WOOD NOTES WILD. 209 
ee i 
hort pause, 
—— a 
Tenterfield, New England, in New South Wales. 
4.i i ee e es 
[ a > > = [2 3 
aA or ad lid pause. — 
ce ahaa a & —_— ~@. 
| ao. ae I~ iN ¥ i; cd mt ia T OF: 
j—7- = Z = an ee = 
ad vw 
3 v 
if). 5 —_ | 
bez T 8H uy at. + ri me 3 —J = | 
p—s — 2? z = + + H 
ta ¢ ¢ te = 
———_, 
5. Various localities. 
cp > ke + > <= f 
| a . ar aS ia ia a ¥ id i a T ai} 
= = oH 
T 
or ad lib pause. —=]—¢ =—|—F} 
st 7S e > 
—_ ——/ —_ 
(biz zum feinsten Unterschied der Téne und mit der genauesten Wiedergabe 
der rhythmischen Bewegung). 
He says that he wrote his brother that the German birds, in comparison 
with the Australian singers, were mere bunglers (Stiimper), and adds that 
he did not have occasion to alter his opinion later on. Three times he 
mentions the point of rhythm. ‘The litany of the owls is intoned in 
exact rhythm (im strengsten Rhythmus). This paper, meritorious as it 
is isolated in the annals of the most musical of nations, is heartily com- 
mended to all readers, especially to those that question whether “ the little 
bird-songs are melodies, are music.” 
The songs from one to eleven are those of various unknown songsters, 
Number three is reported as exceptional in its sweetness and tenderness 
(Lieblichkeit und Zartheit), and is sung in strict rhythm, each tone being 
delivered with singular precision. The letters e and i, over the notes, 
indicate the breathing, — exhaling and inhaling. 
Number twelve is the song of a bird the colonists call the “soldier” or 
“Jeather-head,” and is described as containing in itself a world of melan- 
14 
