ANDERSEN.— Maori Music. 693 
finely earved example of the putor oce recently (1923) acquired by 
the Auckland Museum, is shown in Plate g. 4. This instrument was 
bought from Pora Taki, of Rapaki, Mesi: by J. Martin, about the 
year 1873: Pora Taki said it had belonged to his grandfather. Captain 
Mair writes that the instrument was sounded by the performer blowing 
obliquely into the wide upper aperture, raising or lowering the pitch by 
stopping the aperture at the small end with his forefinger. “It required 
a vast amount of wind to produce the loud booming or toot-tooting sound." 
There are specimens without the aperture at the lower end; the sound 
of these could evidently ma be modified by the changing position of the 
hand over the central aperture 
When last year's paper was written there was no genuine example of 
a putorino available in the Dominion Museum. The instrument tried was 
known to be of modern trade manufacture, so could not be relied upon, 
and the cast of the double putorino in the Museum (Plate 70, fig. 2) is of 
no use for experiment. A most perfect specimen has, however, recently 
been found in the Museum. It is of undoubted genuineness, as it and a 
double putorino (Plate 70, figs. 1 and 3) formerly belonged to the old- 
established Lord St. Oswald collection, and is believed to have formed 
part of the collection taken from New Zealand by Captain Cook. 
putorino measures 52-5 em. in length, and 5 em. across the widest part, 
It is not elear what purpose this hole serves; it possibly helps ж purify 
the quality of the notes emitted. The mouth- -opening in the m 
the instrument is 2-75 ст. across, constricted in the centre as in Plate 70, 
fig. 1, where two views, side view and full view, are shown. The binding 
is of very finely-split kiekie-root: it is not tied, but the ends are drawn 
under the binding as in the binding of a cricket-bat. It also seems to 
have been bound over a cement, of which, too, there are traces at the 
joined edges of the wood. The protruding = of the figure at the 
top of the putorino (see the side view of Plate 70, fig. 1) is caught in a 
prong springing outwards and upwards from the body of the instrument. 
On the opposite side (the back), at the lower end, is a smaller carved head. 
sia side view shows the outward-arching figure of the blower at the 
ound-hole, carved in high relief. The dark-brown wood of the эрчише 
18 beautifully smooth and polished, like the wood of an old violin. 
attempt has been made to carve the portions between the bindings, as 
in the Auckland instrument. 
not so much as quarter flat This gives a range of My over а tone. 
The range seems much more, and the writer, after evoking a Maori 
melody from the long-silent instrument, was surprised on taking the pitch 
to find that the range was so small. 
A remark by Hare Hongi on this point is significant. He had been 
singing a Maori melody for Alfred ill. who remarked that the whole 
was within the и of a tone. “ Surely ved said Hare Hongi. 
“Yes; sing it again." He sang it again. “ Yes is within a tone.” 
“Do you know,” remarked Hare Hop. “ I felt "4 I had been ranging 
