composers who will take this music and voice through it not only the soul of their race, but the soul of America.
And does it not seem odd that this greatest gift of the Negro has been the most neglected of all he possesses? Money and effort have been expended upon his development in every direction except this. This gift has been regarded as a kind of side show, something for occasional exhibition; wherein it is the touchstone, it is the magic thing, it is that by which the Negro can bridge all chasms. No persons, however hostile, can listen to Negroes singing this wonderful music without having their hostility melted down.
This power of the Negro to suck up the national spirit from the soil and create something artistic and original, which, at the same time, possesses the note of universal appeal, is due to a remarkable racial gift of adaptability; it is more than adaptability, it is a transfusive quality. And the Negro has exercised this transfusive quality not only here in America, where the race lives in large numbers, but in European countries, where the number has been almost infinitesimal.
Is it not curious to know that the greatest poet of Russia is Alexander Pushkin, a man of African descent; that the greatest romancer of France is Alexander Dumas, a man of African descent; and that one of the greatest musicians of England is Coleridge-Taylor, a man of African descent?
The fact is fairly well known that the father of Dumas was a Negro of the French West Indies, and that the father of Coleridge-Taylor was a native-born African;
