476 The Tinguian 



In the last measure of the third line there is a modulation into the 

 tonality of B b which carries through two measures. 



In the fifth line are three accents which make the meter rather 

 elusive at that point. The two small notes shown at the beginning of 

 the third line seem to be spoken with no attempt at vocalization. They 

 are notated, however, at the pitch of the speaking voice. The small note 

 shown in the bottom line is given very faintly in the record and seems 

 more like a muffled exclamation than an intentionally vocalized tone. 



The tempo throughout is quite regular, following the indicated 

 pulse of 92 in both the 6/8 and 2/4 rhythms. 



In the latter part of the song there are a number of changes be- 

 tween duple and triple rhythm. The singer makes these changes with 

 perfect ease and sings the groups with that exactness of proportion 

 which characterizes the performance of most of the singers in these 

 records. 



Musically this song is strikingly adapted to the purpose for which 

 it is intended. 



Tabulation of Qualities and Characteristics. — The qualities 

 found in the records have been tabulated under two main headings. 

 Under the caption, "Rarely or Never Heard in Modern Music," are 

 listed those qualities which, so far as present research goes, are so 

 very unusual that they may be termed musical idiosyncrasies of the 

 race. These qualities are so eccentric that if found in several of 

 the songs, even if the number of songs be much in the minority, the 

 qualities may be accepted as characteristics. 1 



To receive recognition as a characteristic, any quality found under 

 the other heading, "Commonly Heard," would necessarily have to 

 show that it quite persistently occurred throughout a large majority 

 of the songs. 



The columns of the large table, when read horizontally, show which 

 qualities appear in a given song. Read vertically they show the degrees 

 of dominance of the various qualities. 



The songs are grouped under two heads, those given by men and 

 boys, and those given by women and girls. This will facilitate com- 

 parison of the degrees of dominance of the qualities found in the 

 songs of each. 2 



1 1 use the word "modern" in this connection, as it pertains to the music 

 of those peoples who have developed .music as an art, and among whom we find 

 conformity to the same rules and system of notation. 



2 By reference to the analysis of Record I, Da-eng (Boys and girls alternat- 

 ing), it will be seen that the record seems to have been made by one set of 

 singers, apparently women and girls, who sang together on both parts. The 

 entire record has therefore been tabulated with the women's songs. 



