[1] This tattooing is accomplished by mixing oil and the black soot from the bottom of a cooking pot, or the pulverized ashes of blue cloth. The paste is spread over the place to be treated, and is driven in with an instrument consisting of three or four needles set in a piece of bamboo. Sometimes the piercing of the skin is done before the color is applied; the latter is then rubbed in.
[2] Blackening of the teeth was practised by the Zambal, also in Sumatra and Japan. Blair and Robertson, Vol. XVI, p. 78; Marsden, History of Sumatra, P. 53.
[3] See pp. 445, 456 for words and music.
[4] Shallow copper gongs.
[5] Reyes says that this song, daleng, is similar to the dallot of the Ilocano (Artículos varios, p. 32).
[6] Similar instruments are used by the Igorot who suspend them free and beat them as they dance.
Music
Introduction.—That the songs might be delivered as nearly as possible at the same pitch which the singers used when making the records, investigation was made as to the usual speed used by manufacturers while recording. It was found to be 160 revolutions per minute. Accordingly the phonograph was carefully set at this speed during transcription.
In determining the keys in which to transcribe the various songs, the pitch-pipe used was that of the “International,” which was adopted at the Vienna Congress in Nov. 1887. This congress established c² = 522 double vibrations per second. All the records proved to be a shade flat by this standard, but were found to be almost exactly in accord with an instrument of fixed pitch, which in turn was found to be approximately eleven beats at variance with the pitch-pipe on c².