From 1917 to 1923, Holt contributed music criticism to the
Chicago Defender, one of the most famous and influential Black newspapers in America. From 1921 to 1922, Holt published and edited a monthly magazine for Black musicians entitled
Music and Poetry. It was in this magazine where Holt published two of her own compositions,
Negro Dance, for piano and an art song titled
The Sand-Man. Regarding the latter, although
Paul Laurence Dunbar wrote a poem of the same title, there is almost no overlap between the text of Dunbar's poem and that of Holt's piece; the text may be Holt's original work, and its source is currently unknown. Holt's journal also contained contributions from artists and writers such as Clarence Cameron White,
Kemper Harreld,
Helen Hagan, and
Maud Cuney Hare, among many others. Between 1923 and 1943, Holt withdrew from music criticism and spent many of these years traveling in Europe and Asia. By 1926, she had composed more than 200 works for orchestral music and chamber songs. Sadly, all of her compositions were stolen during her time abroad and only her two previously published works survived. == Personal life ==