KNOWLEDGE AND ART 209 
They are straight tubes without a reed, blown from the 
end: the Negrito sometimes hold them to the nose. 
These instruments as collected in museums theoreti- 
eally afford a means of determination of the scale or 
seales that underlie Filipino music, but unfortunately 
the practical obstacles to such procedure are great. 
The strings very quickly get out of tune, and in a set of 
gongs it is quite possible that mechanical insufficiency 
leads the native musician sometimes to accept several 
pieces which he feels to be somewhat improperly pitched. 
It is therefore necessary to depend upon notations of 
native music, and of these very few have as yet been 
made. The Nabaloi do seem to follow a fairly definite 
seale, substantially the same as our melodic minor, but 
with the fundamental tone in the middle and its 
ordinary range to the fifth above and below, or but little 
more than an octave over all. The Moro gong sets have 
a range of one and a half to two octaves, but the few 
that have been examined differ, so that the musical 
scheme on which they are put together remains un- 
certain. The rhythms of the vocal music seem every- 
where to be rather simple, and the structure of songs 
equally so. Considerably more elaborate melodies are 
known from distinctly primitive people in several other 
parts of the world. On the whole, the Filipino is not 
given to much singing except on the occasion of gather- 
ings and celebrations, and then his song is almost always 
accompanied by instrument and dance. The constant 
use of tuned or tunable instruments by many tribes 
cannot but have had some effect on their singing, so that 
the ancient type of essentially vocal music is likely 
to have been preserved in aboriginal purity only among 
the Negritos and some of the brown-skinned pagans of 
Luzon. 

