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Negro Music in the Americas

Negro Music in the Americas Negro Music ín the Americas When Antonín Dvořák came to the United States and announced publicly that Negro music should become the basis for a new school of American music, he caused a storm of discussion that has not yet abated, despite the facts that more than forty years have passed and that Negro music has profoundly influenced the music of all the Americas. Perhaps some people did not wish to give the Negro credit for the ability to affect an art-form in so great a measure. (In a comparatively recent article, the late American critic, W J. Henderson, lamented the musical dominance of the Negro in the United States and sug­ gested that the country return to the early English before it is ''too late!") At any rate, certain of them have been most energetic in the attempt to disprove Dr. Dvorak's statement, even to the extent of claiming that there were no Negroid themes or treatments in the latter's own "New World" Symphony. This claim, in turn, is amply disproved by the writings of Mr. Harry T. Burleigh, a colored man who was the source of Dr. Dvorak's acquaintance with American Negro music. The Negro has influenced http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

Negro Music in the Americas

Black Sacred Music , Volume 6 (2) – Sep 1, 1992

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Copyright
Copyright © 1992 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-6.2.91
Publisher site
See Article on Publisher Site

Abstract

Negro Music ín the Americas When Antonín Dvořák came to the United States and announced publicly that Negro music should become the basis for a new school of American music, he caused a storm of discussion that has not yet abated, despite the facts that more than forty years have passed and that Negro music has profoundly influenced the music of all the Americas. Perhaps some people did not wish to give the Negro credit for the ability to affect an art-form in so great a measure. (In a comparatively recent article, the late American critic, W J. Henderson, lamented the musical dominance of the Negro in the United States and sug­ gested that the country return to the early English before it is ''too late!") At any rate, certain of them have been most energetic in the attempt to disprove Dr. Dvorak's statement, even to the extent of claiming that there were no Negroid themes or treatments in the latter's own "New World" Symphony. This claim, in turn, is amply disproved by the writings of Mr. Harry T. Burleigh, a colored man who was the source of Dr. Dvorak's acquaintance with American Negro music. The Negro has influenced

Journal

Black Sacred MusicDuke University Press

Published: Sep 1, 1992

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