484 The Tinguian 



tiate the Tinguian from those peoples who do not make use 

 of it. 

 Minor 3RDS, Perfect 4THS, and Perfect sths. These are the only 

 intentional harmonies found in these songs. It is interesting 

 to note that the only examples are in the Da-eng ceremony, 

 where all three are used, some in one part and some in another. 



Among some primitive peoples, only the men take part in 

 the songs. The early chanting of all peoples was quite likely 

 by men. Probably the most primitive harmony was a perfect 

 fifth resulting from the attempt of men with different ranges 

 to sing together. The difference between a bass and a tenor 

 voice is just about a fifth. Between an alto and a soprano it is 

 about a fourth. The difference in these voices made it impos- 

 sible to sing melodies of wide range in unison, and so the basses 

 and tenors sang in consecutive fifths. When women took up the 

 chanting, they sang either in fifths or in fourths. 



These harmonies appealed to them, and so continued in use 

 even when there was no exigency on account of restricted range. 



Referring again to the Da-eng ceremony, it is interesting to 

 observe that the three different parts of this ceremony are in 

 distinct scales, and that the part sung by the girls alone, is 

 diatonic in character while the other two parts are pentatonic. 



Conclusion.— l I have long been of the opinion that the music 

 of different peoples should be given more consideration by scien- 

 tists in their endeavor to trace cultural relationships. In years gone 

 by, ethnologists have attached too little importance to the bearing 

 which music has on their science. 



I am of the opinion that every peculiarity, even to the smallest 

 element that enters into the make-up of a given melody, has some 

 influence back of it which has determined the element and shaped 

 it into combination. It is not unlikely that a thorough study of 

 the music would reveal these influences, and through them establish 

 hitherto unknown ethnological facts. 



I believe that a careful study of a large number of the songs 

 or instrumental pieces of a people will reveal a quite definite general 

 scheme of construction which can be accepted as representative 

 of that people alone ; and if such an analysis be made of the music 

 of many peoples and the findings so tabulated that the material 

 will be comprehensible to ethnologists trained to that branch of 

 musical research, many interesting and instructive side-lights will be 

 thrown on the question of tribal relationship. 



