The daily morning journal and courier., 1895-01-24
nr0tl.0s eor. Am erlcnn Mnslc.

A while ago I suggested that inspira-
 ton for truly national music might be
 derived from the negro melodies or In- dian chants. was led to take this view .nartlv by the fact that the so-called
 plantation songs are indeed the most
 striking and appealing melodies that
 have vet been found on this side of the
 vater. but largely by the observation
 that this seems to be recognized, though
 often unconsciously, by most Amerl- cans. All races have their distinctive
 ly national songs, which they at once
 recognize as their own, even II they
 have never heard them before. when
 a, Tsech, a Pole, or Magyar Ill tlls
 country suddenly hears one of his folK-
 songs or dances, no matter If Ut IS Tor
 the first time in his life, his eye lights
 I'D at once and his heart within him
 responds, and claims that music as it's
 own. So it is with those of Teutonic or
 Celtic blood, or any other men, lhaeeu'
 whose first lullaby mayhap was song
 wrung from the heart of the people.
 It is a proper question to ask. what
 songs, then, belong to the American
 and appeal more strongly to him than
 any others? What melody could stop
 him on the street if he were in
 strange land and make the home feel
 ing well up within him, no matter how
 hardened he might might be or how
 wretchedly the tune were played?
 Their number. to be sure, seems to be
 limited. The most potent as well as the
 most beautiful among them, according
 to my estimation, are certain of the so-
 called plantation melodies and slave
 songs, all of which are distinguished by
 unusual and subtle harmonies, the Eke
 of which I have found in no other songs
 but those of Scotland and Ireland. The
 point has been urged that many of these touching songs, like those of Foster,
 have not been composed by the negroes
 themselves but are the work of white
 men. while others did not originate on the plantation, but were imported from
 Africa. One might as well condemn the
 Hungarian Rhapsody because Liszt could not speak Hungarian. The inn portant thing is that the inspiration for such music should come from the right source, and that the music itself should
 be true expression of the peoples real feelings. To cad the right meaning the composer net not necessarily be of the same blood, hough that, of course, makes it easier for him. Schubert was a thorough German but when he wrote Hungarian music. as in the second movement of C-major symphony. or in
 some of his piano pieces, like the Hun garian Divertissement, he struck the true Magyar note, to which all Magyar hearts, and wish them our own, must forever respond. The white composers who wrote the negro songs which dim
 med Thackeray's spectacles so that he exclaimed, Behold, a vagabond with a corked face and a banjo sings a little song. strikes wild note, which sets the whole heart thrilling with happy pity"
 had a similarly sympathetic compre- | hensfon of the deep pathos of slave life. l If. as I have been Informed they were, | these songs were adopted by the ne- groes on the plantations, they thus be- came true negro songs. Whether the | original songs which must have inspired | the composers came from Africa or | originated on the plantations matters as little as whether Shakespeare in vented his own plots or borrowed them l from others The thing to rejoice over | is that such lovely songs exist and are sung at the present day. l. for one,
 am delighted by them. Just so 1t mat | ters little whether the inspiration for l the coming folk-songs of America is | derived from the negro melodies, the 1 songs of the creoles, the red mans 1 chant, or the plaintive ditties of the homesicl1 German or Norwegian. Un- | doubtedly the germs for the best music | He hidden among all the races that are commingled in this great country The music of the people is like rare and lovely flower growing amidst encroach- | ing weeds Thousands pass it, while | others trample 1t under foot, and thus | the chances are that it will perish be- l fore 1t is seen by one discriminating 1 spirit. The fact that no one has as
 yet arisen to make the best of 1t does
 not prove that nothing is there.-Fronl
 Music in America" by Antonin Dvor-
 ak, in Harpers Magazine for February.