Scan 72
The American history and encyclopedia of music, 1908
8 lines. Read by computer on 9 September 2026. No printed page number was found. See the scan on archive.org.
1brought hither from Africa." This "banjar" or banjo was of four strings or possibly fewer in the earlier specimens; the head was covered with rattlesnake skin, the instrument in general being very similar to one in use by the Chinese. Late writers on the subject scout the idea of the banjo being the negroes' instrument, but there is no doubt that an instrument such as that described above was used by the slaves. Being of African origin it may naturally be supposed that it was tuned differently from our modern banjo and was played in the style of a melodic rather than of a harmonic instrument. The violin may be cited as a type of melodic instrument, as it is used principally to produce melody, while the banjo is commonly employed as a harmonic instrument, or one used in producing harmonies or chords. The musical efforts of the negro being essentially melodic, this may explain the stand taken by those who insist that the banjo was not devised by them.
3Another instrument of the negro was a sort of Pan's pipe formed from two joints of the brake cane and designated quills. When he had become thoroughly familiar with the music of the whites, however, the negro seems to have found in the violin the instrument best suited to his needs. At the same time the triangle, bones, tambourine, jew's-harp, tin whistle, in fact all the "toy" instruments were brought into use.
5It was not until about the middle of the Nineteenth Century that any effort was put forth in the direction of research regarding the music of the American negro. His songs had already become incorporated into the music of the whites and had been accepted as a part of our musical heritage. While not of strictly American origin they have undoubtedly gone to form the foundation of such folk-song literature as this country possesses.
7The negro naturally is a care-free, happy, cheerful individual, but mirth and laughter find little expression in the song of a people long depressed with thoughts of exile, and unhappy under oppression with no promise of alleviation.
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