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UNWERSITY of CALIFORNJ
AT
LOS ANGELES
LIBRARY

9 b

THE METROPOLITAN
MUSEUM OF ART

C ATA LOGUE OF THE
CROSBY BROWN COLLECTION
OF MUSICAL INSTRUMENTS

VOL. II

OCEANICA AND AMERICA

NEW YORK
MCMXIV

THE METROPOLITAN
MUSEUM OF ART

C ATA LOGUE OF THE
MUSICAL INSTRUMENTS OF
OCEANICA AND AMERICA

BY
FRANCES MORRIS

Assistant Curator, Department of Decorative Arts

NEW YORK
MCMXIV

4 o ^ '5 7

2 9^2

MUSIC
LIBRARY

\4. M ^

THE CATALOGUE OF THE CROSBY BROWN
COLLECTION OF MUSICAL INSTRUMENTS
HAS BEEN PREPARED UNDER THE DI-
RECTION OF THE DONOR OF THE COL-
LECTION, MRS. JOHN CROSBY BROWN.

PREFACE

APRELIMINARY catalogue of the Crosby Brown Collec-
tion of Musical Instruments, tentative in character, was
■ issued in parts as follows: Asia, 1901, 1903; Europe, 1902,
1906; Keyboard Instruments, 1903; Musicians' Portraits, 1904; His-
torical Groups, 1905; Asia, 1906; Africa, 1907; Oceanica, 1907.

Since the publication of the last of these volumes, the entire
collection has been rearranged, many accessions have been made,
Q and much new descriptive and historical material has been accumu-
^i lated. It is now proposed to issue the final catalogue of the collec-
s^ tion in four volumes, embracing material of the preliminary series,
!^ revised and enlarged, and grouped in the following order:

Vol. I, Asia and Africa. Vol. II, Oceanica and America.
I Vol. Ill, Europe. Vol. IV, Historical Groups and Musicians'
Q Portraits.

_^ Geographical grouping of the instruments has been adhered

. to in the new volumes as in the preliminary one, and is, in
^ accordance with the classification ^ adopted in 1902 for the Euro-
pean section, which was evolved by the Rev. F. W. Galpin of
(if, Hatfield Vicarage, Harlow, England, based on the four types of
(^ instruments known to have existed in the ancient civilization of
) Egypt: stringed instruments, wind instruments, vibrating mem-
branes, and sonorous substances, with their various subdivisions.
To facilitate the use of the catalogue in the galleries, a Numerical
Index, p. 313 in this volume, has been added, giving the page on
which the description of any instrument may be found from its
number in the case.

The present volume. Volume II, is the first of the completed
work to be issued. It embodies two sections: Oceanica, covering
the primitive instruments of those islands in the Southern Pacific,
enlarged and amended from the issue of 1907; and America, dealing

I. See page 249.

vii

viii PREFACE

with the native instruments of that continent and the adjacent
islands, now published for the first time.

The preparation of Vol. 1 is now in hand and will embody a
revision of the Asiatic and African sections. This, in time, will
be followed by Vol. Ill, a revised and enlarged edition of Europe,
and Vol. IV, which will combine the Historical Groups and Musi-
cians' Portraits.

TABLE OF CONTENTS

PAGE

Preface vii

Table of Contents ix

List OF Illustrations xi

Introduction ---------xv

Part I OCEAN I CA

Malaysia

Java 3

Sumatra ......... \^

Borneo - - - - - - - - -15

Celebes ......... 22

Philippine Islands ....... 22

Melanesia and Australia

New Guinea ........ 27

Solomon Islands .._.--- 30

New Hebrides ........ ^6

New Caledonia --------40

Fiji Islands .-------40

Bismarck Archipelago ------ 42

Australia --45

Polynesia

Sandwich Islands ....... ^j

New Zealand ----..--50

Micronesia ----------52

X CONTENTS

Part II AMERICA

North America page

I. The Indian Tribes North of Mexico - - - 55

1. The Indian Tribes and Eskimo of British Colum-

bia, THE Northwest Coast, Alaska, Greenland 55

2. The Indian Tribes of the United States - - 104

II. American Folk-Instruments - - - - - 185
Mexico ---------- 189

Central America

Guatemala - - - - - - - - -210

Honduras - - - - - - - - -211

Nicaragua --------- 212

Costa Rica - - - - - - - - -212

West Indies

Cuba - - - - - - - - - -221

Porto Rico --------- 222

South America

Colombia --------- 225

Venezuela --------- 226

British Guiana -------- 227

Peru ---- 233

Bolivia ._------. 240

Chile ---------- 241

Brazil ---------- 242

Appendix I Classification ------ 249

Appendix 1 1 Alphabetical List of Linguistic Families - 251

Notes - 255

Bibliography - 287

Numerical Index - -313

Index - - - - - - - - - - -319

LIST OF ILLUSTRATIONS

OCEAN ICA

FACING PAGE

Native with Drum (Arpa), New Guinea. From a Photo-
graph - --- 3

Stringed Instruments, Java 6

Drums, Oceanica --------------- 8

Anklang, Java --------- lo

Saron, Java 1 _ j2

Gender, Java J

BONANG or KrOMO, JaVA

'4
Saron, Java

Stringed Instruments, Borneo ---- i6

Instruments of Borneo and Sumatra 20

Instruments of the Philippine Islands 22

Ilongots Playing the Native Dulcimer, Philippine

Islands. From National Geographic Magazine,

Washington, D. C., Copyright, 1912 24

Negrito Playing a Nose Flute, Philippine Islands.

