morality. But the musical soul of a race unleashed itself violently from these bonds and in
the saloons and brothels of the Mississippi bottoms and gulf coast flared to that crimson license
of expression known as “ragtime,” “jazz” and
the more singular “blues” retaining with all their
impossible words the glamour of rhythm and wild
joy. White composers hastily followed with songs
like “A Hot Time in the Old Town Tonight,”
and numerous successors in popular favor.
Out of ragtime grew a further development through both white and black composers. The “blues,” a curious and intriguing variety of love song from the levees of the Mississippi, became popular and was spread by the first colored man who was able to set it down, W. C. Handy of Memphis. Other men, white and colored, from Stephen Foster to our day, have taken another side of Negro music and developed its haunting themes and rippling melody into popular songs and into high and fine forms of modern music, until today the influence of the Negro reaches every part of American music, of many foreign masters like Dvorak; and certainly no program of concert music could be given in America without voicing Negro composers and Negro themes.
We can best end this chapter with the word of a colored man: “But there is something deeper
