t
as personality.... These students become delivered from the benumbing
conditions of modern industry by the emancipating and humanizing
effect of the Hampton scheme of industrial training, and those who are
thus initiated in a large view of their small opportunities are likely
to find their way, not only to those occupations, which are still open
at the top, but to those resources of happiness which are discovered
when work has become a vocation, and labor has contributed to life.'"

NOTES

In the introduction to Book II of _Negro Folk-Songs_ the author, Mrs.
Natalie Curtis Burlin, has some interesting paragraphs showing the
connection of this music with certain origins in Africa. She says:

"That Negro folk-song is indeed an offshoot from an African root,
nobody who has heard Africans sing or even beat the drum can deny. The
American Negroes are sprung, of course, from many tribes; but whereas
the native traffic in slaves and captives brought individuals from
widely separated parts of the continent to the coasts and thus to the
European slavers, the great mass of Negroes that filled the slave
ships destined for America probably belonged--according to some
authorities--to the big linguistic stock called Bantu, comprising some
fifty million people south of the equator. The Zulu and Ndau tribes,
whose songs I studied, are of this stock. Yet, as there are over a
hundred million Negroes on the Dark Continent, whose different traits
are probably represented in some form in this country, all statements
as to musical derivations could be made with final authority only by
one who had studied comprehensively the music of many different tribes
_in Africa_. This much, however, one may most emphatically affirm:
though the Negro, transplanted to other lands, absorbed much musically
from a surrounding civilization, yet the characteristics which give to
his music an interest worthy of particular study are precisely those
which differentiate Negro songs from the songs of the neighboring
white man; they are racial traits, and the black man brought them from
the Dark Continent.

"The most obvious point of demarcation between Negro music and
European is found, of course, in the rhythm. The simpler rhythms
natural to the white man (I speak of folk-music, the people's song,
not of the elaborate creations of trained musicians) are usually even
and symmetrical. Throughout western Europe and in English and Latin
countries, the ac