as he sings the words telling of grace and redemption. However, he manifests the same kind of emotion when he sings one song as when singing another, the same emotion when he reads the words wrongly as when he has read them correctly; it makes little difference to him. He is consumed with the music and with the state of feeling which singing brings to him. After all, perhaps one feeling dominates his whole being while he sings, and there can be no song to him which does not accord with this. A complete analysis of the negro church music in its detail is worthy of the efforts of any one who could describe it. And while the folk-song is of more importance in the present work than the music of these same songs, a few further details that are apparently characteristic of the negroes will not be amiss. The singing begins slowly and with time-honored regularity but is followed by the agreeable and satisfying effect made by the joining in of varied voices. Many times the singers begin as if they would sing a simple subdued song, or a hymn with its written music. But in a short while, apparently not being able to resist the impulse to give their feelings full sway, their voices fall into that rhythmical swing peculiar in a large degree to the negroes; all measures alike become stately. The average negro is proud of his stylish choir because it represents a step towards a model which the negroes wish to follow: but they do not like the choir's _singing_ as well as their own informal song. In general the negro's song will characterize his natural self wherever he sings or hears it sung; he is loath to give it up. And while some pastors have testified that there were no members in their church who would not sing the church songs, it is very evident that many of the younger negroes do not enter fully into the spirit of the old songs and they must necessarily undergo radical changes and rapidly pass away.