In giving these melodies to the world in a tangible form, it seems desirable to say a few words about them as judged from a musical stand-point. It is certain that the critic stands completely disarmed in their presence. He must not only recognise their immense power over audiences which include many people of the highest culture, but, if he be not thoroughly encased in prejudice, he must yield a tribute of admiration on his own part, and acknowledge that these songs touch a chord which the most consummate art fails to reach. Something of this result is doubtless due to the singers as well as to their melodies. The excellent rendering of the Jubilee Band is made more effective and the interest is intensified by the comparison of their former state of slavery and degradation with the present prospects and hopes of their race, which crowd upon every listener's mind during the singing of their songs. Yet the power is chiefly in the songs themselves, and hence a brief analysis of them will be of interest.
Their origin is unique. They are never "composed" after the manner of ordinary music, but spring into life, ready made, from the white heat of religious fervour during some protracted meeting in church or camp. They come from no musical cultivation whatever, but are the simple, ecstatic utterances of wholly untutored minds. From so unpromising a source we could reasonably expect only such a mass of crudities as would be unendurable to the cultivated ear. On the contrary, however, the cultivated listener confesses to a new charm, and to a power never before felt, at least in its kind. What can we infer from this but that the child-like, receptive minds of these unfor-
