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152 attacks. The reason jazz is worth writing about is that it is worth listening to. I have heard it said by those who have suffered much that it is about the only native music worth listening to in America.

Strictly speaking jazz music is a new development—something of the last two years, arriving long after jazz had begun to be played. I mean that ragtime is now so specifically written for the jazz band that it is acquiring new characteristics. Zez Confrey, Irving Berlin, Fred Fisher, and Walter Donaldson among others are creating their work as jazz; the accent in each bar, for example, is marked in the text—the classic idea of the slight accent on the first note of each bar went out when ragtime came in; then ragtime created its own classic notion—the propulsion of the accent from the first (strong) note to the second (weak). In jazz-ragtime the accent can occur anywhere in the bar and is attractively unpredictable. Rhythmically—essentially—jazz is ragtime since it is based on syncopation and even without jazz orchestration we should have had the full employment of precise and continuous syncopation which we find in jazz now, in Pack Up Your Sins, for example. It is syncopation, too, which has so liberated jazz from normal polyphony, from perfect chords, that M Darius Milhaud is led to expect from jazz a full use of polytonic and atonic harmonies; he notes that in Kitten on the Keys there exists already a chord of the perfect major and the perfect minor. The reason why syncopation lies behind all this is that it is fundamentally an anticipation or a suspension in one instrument (or in the bass) of what is going to happen in another (the treble); and the moment in which a note occurs prematurely or in retard is, frequently, a moment of discord on the strong beat. A dissonance sets in which may or may not be resolved later. The regular use of syncopation therefore destroyed the fallacy (as I hold it) of the perfect ear; and this is one reason why Americans are often readier to listen to modern music than peoples who haven't got used to dissonance in their folk and popular music.

It is not only syncopation that makes us indebted to negro music. Another element is the typical chord structure found there, the characteristic variations from the accustomed. Technically de- scribed one of the most familiar is the subdominant seventh chord