ANTHROPOLOGY: A. C. FLETCHER 
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native order to the formulated scales of 'culture music,' native musical 
form, melody, rhythm and the interrelation between different rhythms 
maintained by the voice and the drum or rattle. 
From a present study of some of the psychic aspect of Indian music 
I have already reached certain conclusions, some of which are here 
presented. 
Among the group of Indians whose music is under observation, the 
following customs, observed in some of the tribes, illustrate something 
of the fundamental character of the personal and emotional elements 
found in Indian song. 
When at puberty the youth passes through the fasting rites introduc- 
tory to the duties pertaining to manhood, 'the vision' that then appears 
to him, becomes his most sacred, personal experience, one that he never 
fully shares with another, and the cadence, or song, that generally ac- 
companies the Vision' remains in his memory and is to the man his 
secret personal appeal to the unseen powers he believes to have control 
over his life. This strain of music, constitutes his personal prayer, his 
cry for help in his hour of need. These 'songs' are strictly individual 
and emotional. They are rarely, if ever, heard by anyone save the 
singer. 
Again: Certain societies require that each member have a special 
song, this song is generally of the man's own composition, although 
sometimes these songs are inherited from a father or a near relative 
who when living had been a member of the society. These individual 
songs are distinct from songs used in the ceremonies and regarded 
as the property of the society, although the members are entitled to 
sing them on certain occasions. When this society holds its formal 
meetings a part of the closing exercises consist of the simultaneous sing- 
ing by all the members present of their individual songs. The result is 
most distressing to a listener, but there are no listeners, unless by chance 
an outsider is present, for each singer is absorbed in voicing his own 
special song which is strictly his personal affair, so that he pays no at- 
tention to his neighbour, consequently the pandemonium to which he 
contributes does not exist for him. Another phase of Indian song is 
here exhibited, but it is more directly connected with the Indian's man- 
ner of singing than with the music itself. This manner has tended to 
influence the estimation of outsiders of Indian song. 
In a general way, an Indian singer makes no special effort, nor is he 
much concerned, to present his song in such a way as to give to the 
listener a musical picture. Practically no attempt is made to give what 
we call 'expression.' The song is apt to move along in strict time; any 
