Coming to our day we remember that the Anglo-African Samuel Coleridge-Taylor received much of his inspiration from his visits to the American Negro group; then comes Harry T. Burleigh, perhaps the greatest living song writer in America. Among his works are “Five Songs” by Laurence Hope; “The Young Warrior,” which became one of the greatest of the war songs; “The Grey Wolf” and “Ethiopia Saluting the Colors.” His adaptations of Negro folk-songs are widely known and he assisted Dvorak in his “New World Symphony.” R. Nathaniel Dett has written “Listen to the Lambs,” a carol widely known, and “The Magnolia Suite.” Rosamond Johnson wrote “Under the Bamboo Tree” and a dozen popular favorites beside choruses and marches. Clarence Cameron White has composed and adapted and Maud Cuney Hare has revived and explained Creole music. Edmund T. Jenkins has won medals at the Royal Academy in London. Among the colored performers on the piano are R. Augustus Lawson, who has often been soloist at the concerts of the Hartford Philharmonic Orchestra; Hazel Harrison, a pupil of Busoni; and Helen Hagen who took the Sanford scholarship at Yale. Carl Diton is a pianist who has transcribed many Negro melodies. Melville Charlton has done excellent work on the organ. Then we must remember the Negro singers, the “Black Swan” of the early 19th century whose voice compared with Jenny Lind’s; the Hyer sisters, Flora Batson, Florence Cole Talbert, and Roland W. Hayes, the tenor whose fine voice has charmed London, Paris and Vienna and who is now one of the leading soloists of the Boston Symphony Orchestra. The Negro has been one of the greatest originators of dancing in the United States and in the world. He created the “cake walk” and most of the steps in the “clog” dance which has so enthralled theatre audiences. The modern dances which have swept over the world like the “Tango” and “Turkey Trot” originated among the Negroes of the West Indies. The Vernon Castles always told their audiences that their dances were of Negro origin.[201] We turn now to other forms of art and more particularly literature. Here the subject naturally divides itself into three parts: _first_, the influence which the Negro has had on American literature,—and _secondly_, the development of a literature for and by Negroes. And lastly the number of Negroes who have gained a place in National American literature.