Cayton's weekly. [volume] (Seattle, Wash.) 1916-1921, 1917-10-27

This proves It's originality, for II 1t were an
imitation, the people Of Europe at least
would not have found it novelty. And
it is proof Of a more important thing; it is
proof that ragtime possesses the vital spark,
without which any artistic production, no
matter how approved it's form may be, is
dead
In spite of the amount of worthless, vic
ious imitation" Mr.. johnson contends that
there is enough that is genuine, mentioning
"The Memphis Blues'' where he thinks ''the
musicians will find not only great melodic
beauty, but polyphonic structure that is
amazing" Continuing:
81 have spoken Of The Memphis Bues' as
a composition Strictly speaking, it is not
a composition The name Of the composer
printed on the copies is Handy, who is a
Negro musician of Memphis; but The Mem
phis Blues is one of those Negro songs
which like 'Topsy, jest grew. However,
that is another story.
eve are all familiar with the great in
fuence that ragtime has had on music in
FIVE-Cayton O-24 chi
America. Most people will recognize that
influence on the musical comedy stage, but
not many know that ragtime has even in
fuenced our religious music do not know
how many of us here are familiar with Cos
pei hymns, but if you are, you can at once
see the great difference between the songs of
thirty years ago. such as In the Sweet Bye
and Bye The Ninety and Nine, etc., and
the up-to-date, syncopated tunes that are
sung in the Sunday schools and like meet
ings today.
Now, these dances which have referred
to in passing and ragtime music may be low
err forms Of art, but they give evidence of
power that will some day be applied to the
higher forms. Even now we need not stop
at the Negroes accomplishment through
these lower forms. In the spirituals or slave
songs the Negro has given America not only
It's only folk-songs, but a mass of noble
music. [ never think of this music
but am struck by the wonder, the
miracle, of it's production. How did
the men who originated them man.
age to do it? The sentiments are easily
accounted for; they are mostly taken from
the Bible; but the melodies, where did they
come from, some of them so weirdly sweet,
and others so wonderfully strong? Take,
for instance, Go Down, Moses I doubt
that there is stronger theme in the whole
musical literature of the world.''
Mr.. johnson expresses his wonder that
this greatest gift Of the Negro should
have been the most neglected Of all that he
possesses:
Money and effort have been expended
upon his development in every other direc-
ton except this This gift has been re-
garded as sort of side show, something for
occasional exhibition, whereas it is the magic
thing; it is the touchstone; it is that bv
which the Negro can bridge all chasms. No
class Of persons, however hostile, can listen
to Negroes singing this wonderful music
without having all their hostility melted
down. Any one who can hear Negroes sing
Trouble I See without shedding tears must
indeed have heart of stone This very
music can be used as bond
II believe the Negro possesses valuable
and much needed gift that he will contrib
ute to the future American democracy. I
have tried to point out that the Negro is
here not merely to be beneficiary of Amer
lean democracy not merely to receive. He
is here to give something to American dem
ocracy. Out of his wealth of artistic and
emotional endowment he is going to give
ILL Al