While it would be presumptuous at this time to attempt to formulate a Tinguian style, I trust that what I have tabulated may prove valuable in summing up the total evidence, which will accumulate as other surveys are made; and if perchance, the findings here set down and the conclusions tentatively drawn from them help to clear up any obscure ethnological point, the effort has been well spent.
[1] The first line is sung by the girls, the second by the boys. For the music see p. 445.
[2] The first line is sung by the girls, the second by the boys.
[3] I use the word “modern” in this connection, as it pertains to the music of those peoples who have developed music as an art, and among whom we find conformity to the same rules and system of notation.
[4] By reference to the analysis of Record I, Da-eng (Boys and girls alternating), it will be seen that the record seems to have been made by one set of singers, apparently women and girls, who sang together on both parts. The entire record has therefore been tabulated with the women's songs.
[5] Record F, Song of a Spirit, shows both major and minor tonality (for explanation see analysis of this song, p. 466).
[6] Record J, Da-eng (Girls' part), shows this mark in the “Scale” given below the transcription (for explanation see analysis of this song, p. 471).
[7] I find groups of five used occasionally in the singing of our American Indians. Burton (“Primitive American Music”) shows its frequent use among the Chippeway. Miss Fletcher also shows groups in five in her “Omaha Music,” and Miss Densmore gives similar grouping in her transcriptions of American Indian songs.