Music 473 



indicated by oblique lines drawn beneath the tones covered by the 

 slide. 



In the second measure there is an almost inaudible tone at the 

 end of the glissando. It is indicated by a small, square note. Careful 

 listening to the record at this point shows that the singer really leaves 

 the principal tone E^ and slides with a sudden dying-down of volume. 

 The abruptness with which the sound of the voice fades as it starts 

 the glissando, leaves the impression of E^ still sounding. 



One tone in this song is given on the inhaled breath. It is indicated 

 by a circle with a dot in the center placed beneath the note. This tone 

 was produced well back in the throat, while the singer sharply inhaled 

 the breath. This artifice, occasionally used by the Tinguian, is seldom, 

 if ever, heard in the singing of civilized peoples (for other examples, 

 see analysis of Record M, Dang-dang-ay) . 



This song, given by a woman, has not the well-marked motive de- 

 velopment shown in the other Bogoyas, sung by a man. However, we 

 find two quite distinct, prevailing ideas set forth. The first includes 

 the whole of the first measure and the first beat of the second. It 

 seems to be in the nature of a question which finds its answer in the 

 remainder of the second measure, and again in the third, and again 

 in the fourth measure. It is the same answer, but expressed each time 

 in a little different manner. In the fifth measure and carrying over into 

 the sixth, the questioning is heard again. Although put forth in a 

 different arrangement of tones, it is the same musical thought as that 

 expressed in the first measure. This time it is answered but once. The 

 answer takes parts of two measures. Now follows another query simi- 

 lar to the first, and again comes the answer fully expressed in each 

 of the two concluding measures. 



The principal interest in this centers around the B^, indicating 

 that the singer has a very decided appreciation of the half step and of 

 the upward leading tendency of a tone raised a semitone by an ac- 

 cidental. 



Na-way 



Record L. Sung at the celebration which closes the period of 



mourning for the dead. 



There are two voices heard in the record, probably women. In 

 ten of the measures there is a splitting up of the parts. In the first 

 measure of each of the second and third lines, and also in the third 

 measure of the third line, the difference in the parts is owing to un- 

 certainty of attack, one of the singers, usually the leader, starting the 



