporated, at St. Louis, 1969, Theodore Stone, national president. Kenneth Billups, national Jubilee chairman. To purchase this or other books by Prof. LaBrew contact: |
