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 standpoint. It is certain that the critic stands completely disarmed in their presence. He must not only recognize 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 listeners 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 could 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 the child-like, receptive minds of these unfortunates were wrought upon with a true inspiration, and that this gift was bestowed upon them by an ever watchful Father, o quicken the pulses of life, and to keep them from the state of hopeless apathy into which they were in danger of falling. A technical analysis of these melodies shows some interesting facts. The first peculiarity that strikes the attention is in the rhythm. This is often complicated, and sometimes strikingly original. But although so new and strange, it is most remarkable that these effects are so extremely satisfactory.