Its outline is similar to the mandolin, beautifully fretted with sound-holes and has four double strings which are tuned in pairs in fifths. Another lyre akin to the robaba, is understood to the Mittoo people. Schweinfurth in “The Heart of Africa,” (p. 413), says that it constitutes one of many evidences that the inhabitants of the Nile valley have real affinity with the tribes of Central Africa. It is said that the earliest lyre of which we’ve any example is the 3-stringed lyre which has existed from time immemorial. Such a lyre was held on the mast of Queen Hatasu’s ship that she sent to the Coast of Arabia.
A reviewer commented on his “refinement of fashion and repertory” and his command of languages. Of all of the artists of present acclaim, Paul Robeson stands in the entrance rank, as a singer-actor. As a musician he is recognized as a singer of Negro song – items in thevernacular; and his artistry as a vocalist must therefore be judged on this restricted subject. He himself says, “I sing the Negro songs because they go well with my voice and swimsuit me.” He is widely heard as an exponent of Negro Spirituals in joint recitals with Lawrence Brown, accompanist-composer, and as such has obtained enthusiastic reward.
While the two traces of tonal artwork lie ever apart, it cannot be mentioned that “ne’er the twain shall meet.” J. Rosamond Johnson, who was born in Jacksonville, Florida, 1873, the son of a Baptist minister, labored concurrently with Mr. Cook. Both he and his brother, James Weldon Johnson, acquired the advantage of an academic coaching.
General Ulloa of the Marines appointed Brindis director of the orchestra for the royal feasts celebrated in honor of the young queen, Isabella II. The musician dedicated to her a richly-bound collection of his compositions, and served the Queen as sub-lieutenant in the Negro regiment of Havana. In the midst of many engagements, the musician was all of a sudden taken ill, and after a couple of days of suffering, on September 1, 1912, at the early age of thirty-seven he passed away. The most significant memorial testimonial concert given on this nation was that of January 13th, 1913, which was held at Jordan Hall, Boston, Massachusetts. The artists who contributed their companies have been Harry T. Burleigh, William H. Richardson, baritones; Maud Cuney-Hare, pianist; Jaques Hoffman, violinist, and Ludwig Nast, violoncellist ; Frederick P. White, organist and Melville Charlton, accompanist. E. B. DuBois of New York, whose work the musician had so greatly praised. In 1876, White visited the United States, and on March 12, 1876, he appeared in New York at a Philharmonic Concert given by the Theodore Thomas Orchestra when he played the Mendelssohn Concerto and the Bach Chaconne.
There are numerous choral organizations of more modern historical past now doing commendable work. TheHamilton-Johnson Negro Chorus of Brooklyn, New York, directed by Wilbur P. Johnson, has stuffed essential technical seo ajarouih engagements about New York. They took part in the first Long Island Music Festival which was held at Port Washington, Long Island, under the sponsorship of the New York Federation of Music Clubs.