The Nashville globe. [volume] (Nashville, Tenn.) 1906-193?, 1913-07-11
INTEREST DEEPENS WITH
YEARS In SONGS OF SOUTH
ERN NEGRO
BY Prof. J. W. Work.

BY Prof. J. w. Work.
Interest in the songs of the South
ern Negro deepens as the years 90
by. This interest springs from GER
tain sources of strength inherent in
these songs which give birth to the
hope and expectation that this mu-
sic born in the hearts of slaves will
some day be the foundation and spir-
1t of new music which will make
an unusual impression upon tie
world. The southern white man has
always understood, appreciated and
enjoyed the MUSIC of the Southern
Negro. In fact, it is probably due to
him that the plantation melodies are
enjoying so vigorous a life to-day.
He has shown such love for and en-
joyment of them that the Negro him
self even against his own desires and
inclinations, has sung them to please
his white friends. This way they
have been kept alive until a class OF
Negroes came along, recognized their
worth and beauty and began to study
ana develop them
Sometimes we hear the remark
that these old songs are dying out"
No, they are not dying at all; they
have been born to new life This
interest OF the southern white man in
this music is natural and strong be-
cause it recalls to his mind some of
the dearest associations of his life;
some of the happiest associations of
his life have centered about this sim
pie heart-music. Rev. A. c.. Dixon
formerly of this country, now the
pastor of Surgeons Tabernacle in
London, once made the remark that
his conversion to Christianity was
due to the influence of these songs.
Interest from purely musical stand
point has lately bee naroused by the
pronouncement of Dvorak that the
songs Of the southern plantations
were the only original American mu
sic. Other noted authorities have
agreed with him and several Of them
have used these melodies and princi
pies OF this music in building preten-
tious compositions. The best known
OF these is THE New World Sym
phony' by DvOrak
These composers find in thes songs
the fullest expression of southern life
along with certain melodies and prin-
ciples which are beautiful and strik-
ingly original. One original feature
is scale The Negro used one of his
own, which contains six notes, and
the most striking of these notes is
the fiat seven, which to him is natul-
al and not accidental. Another fea-
ture is thta some of his most effective
melodies are composed of as few as
three notes The most potent char
a0teristic is rythm, which is as nearly
perfect as human mind could produce
and has impressed itself more deeply
upon American music in general than
most of us would be willing to be-
lieve.
The gospel hymns, march music
especially of Sousa, are made effect
i've largely by the rythm of Negro
folk songs employed in them. Take
away this rythm from rag-time and it
will die a sudden and just death
From the Negros viewpoint other
sources of interest, in addition to
these which have been noted, are that
all this music is based upon the b.
BILE; all the songs can be traced back
to some verse or expression of the
Bible or to some religious experience.
These songs were prayers, petitions
and shouts of triumph of our fathers
Tney were the means of communica.
tion with God, in whom they had ever
increasing faith. In all the vast mum.
ber of these songs there is not the
least shadow of doubt, naught but
faith, immutable faith.
Finally, the strongest claim which
these songs make upon our admira
tion is expressed in what is the finest
and most sublime song in all the col
lection and probably the finest song
human hearts ever sang, Lord,
want to be more loving in my heart;
Lord, ! want to be like Jesus in my
heart" In all these hundreds Of
songs of the Negro there is no hint
of suspicion or hatred or revenge.
They are the heart-songs Of love-
Atlanta Constitution.