of thirty years ago, such as "In the Sweet Bye and Bye," "The Ninety and Nine," etc., with the up-to-date, syncopated tunes that are sung in Sunday Schools, Christian Endeavor Societies, Y.M.C.A.'s and like gatherings to-day.
Ragtime has not only influenced American music, It has influenced American life; indeed, it has saturated American life. It has become the popular medium for our national expression musically. And who can say that it does not express the blare and jangle and the surge, too, of our national spirit?
Any one who doubts that there Is a peculiar heel-tickling, smile-provoking, joy-awakening, response-compelling charm In Ragtime needs only to hear a skillful performer play the genuine article, needs only to listen to its bizarre harmonies, its audacious resolutions often consisting of an abrupt jump from one key to another, its intricate rhythms In which the accents fall In the most unexpected places but In which the fundamental beat is never lost in order to be convinced. I believe it has its place as well as the music which draws from us sighs and tears.
Now, these dances which I have referred to and Ragtime music may be lower forms of art, but they are evidence of a power that will some day be applied to the higher forms. And even now we need not stop at the Negro's accomplishment through these lower forms. In the, "spirituals," or slave songs, the Negro has given America not only its only folksongs, but a mass of noble music. I never think of this music but that I am struck
