Another, and a most important sign of the growing influence of music upon American life, is seen in the place it is gaining in the college curriculum; new chairs have been established, and prominent composers called to fill them, or old professorships that held merely nominal places in the catalogue have been enlarged in scope. In this way music is reestablishing itself in something like its ancient glory; for the Greeks not only grouped all culture under the general term of "Music," but gave voice and instrument a vital place in education. Three of our most prominent composers fill the chairs at three of the most important universities. In all these cases, however, music is an elective study, while the rudiments of the art should, I am convinced, be a required study in every college curriculum, and in the common schools as well. Assuming then, for the nonce, the birth--we are too new a country to speak of a Renascence--of a large interest in national music, there is large disappointment in many quarters, because our American music is not more American. I have argued above that a race transplanted from other soils must still retain most of the old modes of expression, or, varying them, change slowly. But many who excuse us for the present lack of a natural nationalism, are so eager for such a differentiation that they would have us borrow what we cannot breed. The folk-music of the negro slaves is most frequently mentioned as the right foundation for a strictly American school. A somewhat misunderstood statement advanced by Dr. Antonin Dvorak, brought this idea into general prominence, though it had been discussed by American composers, and made use of in compositions of all grades long before he came here. The vital objection, however, to the general adoption of negro music as a base for an American school of composition is that it is in no sense a national expression. It is not even a sectional expression, for the white Southerners among whose slaves this music grew, as well as the people of the North, have always looked upon negro music as an exotic and curious thing. Familiar as it is to us, it is yet as foreign a music as any Tyrolean jodel or Hungarian czardas. The music of the American Indian, often strangely beautiful and impressive, would be as reasonably chosen as that of these imported Africs. E.A. MacDowell had, indeed, written a picturesque and impressive Indian suite, some time before the Dvorakian invasion. He asserts that the Indian music is preferable to the Ethiopian, because its sturdiness and force are more congenial with the national mood.