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that such music without any sort of instrument would be singularly dull, but when one hears the singer bending over his tam-tam, pouring out a volume of sound, keeping a wonderful time with his hands, one is carried away by the rhythm.

At the end of each verse or group of verses there is usually a chorus in praise of Allah or of Mohammed, which is taken up by the audience.

The performers in the cases of the dance-music and the ballad-singing are professionals who either earn their living by playing nightly in the local cafés or by wandering about the country earning their supper as they go. Some of them are poets, and will ex-temporize songs about the host or about his mistress.

There are also mandolinists and violinists, but these are usually found among private individuals who perform for their own amusement or for that of their friends. They play the same sort of music, both religious and otherwise, and if one has a friend who owns a mandolin a very pleasant evening may be passed with delightful music. It is much gayer, and there are some airs which could almost be used for modern dancing.

The violinists are disappointing from the European standpoint. The player does not place the instrument to his shoulder, but holds it upright on his knee and draws the bow across the strings rather after the fashion of a man with a double bass, emitting a somewhat corresponding sound.

At first Arab music seems all the same, and the unaccustomed listener can not differentiate between the melodies, but little by little the ear becoming accustomed, he can tell at once if the air is from Oran or from Algiers, from the mountains of the Tell or from the far South; and the beat of the religious chant is unmistakable.