142 BUREAU or AMERICAN ETHNOLOGY [bull. 38 



The Hawaiians sometimes made use of the clear gum of the huhui 

 tree to aid in fixing the drumhead in place. 



AVhen in use the pu-niu was lashed to the right thigh for the con- 

 venience of the performer, who played upon it with a thong of 

 braided fibers held in his right hand (fig. 2), his left thus being free 

 to manipulate the big drum that stood on the other side. 



Of three pu-niu in the author's collection, one, when struck, gives 

 off the sound of c below the staff; another that of c# below the 

 staff, and a third that of c# in the staff. 



While the grand vibrations of the pahu filled the air with their 

 solemn tremor, the lighter and sharper tones of the pu-niu gave a 

 piquancy to the effect, adding a feature which may be likened to the 

 sparkling ripples which the breeze carves in the ocean's swell. 



3. The ifu or ipu-hula (pi. vii), though not strictly a drum, was a 

 drumlike instrument. It was made by joining closely together two 

 pear-shaped gourds of large size in such fashion as to make a body 

 shaped like a figure 8. An opening was made in the upper end of 



Fig. 2. — Ka, drumstick for pu-nlu. (PI. xvi.) 



the smaller gourd to give exit to the sound. The cavities of the two 

 gourds were thrown into one, thus making a single column of air, 

 which, in vibration, gave off a note of clear bass pitch. An ipu of 

 large size in the author's collection emits the tone of c in the bass. 

 Though of large volume, the tone is of low intensity and has small 

 carrying power. 



For ease in handling, the ipu is provided about its waist with a 

 loop of cord or tapa, by which device the performer was enabled to 

 manipulate this bulky instrument with one hand. The instrument 

 was sounded by dropping or striking it with well-adjusted force 

 against the padded earth-floor of the Hawaiian house. 



The manner and style of performing on the ipu varied with the 

 sentiment of the mele, a light and caressing action when the feeling 

 was sentimental or j)athetic, wild and emphatic when the subject was 

 such as to stir the feelings with enthusiasm and passion. 



Musicians inform us that the dnnn — exception is made in the case 

 of the snare and the kettle drum — is an instrument in which the pitch 

 is a matter of comparative indifference, its function being to mark 

 the time and emphasize the rhythm. There are other elements, it 



