Music 467 



struetion. Nearly all of its tones follow the triad intervals of either 

 the minor or its relative major tonic chords or the minor dominant 

 chord. There is no well-marked motive development but instead a 

 succession of tones first from one triad, then from another, and so on, 

 grouped in ever varying fashion. 



The key is G minor, but closes in the relative major B. While sing- 

 ing in the minor, the performer follows modern methods and raises 

 his seventh or "leading tone," when the progression is upwards into 

 the tonic (see measures 10, 13, 25, and 27). 



The tempo is mostly 108, but at the tenth measure the movement 

 slows down to 80. At this point is shown a note with a large circle 

 above. This tone was taken with a very wide open mouth quite in con- 

 trast with the one preceeding. The next measure following shows two 

 tones taken falsetto. 



Like the Dawak, this song is probably the composition of the 

 singer. Although very primitive in its general aspect, it has absorbed 

 from some source a bit of modern influence. 



If the surmise is correct that the performer of this song is the 

 same as the one who made the record of the Dawak, and if the two 

 songs were made at distinct times with a considerable period elapsing 

 in which other records were made, it would indicate, as is frequently 

 the case among primitive singers, that this performer almost invariably 

 sings at the same pitch. In other words, he has to some degree the sense 

 of absolute pitch. 



Bagovas 



Record G. A song of praise and compliment sung by a guest at a feast 



or party. Words are extempore, but music constant. 



The singer is a tenor with considerable dramatic quality in his 

 voice. The words of the song must be extemporized to suit each new 

 occasion ; so also, must the elemental tonal forms be extemporaneously 

 combined, for the music must fit the words, and these will vary in 

 rhythm and meter with each performance. The music may be con- 

 sidered constant, however, in that the form of each component motive 

 is more or less fixed. 



The following five group-ingredients, used either in the pure form 



