ading basso of the singing society
heretofore mentioned, and of Olivet-Church choir. Mr. Mead renders his
music with correct and very pleasing expression. He has been favorably
mentioned, in connection with others with whom he has performed, by
the papers of Chicago.

All of the persons whose names are included in the list just closed
read music at sight, and are entitled to be ranked as artists.

II.

SOME MUSICAL PEOPLE OF THE SOUTH.

"Songs from the sunny South-land."--A.K. SPENCE.

The colored people of the South are proverbially musical. They might
well be called, in that section of the country, a race of troubadours,
so great has ever been their devotion to and skill in the delightful
art of music. Besides, it is now seen, and generally acknowledged,
that in certain of their forms of melodic expression is to be found
our only distinctively _American_ music; all other kinds in use being
merely the echo, more or less perfect, of music that originated in the
Old World. All who have listened to the beautiful melody and harmony
of the songs sung by those wonderful minstrels, the "Jubilee Singers,"
will readily admit that scarcely ever before the coming of the latter
had they been so melted, so swayed, so entirely held captive, by a
rendering of music; nor will they fail to admit that in these
"slave-songs" of the South was to be found a new musical idea,
forming, as some are wont to term it, a "_revelation_."

And if it were necessary to prove that music is a language by which,
in an elevated manner, is expressed our thoughts and emotions, what
stronger evidence is needed than that found in this same native music
of the South? for surely by its tones of alternate moaning and
joyousness--tones always weird, but always full of a ravishing
sweetness, and ever replete with the expression of deepest pathos--may
be plainly read the story of a race once generally languishing in
bondage, yet hoping at times for the coming of freedom.

Of the character of this music, and of its effect upon those who hear
it, no one speaks more clearly than does Longfellow in the following
lines from his poem, "The Slave singing at Midnight:"--

"And the voice of his devotion
Filled my soul with strange emotion;
For its tones by turns were glad,
Sweetly solemn, wildly sad."

Mrs. Kemble, in writing of life on a Southern plantation, tells how on
many an occasion she listened as one entranced to the str