304 G. A. J. VAN DER SANDE. 



Bismarck Archipelago. Spécimens of which the tongue vibrâtes inside a closed slit, such as 

 the spécimen of Buru (Utrecht collection, N°. 517), a form reported by SCHADEE [1896, Si, 

 PL IV, fig. 11] of the western part of Bornéo, by MEYER and SCHADENBERG [1890, PI. XVII, 

 fig. 17] and PEAL [1893, 251, PL XVI, fig. 6] of the Philippines, I hâve not corne across. 



According to Schellong [1889a, 82] and Schmidt-Ernsthausen [1S90, 274, fig. 5] 

 one of the legs of the Jew's harp is kept between the incisors, after which the central 

 pièce is made to vibrate by striking it with the middle finger or by pulling the string, when 

 by opening more or less the lips the pitch of the tones is modulated. FlNSCH [1. c'.l writes 

 that the left hand places the instrument against the slightly parted teeth and the right 

 hand gives short pulls at the string; BlRO [1. c] also states that it is pressed against the 

 teeth. In H. B. and on Lake Sentâni it was shown to me in a différent way. The left hand 

 presses the ends of the legs against each other and causes the tongue to deviate somewhat 

 towards the convex surface of the instrument, and it is thus held, with this side outwards, 

 horizontally in front of the open jaws along the corners of the open mouth, not against the 

 teeth. The right index, round which the end of the string is wound, pulls this at short 

 intervais, more or less in the direction of the length, towards the points, just as HAGEN 

 [1S99, 187] saw the Bataks doing. By enlarging more or less both the hollow and the opening 

 of the mouth, the modulations of the resounding tone are obtained. The two spécimens of 

 SCHMELTZ [1903, 243], fastened to one string, cannot, according to the above described 

 manner, be used at the same time. I hâve only seen the Jew's harp in the hands of men 

 and boys, but never at feasts and only for the amusement of the person using it. The 

 name of the objects in the collection is plainly onomatopoëtic ; I was surprised to notice 

 that N°. 1272 of Asé was intended to represent a dog, the broad end being indicated as 

 the head, the vibrating part being called u mU" (pénis). 



The drum is, more than any other musical instrument, found over the whole of New 

 Guinea, and has a religious significance, as demonstrated by Haddon [1894, 22] of British 

 N. G. In Berlin Harbour district (ParkïNSON [1900, 35]) the drum, consisting of a hollowed 

 tree trunk, with a lengthways slit (therefore without vellum), as well as the bamboo temple 

 flûtes, may only be used when the spirits are présent in the temple. More towards the east 

 such drums are, however, sometimes seen lying outside (MEYER and PARKÏNSON [1894, PL 45; 

 1900, PL 20, j\) and they are therefore presumably not everywhere so decidedly "tabu*' as 

 FlNSCH [1888—93, 24] thinks; they are very often beautifully carved (FlNSCH [1888a, 

 PL XIII, fig. 1], Krieger [1899, 492—493], Parkinson [1900, 40], Graebner [1902, 299]). 

 Similar drums are sometimes used to call fellow villagers (SCHELLONG [1889a, 83], SCHMIDT 

 [1903, yj], PôCH [1905, 446]), a separate signal existing for each person. The large drum, hanging 

 in the temple of Tobâdi, also called signal drum, kadnàr, by FlNSCH [1888, 356 and 357] 

 is, however, a religious instrument, only used at cérémonies inside the temple. At the time 

 of BlNK [1897, 169], who mistook thèse drums for boats, there were more. GRAEBNER 

 [1902, 299] states correctly that H. B. forms the western limit of the area of distribution of 

 this kind of drum. I did not corne across it on the adjacent Lake Sentâni. 



Another form of drum, often of a pronounced hour-glass shape, quite hollow, but 

 only covered with a tympanum at one end, is, as far as the bigger spécimens are concerned, 

 like those suspended in the temple of Tobâdi (figs. 185, 186, 188) also of a decidedly religious 



