In order to obtain a survey of the whole field of choral music as it has grown from these two principal sources, let us enumerate it under three divisions: 1. As an expression of popular emotions and thoughts. a. Folk-songs and refrains. b. Dance songs. c. Marching and war songs. d. Work songs. e. National songs. 2. For religious purposes. a. Masses, motets, chorales, and other church-music. b. Cantatas and oratorios. 3. Miscellaneous forms for choral art. a. Part-songs, glees, madrigals, etc. b. Secular cantatas. c. As adjuncts to symphonic music. d. As component parts of the opera. This shows the wide scope of choral singing and its possibilities for coming into close relationship to every phase of human life. Whenever men come together for a common purpose involving the expression of deep feelings or of their ideals, ordinary speech seems inadequate and recourse to united musical expression, that is, choral singing, seems most appropriate. Hence, the choral folk-songs and dance-songs found in Russia, Scandinavia, Germany, and many other nations and races; the marching and war-songs which cause the heart to beat faster and to enliven the spirits, which would otherwise droop from physical fatigue and hardships. Even where no spiritual element seems in evidence on the surface, as in the work in the fields, in the hauling of barges against the current of a great river, such as the Volga in Russia, in the cigar factories in Florida and in Cuba, or in heaving on a rope aboard ship, the mere working together of many in a common task causes them to lighten their labor by utterance of united song. There is little doubt that labor is better done with the accompaniment of singing by happy and contented workers. No discontented workman is inclined to sing. And when a great assemblage of people unites in the national hymn of its country, it must be a callous soul and cold heart that does not try to join with ardor and enthusiasm.