On the foregoing pages but little has been said of the secular songs with which at times the troupe indulged their audiences. Even in music of this kind they were exceedingly pleasing; and it is very gratifying to reflect that the members of the company constantly aimed to obtain a scientific knowledge of general music. No fears need be entertained that the students of Fisk University will ever lack for instruction in music of the highest order, as ample provision is there made for the same. Of course the model of slave "spirituals" will in a short while give place to such music as befits the new order of things. The students themselves will wish to aim higher, as the spirit of true progress will demand it. Nevertheless, some of the characteristics displayed by the great Jubilee choir it will be well for them to ever retain, and for all other singers to imitate: I mean the heartiness, the soulfulness, of their style of rendition. Indeed, in their striking exhibitions of these latter qualities, I think they may justly claim the honor of standing quite peerless and alone, and of having presented a model for the present and the future,—a model founded on that power of the singer, which enables him to melt, to stir to its innermost recesses, the human heart; that power that enables him to sing as one inspired.
And here let me conclude by venturing a brief prediction. My mind goes a few years into the future. I attend a concert given by students or by graduates of Fisk University; I listen to music of the most classical order rendered in a manner that would satisfy the most exacting critic of the art; and at the same time I am pleasantly reminded of the famous "Jubilee Singers" of days in the past by the peculiarly thrilling sweetness of voice, and the charming simplicity and soulfulness of manner, that distinguish and add to the beauty of the rendering.
XX.
THE GEORGIA MINSTRELS.
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"All the minstrel art I know, I the viol well can play; I the pipe and syrinx blow; Harp and geige my hand obey; Psaltery, symphony, and rote Help to charm the listening throng; And Armonia lends its note While I warble forth my song." The Lay of the Minstrel. |
THE origin of troubadours, or minstrels, dates back to the year 1100 (A.D.) at least. There are accounts, somewhat vague, however, which make them still more ancient. They were at one time almost the sole producers of poetry and music, always composing the songs they sang, accompanying the same generally, at first, with the music of the dulcet-toned harp, and, at a later period, with that of the guitar.
Their accomplishments, especially in music, secured for them the ready entrée of the most refined society, particularly that of elegant ladies, of whom they were great favorites; while the most polished princes always extended them a warm welcome.