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or even outstrip the phenomenal choral music of Russia. With its harmonic versatility and interchangeable voice parts, Negro music is only conventionally in the four-part style, and with its skipped measures and interpolations it is at the very least potentially polyphonic. It can therefore undergo without breaking its own boundaries, intricate and original development in directions already the line of advance in modernistic music. Indeed one wonders why something vitally new has not already been contributed by Negro folk song to modern choral and orchestral musical development. And if it be objected that it is too far a cry from the simple folk spiritual to the larger forms and idioms of modern music, let us recall the folk song origins of the very tradition which is now classic in European music. Up to the present, the resources of Negro music have been tentatively exploited in only one direction at a time,—melodically here, rhythmically there, harmonically in a third direction. A genius that would organize its distinctive elements in a formal way would be the musical giant of his age. Such a development has been hampered by a threefold tradition, each aspect of which stands in the way of the original use of the best in the Negro material. The dominance of the melodic tradition has played havoc with its more original harmonic features, and the oratorio tradition has falsely stereotyped and overlaid its more orchestral choral style, with its intricate threading in and out of the voices. Just as definitely in another direction has the traditional choiring of the orchestra stood against the opening up and development of the Negro and the African idioms in the orchestral forms. Gradually these barriers are being broken through. Edgar Varese's Integrales, a "study for percussion instruments,” presented last season by the International Composers' Guild, suggests a new orchestral technique patterned after the characteristic idiom of the African "drum orchestra.” The modernistic, From the Land of Dreams, by Grant Still, a young Negro composer who is his student and protégé, and Louis Grünberg's setting for baritone and chamber orchestra of Weldon Johnson's The Creation: a Negro Sermon, are experimental tappings in still other directions into the rich veins of this new musical ore.