In studying the development of modern American classical music, the extent of the influence of the Negro folk song can easily be underestimated. The beginning of this influence was the enthusiasm of Dvorak after his visit to America in the late 1890's, and the effect that it had on the young American composers of the time. Following his lead, a small school of devotees grew up, but produced, unfortunately, no work of outstanding merit. In 1924, the French composer, Darius Milhaud, wrote: ". . . Negro music, with its deep human content which is about to create as complete a revolution as any of the masterpieces now recognized." As yet the revolution prophesied has not taken place, but it is nevertheless on the way. Through better education for Negroes who show talent, much work has been done to develop Negro music to fill its rightful place as an indigenous art in this country. William Dawson and William Grant Still, whose symphonic works have been sponsored (perhaps unfortunately) by the pride of Philadelphia. Leopold Stokowski, are among the most important names associated with this movement.

It is true that the Negro melodies are almost childlike in their simplicity of structure, Consisting in most cases of an eight, twelve, or sixteen bar strain whose exact time and beat division depends upon the words to which it is fitted, the tunes receive full harmonic treatment only in the hands of arrangers. But obviously enough, every theme is simple until it has been subjected to the variation and development of which only highly trained musicians are capable. The principal musical ideas of the world's greatest composers, from Bach to Strawinsky, in their original form might well be and often are the products of a folk group rather than a single genius. And the possibilities of transforming these so-called "simple" Negro melodies into classical music of tremendous power are shown by the popularity and genuine artistic merit such a work as Dvorak's New World Symphony.

While on the surface the progress of Negro-influenced music seems almost imperceptible, more and more recognition is being granted by important musical figures on and off the concert stage, at least those who are not paid to grind out the three B's to insatiable audiences. If the trend keeps up, Negro music should emerge as one of the great influences in the course of classical music in this century.