In California there is a strong Spanish flavor in some of the old ballads that date from the time of the Spanish Missions. There are also mining songs of the “days of ’49,” including _Oh Susannah_, by Stephen Foster, and we defy you to get rid of the tune if once it “gets you!” Then there are cow-boy songs of the Plains, _The Texas Rangers_, _The Ship that Never Returned_, _The Cow-boy’s Lament_ and _Bury Me Not on the Lone Prairie_; the Lumberjack songs of Maine; the well known air of the _Arkansas Traveller_, which was a funny little sketch for theatre of a conversation between the Arkansas traveller and a squatter which is interrupted by snatches of a tune; and in addition a whole book full of songs sung in the backwoods settlements, hunting cabins and lumber camps in northern Pennsylvania. So if you seek, you can find a large number of folk songs without going to the Indian or the Negro. The Civil War brought out a number of new national songs among them _Glory Hallelujah_ and _Dixie_. _Dixie_ was written in 1859 as a song and “walk-around” by the famous minstrel Dan Emmett, and became a war song by accident. It had dash and a care-free spirit, and the rollicking way it pictured plantation life attracted the soldiers of the South when they were in the cold winter camps in the North. Its rhythm is so irresistible that it makes your hands and feet go in spite of yourself. Besides these two the soldiers of the Civil War marched to _Rally Round the Flag, Boys_, _Tramp, Tramp, Tramp, the Boys are Marching_, _Home, Sweet Home_, _Lily Dale_, _The Girl I Left Behind Me_, _Hail Columbia_ and _The Star Spangled Banner_. We have told you so much about the Indian and his song that it is unnecessary now to dwell at length on his music. Of course some American composers have used Indian folk legend and music, but after all it remains the musical portrait of the Red Man and has not become the heart language of the white man. We have, however, a real folk-expression that has had a great deal of influence on our popular music and will probably help to create a serious music to which we can attach the label “Made in America,” and that is the music of the American Negro. In Chapter II we showed you what the Negro had brought from his native Africa, and also that he had been influenced by his contact with the white race. His music is not the result of conscious art and of study but is a natural outburst in which he expresses his joys and sorrows, his tragedies and racial oppression. Also we find rhythms, melody and form that have grown as a wild flower grows, and are different from any we have met heretofore.