This song contains seven examples of the “Jog” (see Definition of Qualities, p. 479).  Those in the second part of the song are the best defined.  One of these is shown with open head.  This jog is given the most nearly like the Igorot manner of execution of any of the examples found in these fourteen songs.

In general character, this song somewhat resembles the Boys’ Part of the Da-eng ceremony (Record A).

Kuilay-Kuilay

Record N. Sung by women while passing liquor.

There is one singer only on this record.  It is a woman.  The song is given in a lively, jolly, rollicking style.

It is cast in the F major scale.  The melody has good variety.  At times it defines quite clearly the harmonic outline by following the tonal framework of the tonic, dominant, or subordinant chords.  Passing tones are used more freely and naturally in this song than in any of the others.

In the third measure of the fifth line, the singer very plainly vocalizes a half step from F to E. The second and fourth lines also show semitones, though these are not so distinctly given on the record as the other example.

In the last measure of the third line there is a modulation into the tonality of B-flat which carries through two measures.

In the fifth line are three accents which make the meter rather elusive at that point.  The two small notes shown at the beginning of the third line seem to be spoken with no attempt at vocalization.  They are notated, however, at the pitch of the speaking voice.  The small note shown in the bottom line is given very faintly in the record and seems more like a muffled exclamation than an intentionally vocalized tone.

The tempo throughout is quite regular, following the indicated pulse of 92 in both the 6/8 and 2/4 rhythms.

In the latter part of the song there are a number of changes between duple and triple rhythm.  The singer makes these changes with perfect ease and sings the groups with that exactness of proportion which characterizes the performance of most of the singers in these records.

Musically this song is strikingly adapted to the purpose for which it is intended.

Tabulation of Qualities and Characteristics.—­The qualities found in the records have been tabulated under two main headings.  Under the caption, “Rarely or Never Heard in Modern Music,” are listed those qualities which, so far as present research goes, are so very unusual that they may be termed musical idiosyncrasies of the race.  These qualities are so eccentric that if found in several of the songs, even if the number of songs be much in the minority, the qualities may be accepted as characteristics. [252]

To receive recognition as a characteristic, any quality found under the other heading, “Commonly Heard,” would necessarily have to show that it quite persistently occurred throughout a large majority of the songs.