Music and Its Masters

by O. B. Boise

Now occurs a period of unmeasurable time upon which we can throw no light. It extends from this first manifestation up to that stage in evolution which produced forms of tonal expression like those now employed by the lowest savage races. Some time during this unexplorable period, man having appropriated a fuller vocabulary from nature's store, and having adopted more sustained, and at the same time articulate, forms, was led to feel pulsations,—incipient rhythm. Whether this primitive conception of metre was suggested by associated word successions, or was incident to the extension of tonal expression itself, we can only conjecture, but rhythmic impulse is evident in, and it is the main feature of, the crudest musical efforts.

MUSIC OF THE SAVAGE RACES

Science has long busied itself with race origin. It has approached the problem from every side, and has accomplished so much towards its solution as to afford grounds upon which to base the assumptions that the diverse types of mankind, as they now exist, are each physically, morally, and mentally the outcome of conditions of which climate, soil, and degrees of isolation have been the most potent factors; and that these branches which have spread out to cover the world spring from one common family trunk. Even within the limits of historic time migrations have been caused either by climatic changes or by the dissensions incident to over-population.

When the savages of the South Sea Islands became detached, and whether of their own volition or through a dispensation of Providence, which caused the Pacific Ocean to isolate them from less pestiferous humanity, will never be known. It must, however, have taken place after the idea of at least limited tone expression had taken a firm hold on mankind and had become a transmittible instinct, for these savages evince little more disposition or capacity for originating than the more intelligent species of animals. I cite these people and their lyric status to mark the lowest ebb in things human and musical of which we have any knowledge.

Their music and habits are alike crossed by the line which separates the human from the animal, and it is needless to say which quality contributes the larger portion. Their songs are, like their language, ejaculatory, showing little exercise of reason in their forms, and voicing the baser emotions solely. Rude rhythms are the only features that attest their origin in musical impulse. Music in its course of evolution had necessarily to pass through this primitive stage. In more congenial environments it passed on and out, but these barbarians, being neither emotionally nor intellectually capable of imparting the impetus requisite to the development of finer and broader significance, have for thousands of years used their present crude forms. Their stage comes in touch with music's line of evolution at a period countless years before David sang.

From a letter in response to my inquiries as to the musical status of these barbarians, written by Count Pfeil, who has most closely observed their customs during twenty years spent in exploring the dark continent and these darker islands, I infer that their barbarism has grades analogous to those that exist in the culture of civilized nations.

In speaking of the two musical instruments in use Graf Pfeil says, "They are the 'Tutupele' on New Britain and Duke of York, and a sort of pan pipe or flute on the Solomon Islands. The former may hardly be called an instrument. It is used in connection with the superstitious ceremonies of the Dult-Dult practice, and is supposed to herald the appearance of the spirits. Two pieces of wood are carved down till they sound two neighboring notes, such as c-d, g-a, or f-g. They are then placed over a little hollow dug in the ground, and are beaten with small club sticks....

"The other instrument is used by the Solomon Islanders. They assemble three or four men, each armed with his flute, of which the largest pipe is about three feet in length, with a two-inch internal diameter. There are five of these pipes in each instrument. They are made of bamboo, and played by being raised to the lips and strongly blown into. The sound, especially when heard from a long distance, which robs it of its harshness, is not at all unpleasant, but has rather a melodious, though sad, character. The few men who play these instruments begin turning round and round, and others, wishing to join in the dance, gather round them, also moving in a circle. When a hundred dancers perform, those on the outside run at a headlong speed, while those forming the centre spin, but very slowly. The dancers accompany the players by very curious half-whistling sounds, which sound like the twitter of birds. The louder and shriller the sounds the prettier they are thought to be....

"On the Duke of York, boys have a curious, cruel way of procuring music. They take a large beetle and break off one of its legs. In the remaining stump they push a lot of elastic gum, of which they hold the other end. The beetle is now made to fly, but not being able to get away from the boy's hand, keeps circling round and round it, emitting a loud whirring or humming sound....

"All these races sing. Their songs are very monotonous, but are defined, like our own. You can ask them to sing such or such a song, and they will always sing it exactly as they sang it before. All songs are sung in a subdued voice, as the melancholy and suspicious character of the people prevents all loud demonstrations of mirth.... I have never heard their songs accompanied by any instrument, excepting at a dance, when, to my sorrow, combined vocal and instrumental efforts served as an accompaniment to the dance."