ANDERSEN.— Maori. Music. 691 
projects from one side of one of the broad pieces, the double tonsil projecting 
from the opposite side of the other broad piece. The right wing of this 
double tonsil, originally part of the broad piece, has been cut free, so that 
the double tonsil is connected only at its base, as is the single tonsil. It 
cannot be determined from inspection if the tonsils have been cut from 
the original piece of wood, or if they have been set in grooves subsequently 
to the two pieces being hollowed out; but it looks as though they are 
d 
over the end. e bell is bound with a finer unsplit vine of a much lighter 
colour (Plate 69, fig. 2, C). The note the writer is able to produce is the 
bass E. It is not known what purpose the tonsil served. It may vibrate 
and increase the resonance, but such Maori opinion as can be gat ered 
inclines to suppose that it made the note purer—less of a blare. It is said 
the old performers could almost speak on the trumpet ; it is certainly 
recorded that through it they hurled curses at the enemy with sufficient 
clearness for the curses to be understood and resented. 
There is a fine specimen of the putara in the Auckland Museum. 1% 
It is not easy to arrive at an idea of what the Maori thinks of song ; 
nor is this to be wondered at. For one thing, it is a little late in the day 
B . . . Euro » 
analysis of song, came at a late period in the development of musical taste— 
at a date when there is something settled and definite in men’s ideas of 
music and their utterance of it. What can be expected of the Maori, who 
had not yet reached to the evolution of harmony, to say nothing of 
counterpoint—who had hardly even reached the stage at which our own 
enharmonic primitive folk-song evolved ? 
_ If we can examine an old poem or song that has escaped the moderniz- 
ing touch of a Perey, we shall find the phrases of indefinite lengths. 
a modern poem or song the phrases are of fairly definite and equal lengths, 
the full phrase occupying a full verse of eight or seven у 
broken into two lines of four beats, or of four and three—the “long 
measure " and “common measure” of church hymns. Since music 
followed the words, the four-bar and eight-bar themes in music have their 
origin in the four and eight accented lines and verses of poetry 
In the old poems, most of which were songs, the lines and verses were 
not so definitely regular—the regularity finally crystallizing into the stanza 
of four or eight lines, or of sixteen or thirty-two bars. In singing, the lines 
took on the character of Gregorian chants, where there are short melodic 
phrases separated by conventional breves to which an indefinite number o 
syllables may be sung. The general trend in singing seems to have been 
towards the evolution of phrases that could be sung in one breadth, or in 
two breaths. In church music the old and the new live side by side in 
