3. The ipu or ipu-hula (pl. VII), though not strictly a drum, was a drumlike instrument. It was made by joining closely together two pear-shaped gourds of large size in such fashion as to make a body shaped like a figure 8. An opening was made in the upper end of the smaller gourd to give exit to the sound. The cavities of the two gourds were thrown into one, thus making a single column of air, which, in vibration, gave off a note of clear bass pitch. An ipu of large size in the author’s collection emits the tone of c in the bass. Though of large volume, the tone is of low intensity and has small carrying power.
For ease in handling, the ipu is provided about its waist with a loop of cord or tapa, by which device the performer was enabled to manipulate this bulky instrument with one hand. The instrument was sounded by dropping or striking it with well-adjusted force against the padded earth-floor of the Hawaiian house.
The manner and style of performing on the ipu varied with the sentiment of the mele, a light and caressing action when the feeling was sentimental or pathetic, wild and emphatic when the subject was such as to stir the feelings with enthusiasm and passion.
Musicians inform us that the drum—exception is made in the case of the snare and the kettle drum—is an instrument in which the pitch is a matter of comparative indifference, its function being to mark the time and emphasize the rhythm. There are other elements, it would seem, that must be taken into the account in estimating the value of the drum. Attention may be directed first to its tone-character, the quality of its note which touches the heart in its own peculiar way, moving it to enthusiasm or bringing it within the easy reach of awe, fear, and courage. Again, while, except in the orchestra, the drum and other instruments of percussion may require no exact pitch, still this does not necessarily determine their effectiveness. The very depth and gravity of its pitch, made pervasive by its wealth of overtones, give to this primitive instrument a weird hold on the emotions.
This combination of qualities we find well illustrated in the pahu and the ipu, the tones of which range in the lower registers of the human voice. The tone-character of the pu-niu, on the other hand, is more subdued, yet lively and cheerful, by reason in part of the very sharpness of its pitch, and thus affords an agreeable offset to the solemnity of the other two.
Ethnologically the pahu is of more world-wide interest than any other member of its class, being one of many varieties of the kettle-drum that are to be found scattered among the tribes of the Pacific, all of them, perhaps, harking back to Asiatic forbears, such as the tom-tom of the Hindus.