158 BUREAU OF AMERICAN ETHNOLOGY [bill. 38 



It will be noticed that the stress-accent and the rhythmic accent, 

 marked by the down-beat, very frequently do not coincide. The time 

 marked by the drum-down-beat was strictly accurate throughout. 



The tune was often pitched on some other key than that in which 

 it is here recorded. This fact was noted when, from time to time, 

 it was found necessary to have the singer repeat certain passages. 



The number of measures devoted to the ^'^, or fluctuation, which is 

 indicated by the wavering line-^^^--^-^^ , varied from time to time, 

 even when the singer rej^eated the same passage. (See remarks on 

 the ^'^, p. 140.) 



Kedundancies of speech (interpolations) which are in disagreement 

 with the present waiter's text (pp. 155-150) are inclosed in brackets. 

 It will be seen that in the fifth verse he gives the version Maka''n ke 

 kanaka i ka lehua instead of the one given by the author, which is 

 Maka''n ka Lehua i ke kanaka. Each version has its advocates, and 

 good arguments are made in favor of each. 



On reaching the end of a measure that coincided with the close of 

 a rhetorical phrase the singer, Kualii, made haste to snatch, as it 

 were, at the first word or syllable of the succeeding phrase. This is 

 indicated by the word " anticipating," or " anticipatory " — written 

 anticip. — jjlaced over the syllable or word thus snatched. 



It w^as somewhat puzzling to determine whether the tones which 

 this man sang were related to each other as five and three of the major 

 key, or as three and one of the minor key. Continued and strained 

 attention finally made it seem evident that it was the major key which 

 he intended, i. e., it was f and d in the key of B>, rather than f and d 

 in the key of D minor. 



Elocution and Rhythmic Accent in Hawaiian Song 



In their ordinary speech the Hawaiians were good elocutionists — ■ 

 uone better. Did they adhere to this same system of accentuation in 

 their poetry, or did they punctuate their phrases and words according 

 to the notions of the song-maker and the conceived exigencies of 

 jioetical composition ? After hearing and studying this recitation of 

 Kualii the author is compelled to say that he does depart in a great 

 measure from the accent of common sj^eech and charge his Avords 

 with intonations and stresses peculiar to the mele. What artificial 

 influence has come in to produce this result? Is it from some de- 

 mand of poetic or of musical rhythm? AVhich? It was observed 

 that he substituted the soft sound of t for the stronger sound of k^ 

 '• because," as he explained, " the sound of the t is lighter." Thus he 

 said te tanata instead of ke kanaka^ the man. The Hawaiian ear 

 has always a delicate feeling for tone-color, 



