[186]Humbert, Japan, p. 337.
[187]All Round the World, p. 206.
[188]Thunberg, p. 307.
[189]Ambros, Gesch. d. Musik, v. I, p. 4.
[190]Comettant, Mus. et Musiciens, p. 586.
[191]Fetis, Hist. gen. de la Mus., v. I, p. 26.
[192]Ambros, Gesch. d. Musik, p. 10, v. I.
[193]See Fetis, Hist. gen. de la Mus. v. I, p. 15.
[194]The effect of this in some Australian dances, is said to be very striking. The favorite device, is to draw the outline of a skeleton, on the front of the body, with white paint. As the dancers twirl round, the pattern is plainly perceptible when their faces are turned toward the spectator, but when their black backs are turned, the whole vanishes, and gives the impression of a number of ghastly skeletons, alternately appearing and disappearing, by the dim flicker of the firelight.
[195]Here we see one of the earliest traits of primitive music. The use of a plain, rhythmic accompaniment, without tune.