@inbook{10.2307/j.ctt32bxbs.5,
 ISBN = {9780300072310},
 URL = {http://www.jstor.org/stable/j.ctt32bxbs.5},
 abstract = {Shortly after arriving in America in 1892, Antonin Dvořák declared that the most distinctive folk music in the United States came from black America: only through a recognition of this fundamental fact, said Dvořák, could America realize itself musically.¹ Now a commonplace argument in the post-jazz, post-rock era, this assertion was hugely provocative in its time. That it was articulated by a white European made it more so. That the gospel of black music then spread to other Old World composers before it took root in America seems equally odd—but perfectly in tune with Europe’s embrace of subversives such},
 bookauthor = {JACK SULLIVAN},
 booktitle = {New World Symphonies: How American Culture Changed European Music},
 pages = {1--46},
 publisher = {Yale University Press},
 title = {The Legacy of the Sorrow Songs},
 year = {1999}
}