When using the “trumpet,” the operator blows into the end having the smaller diameter, with a vibratory motion of the lips, and at the same time sputters into the tube indistinct words which frequently sound like “tidjarudu, tidjarudu, tidjaruda” ([Plate LIII]). The effect, though rhythmical, is a monotonous, plaintive, and humming sound which is continued uninterruptedly throughout the proceedings. The native, while he is blowing into the pipe, continues to breathe normally through his nostrils, after the same style as one does when using a blow-pipe in the laboratory. In the stillness of the tropical night the droning noise can be heard for miles around. The wording of the accompaniment on the bamboo trumpet during a Larrekiya performance sounds much like the following refrain: “Didnodiddo diduadu didnadiddo diduadu ... didnarib.”
In addition to music and dance, a unique, and certainly most effective, pyrotechnical embellishment of a nocturnal ceremony is supplied by the Dieri. Along the Cooper Creek, travellers have occasion to notice the great number of large beetles which fly towards the camp-fire at night-time. When a dance is on, a collection of these beetles is made and short glowing embers inserted into their anal apertures; whereupon they are released again. As the naked figures of the men are moving to the sway of song, these little fire-balls buzz and flit in among them, and, cruel as the invention may seem, greatly add to the weirdness of the din. The Dieri call these artificial fire-flies “turapitti.”
Vocal productions consist of recitals of notes which are frequently encased in articulations without definite meaning or significance, the notes alone expressing the sentiment which prompts the song. It is the combination of these notes which gives rise to the simple melodies, and the repetition of the melodies in regular sequence makes the song. In his songs the aboriginal portrays the hate for his foe with vehemence, the love for his child with affection, the spirit of the chase with lustfulness, the cunning of his prey with counter-deception, and the dignity of his forbears with veneration. As the pulsations of his temperament and passion sway his mind, so his voice rises or falls in harmony with the flush of joy or the gloom of sorrow.
When singing in chorus, the monotony of a melody is frequently re-animated by one of the principal singers, who, with a stentorian inflection of his voice, leads off anew. In this way, the pitch of a melody is repeatedly altered by one or two of the recognized vocal experts; but at all times the pitch relations remain in perfect concord with each other.
PLATE L
1. Cave-drawing of camel, north of Musgrave Ranges, central Australia.
2. Cave-drawing of human figure, Glenelg River, north-western Australia.
It is considered distinctly artistic to be able to frequently change the pitch of the voice from a deep bass to a shrill falsetto at will, and only the most experienced singers attempt it. A new tune is introduced by one of the older men, and the same person will later infuse new vitality into it by picking up the strain at different stages by a clever inflection of the voice, after the style of a rondo.