In African American music, the author writes, one hears a sentiment of contentment and of having found a home.

False

I know little of music and can say nothing in technical phrase, but I know something of men, and knowing them, I know that these songs are the articulate message of the slave to the world. They tell us in these eager days that life was joyous to the black slave, careless and happy. I can easily believe this of some, of many. But not all the past South, though it rose from the dead, can gainsay the heart-touching witness of these songs. They are the music of an unhappy people, of the children of disappointment; they tell of death and suffering and unvoiced longing toward a truer world, of misty wanderings and hidden ways.

In these songs, I have said, the slave spoke to the world. Such a message is naturally veiled and half articulate. Words and music have lost each other and new and cant phrases of a dimly understood theology have displaced the older sentiment. Once in a while we catch a strange word of an unknown tongue, as the "Mighty Myo," which figures as a river of death; more often slight words or mere doggerel are joined to music of singular sweetness. Purely secular songs are few in number, partly because many of them were turned into hymns by a change of words, partly because the frolics were seldom heard by the stranger, and the music less often caught. Of nearly all the songs, however, the music is distinctly sorrowful. The ten master songs I have mentioned tell in word and music of trouble and exile, of strife and hiding; they grope toward some unseen power and sigh for rest in the End.