[241] It is not essential that the oil be applied, and oftentimes whole sections are colored before being split.

[242] From kawat, the twisting of vines about a tree.

[243] This is the Arnatto dye, an American plant. Watt, Dictionary, Vol.  I, p. 454.

[244] This tattooing is accomplished by mixing oil and the black soot from the bottom of a cooking pot, or the pulverized ashes of blue cloth.  The paste is spread over the place to be treated, and is driven in with an instrument consisting of three or four needles set in a piece of bamboo.  Sometimes the piercing of the skin is done before the color is applied; the latter is then rubbed in.

[245] Blackening of the teeth was practised by the Zambal, also in Sumatra and Japan. Blair and Robertson, Vol.  XVI, p. 78; Marsden, History of Sumatra, P. 53.

[246] See pp. 445, 456 for words and music.

[247] Shallow copper gongs.

[248] Reyes says that this song, daleng, is similar to the dallot of the Ilocano (Articulos varios, p. 32).

[249] Similar instruments are used by the Igorot who suspend them free and beat them as they dance.

[250] The first line is sung by the girls, the second by the boys.  For the music see p. 445.

[251] The first line is sung by the girls, the second by the boys.

[252] I use the word “modern” in this connection, as it pertains to the music of those peoples who have developed music as an art, and among whom we find conformity to the same rules and system of notation.

[253] By reference to the analysis of Record I, Da-eng (Boys and girls alternating), it will be seen that the record seems to have been made by one set of singers, apparently women and girls, who sang together on both parts.  The entire record has therefore been tabulated with the women’s songs.

[254] Record F, Song of a Spirit, shows both major and minor tonality (for explanation see analysis of this song, p. 466).

[255] Record J, Da-eng (Girls’ part), shows this mark in the “Scale” given below the transcription (for explanation see analysis of this song, p. 471).

[256] I find groups of five used occasionally in the singing of our American Indians. Burton ("Primitive American Music”) shows its frequent use among the Chippeway.  Miss Fletcher also shows groups in five in her “Omaha Music,” and Miss Densmore gives similar grouping in her transcriptions of American Indian songs.

[257] Grove, Dictionary of Music and Musicians, Vol.  IV.

[258] Rowbotham, History of Music.