Music 479 



Though pusation does serve to define the rhythm, I believe it is 

 used by primitive peoples mostly as a purely aesthetic touch. It is indi- 

 cated in the notation by the usual musical staccato sign thus, — 



Swelled Tones. — Tones usually of from two to four beats which 

 are sung with increasing volume to the center, finishing with a decre- 

 scendo to the end. The Swell is sometimes applied to tones of more 

 than four beats, but when so used, it looses some of its character. 

 Swelled tones must be given to single syllables only, and they are the 

 most effective when introduced several times in succession with but 

 few, if any, intervening tones. The sign which I have used is double 

 diverging lines followed by double converging lines placed under the 

 note. 



In 1905 it was my privilege to transcribe a number of native songs from 

 the singing of a group of Igorot. In these songs they made frequent use of 

 swelled tones. 



Downward Glissandos. — An even sliding of the voice from the 

 topmost tone of a group to the lowest with no perceptible dwelling on 

 any intermediate tone and without in any manner defining any of the 

 tones lying between the extremes. Sign, — a straight line drawn 

 obliquely downward beneath the group. 



Upward Glissandos. — An even sliding of the voice upward with- 

 out sounding any of the intermediate tones. Sign, — a straight line 

 drawn obliquely upward beneath the group. 



Notes in group, beats in measure, or measures in period. — 

 Groups of five seem to have no terrors for these people. In modern 

 music it is extremely unusual to find notes grouped in fives, or measures 

 having the rhythmic value of five beats, or periods made up of measures 

 in fives. A study of the tabulation shows that the Tinguian have a 

 rather natural bent for groupings in this number. It seems easy for 

 them to drop into that metric form. I consider this trait, evidenced in 

 their melodies, one of the marked characteristics of their music. 1 



Groups of notes, beats, or measures in seven are so few in these 

 records that we are not warranted in accepting it as a characteristic. 



Jog. — An over-emphasized short-appoggiatura with always either 

 the tonic or dominant of the key as the principal tone. The first tone 

 is usually an eighth or sixteenth in value, and must stand on the next 



1 1 find groups of five used occasionally in the singing of our American 

 Indians. Burton ("Primitive American Music") shows its frequent use among 

 the Chippeway. Miss Fletcher also shows groups in five in her "Omaha 

 Music," and Miss Densmore gives similar grouping in her transcriptions of 

 American Indian songs. 



