Now, these dances which I have referred to and Ragtime music may be lower
forms of art, but they are evidence of a power that will some day be
applied to the higher forms. And even now we need not stop at the Negro's
accomplishment through these lower forms. In the "spirituals," or slave
songs, the Negro has given America not only its only folksongs, but a mass
of noble music. I never think of this music but that I am struck by the
wonder, the miracle of its production. How did the men who originated
these songs manage to do it? The sentiments are easily accounted for; they
are, for the most part, 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 a
stronger theme in the whole musical literature of the world.

[Illustration: Music (Oppressed so hard they could not stand, Let my
people go. Go down, Mo-ses, way down in E-gypt land, Tell ole Pha-raoh,
Let my people go.)]

It is to be noted that whereas the chief characteristic of Ragtime is
rhythm, the chief characteristic of the "spirituals" is melody. The
melodies of "Steal Away to Jesus," "Swing Low Sweet Chariot," "Nobody
Knows de Trouble I See," "I Couldn't Hear Nobody Pray," "Deep River," "O,
Freedom Over Me," and many others of these songs possess a beauty that
is--what shall I say? poignant. In the riotous rhythms of Ragtime the
Negro expressed his irrepressible buoyancy, his keen response to the sheer
joy of living; in the "spirituals" he voiced his sense of beauty and his
deep religious feeling.

Naturally, not as much can be said for the words of these songs as for the
music. Most of the songs are religious. Some of them are songs expressing