II
From the foregoing it is easily to be seen that the first music was vocal. Vocal music has its origin and cause in the elemental urge of Nature, whereas musical instruments, even of the most primitive description, are a subsequent development and spring from the inventive faculty of man. The most elemental cries of primitive peoples consist of a succession of sounds beginning on a high tone and descending by means of a gliding or slurring effect, to a low tone. Such are the cries of the Caribs, and of the aboriginal inhabitants of Australia. Sometimes the gliding of the voice takes an upward turn, as it is said to do among the Polynesian cannibals when gloating over a victim about to be sacrificed. Definite musical tones cannot be recognized in these primitive cries, hence they cannot be accurately written down in the musical notation of civilization. In such simple and elemental cries as these, although no definite musical intervals are to be recognized, it is not long before they appear. In fact, it is easily to be seen in the most primitive music that the production of definite tones, and more or less of a definite melodic design, is the object toward which the savage mind unconsciously gropes. It must not be supposed that the intervals in use in civilized music are wholly the invention of man. Many of the intervals, such as thirds, fifths, and octaves, are found to be quite perfect in certain animal cries and particularly in bird-song. Consider the two following bird-songs collected by the writer in Massachusetts:
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Civilized man has arranged these tones and intervals in diatonic sequences called scales. The scales are his invention, but the majority of the intervals composing them were undoubtedly in frequent use by primitive man from prehistoric times. As Gilman truly observes, ‘Definite successions of tones were in use long before they became regular systematic scales.’[2] The following cry of grief from the southeastern coast of Africa illustrates both the falling inflection of the voice already alluded to as a primitive characteristic and also the use of definite musical intervals. It was noted by Henri A. Junod:
Ô ma mè-re Ô ma mè-re Tu m’as quit-tée, où es-tu al-lóe
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Here is another ‘lament’; this one being from New Zealand. The tonal range is somewhat more extensive but the falling inflexion of the voice is well illustrated. The usual savage downward howl occurs at the end:
