afflictions seem as nothing when compared with what Christ suffered for us. Why not be patient?
Miss Tilghman attended the Boston Conservatory of Music expressly to study the Conservatory methods of teaching piano, and that she learned the system well and is a most efficient teacher is shown by the following letter:
What was said some months ago by Dr. C. N. Dorsette of Miss Tilghman's work in Montgomery is true in every sense, and she is truly building monuments of music in the homes of the colored people. A few years ago there were no colored pianists in Montgomery and in no house where colored people lived did one hear in passing the artistic rendition of music as is now heard in almost every two or three squares. Nowhere had such a thing as a musical recital ever been heard of until Miss Tilghman went to Montgomery and parents sat and listened to their own children perform in public on the piano, and their hearts swelled with pride as they looked and listened. This young lady is doing a grand and noble work in that city. She has not been without her trials and afflictions in life, but no woman has ever fought through them more nobly and womanly than she. No woman has ever taken a truer stand for the right. She has won the highest esteem and respect of all who have met her and witnessed her work, and in years to come the young ladies who have been under her instruction and watched her womanly learning will rise up and "call her blessed."—The Southern Christian Recorder (1888).
In 1886, while teaching music in Montgomery, Ala., Miss Tilghman first began the publication of the Musical Messenger, the first and only musical journal ever published by any one of the Negro Race. That the Messenger was well edited and was a credit to the race is fully attested by the following complimentary comments:
Miss A. Iv. Tilghman is the editress of the Musical Messenger, the only paper of the kind ever published by our people. Miss Tilghman is a young lady of much talent.—New York Freeman.
