“Through the Negro this country is vocal with
a folk-music intimate, complete and beautiful. It
is the Negro music with its by-product of ‘ragtime’ that today most widely influences the popular
song-life of America, and Negro rhythms have
indeed captivated the world at large. Nor may
we foretell the impress that the voice of the slave
will leave upon the art of the country—a poetic
justice, this! For the Negro everywhere discriminated against, segregated and shunned, mobbed
and murdered—he it is whose melodies are on
all our lips, and whose rhythms impel our marching feet in a ‘war for democracy.’ The irresistible
music that wells up from this sunny and unresentful people is hummed and whistled, danced to and
marched to, laughed over and wept over, by high
and low and rich and poor throughout the land.
The downtrodden black man whose patient religious faith has kept his heart still unembittered,
is fast becoming the singing voice of all America.
And in his song we hear a prophecy of the dignity
and worth of Negro genius.”[1]
The Negro folk-song entered the Church and became the prayer song and the sorrow song, still with its haunting melody but surrounded by the inhibitions of a cheap theology and a conventional
- ↑ Natalie Curtis-Burlin, Negro Folksongs, 4 books, 1918-19; Songs and Tales from the Dark Continent, 1920.
