698 Transactions. 
Even in church music, however, the melody is modern throughout in 
its definiteness—in its being confined to steps of tone or semitone ; in the 
folk-songs the melody, as the rhythm, and the length of the phrases, was 
ad lib. throughout. The introduction of metre and harmony resulted in 
the standardizing, more or less, of melody, rhythm, and phrase-length. 
There is evidence of similar evolution, or trends towards similar evolu- 
tion, in Maori music. There is also a vigorous survival of what is probably 
a yet older character—a character that has quite disappeared from modern 
i many if not all the Maori karakia, usually sung or intoned in 
a rhythmical monotone, the whole is delivered on one breath. This would, 
of course, be impossible for one person, so where two take part one sings 
as long as his breath will carry the sound, the second takes up the words 
on the same note just before the breath of the first is expended, so that 
a word. There seems to have been an aim to make the breath last as 
long as possible, and there were particular songs for practice in holding 
the breath. 
the fingers, and bending the arm in a certain manner, 
words are said, the whole of which must be completed in a single breath : 
* Katahi ti karua ti ka hara mai tapati tapato те ka rau ua ka rau ма ka 
noho te kiwi ka pohe wa tautau to pi to pa ka huia mai ka tako te rangi kav 
ana te wetu kai ana te marama o te Tiu e rere та runga е tepe та peke o 
kauere turakina te arero wiwi wawa ke ke ke te manu ki taupiri’ " 
1 
In Maori songs the stanzas are of all manner of lengths, like the. old 
“batches” or “tirades ” in songs such as the “ Romance of Roland. 
a 
on the letter h; emotional breaks, introducing a grace-note. This break 
is called kotu (“а heart-note "). It is very noticeable in the songs of 
Caruso, and with his emotional power behind it it always produces а 
powerful effect. : 
The resting-place, or breathing-place, is called whakataanga, and there 
nga. i 
is here often a slight drop, an incipient hia 