From National Geographic Magazine, Washington,

D. C, Copyright, 1912 26

Drums, New Guinea ----28

Panpipes, Oceanica 32

Drum Grove, New Hebrides. From a Photograph - - 38

Instruments of Melanesia ---- 40

Nose Flutes, Bull-Roarers, and Time Marker, Oceanica 44

Instruments of the Sandwich Islands ------- 46

Hula Dancer Marking Time with the Uli Uli, Hawaii.

From a Photograph ------ 48

Natives Dancing the Hula, Hawaii. From a Photograph 50

Hula Dancers Accompanied by the Pa Ipu or Hokeo,

Hawaii. From a Photograph --------52

xii LIST OF ILLUSTRATIONS

AMERICA

FACING PAGE

Pa'-yatamu, Zuni God of Music ----55

Whistles, Indians of the Northwest Coast- - - - 68
Whistles, Indians of the Northwest Coast- - - - - 76
Reed Instruments, Indians of the Northwest Coast - - 78

Drums of the American Indians --go

Ceremonial Rattles, Indians of the Northwest Coast 94
Rattles, Indians of the Northwest Coast ----- 96

Apache Fiddles --------------- 106

Bone Whistles and Flutes, North and South America - 1 12
Altar of the Drab Flute Society, Hopi Indians. Re-
produced BY Courtesy of the Field Museum of

Natural History, Chicago 118

Flute Ceremony at Oraibi, Reproduced by Courtesy
of the Field Museum of Natural History, Chicago 120

Flutes, Indians of the United States 124

Whistles and Flutes, Indians of the United States - 128
Indian Boy with Flute, Taos Pueblo, New Mexico.
Photograph by Fred Harvey. Copyright, 1908, by

Fred Harvey -._ 146

A Dancing Lesson, Taos Pueblo, New Mexico. Photo-
graph BY Fred Harvey. Copyright, 1908, by Fred

Harvey - 152

Ratfles of Vibrating Membranes, Indians of the United

States 156

Instruments of the Seneca Indians- ------- 162

Snake Priest with Leg Rattle of Pendant Hoofs at

Walpi. Photograph by A. C. Vroman 164

Antelope Priests in Snake Dance Ceremony at Oraibi.

Photograph by A. C. Vroman -------- 166

Antelope Priest in Ceremonial Garb of the Snake

Dance at Walpi. Photograph by A. C. Vroman - - 168
Gourd Rattles, Indians of the United States- - - - 170

Rattles, Indians of the United States 172

Arapaho in the Costume of the Dog Dance. Repro-

LIST OF ILLUSTRATIONS xiii

FACING PAGE

DUCED BY Courtesy of the American Museum of

Natural History ---- -__.iy4

Hopi Flute Priest, with Bull-Roarer in his Right

Hand. Photograph by A. C. Vroman- - - - - - 178

Notched Stick Rattles, American Types ------ 184

Banjos, American Folk Instruments ------- 186

Zapotec Pottery, Bells and Whistles, Mexico - - - ig8

Pottery Whistles, Mexico --- --. 200

Pottery Rattles, Mexico - _---_ 206

Pottery Whistles, Costa Rica -------__2I4

Pottery Whistles, Costa Rica --- -216

Stringed Instruments, Yucatan, Mexico, and South

America - - -_- 226

Pottery Trumpets, Peru -- 236

Instruments of South America 240

Map of Linguistic Families 334

INTRODUCTION

Part I. OcEANiCA. The present volume deals with the instru-
ments of Oceanica, which are arranged under four heads: Malaysia,
Melanesia and Australia, Polynesia, and Micronesia.

In the first of these groups, Malaysia, the exhibits of the vari-
ous islands are placed in the following order: Java, Sumatra,
Borneo, Celebes, and the Philippines.

Java. With the Javanese, music has reached a stage of
development which quite surpasses that of the other arts. This
is demonstrated not only by the care expended in the manufacture
of their instruments, but more particularly in the number and
variety of their orchestras, which are a marked feature in the life
of the people. In the instruments of these islanders the four
general classes are represented: 1, Stringed Instruments; II, Wind
Instruments; III, Vibrating Membranes; IV, Sonorous Substances.
Among the stringed instruments perhaps the most typical is the
tjlempoeng, a form of psaltery mounted with wire strings and
supported on a carved base. Other examples of this class are the
ketjapi, also of the psaltery type; the tarawangsa and rehah of
the viol type, the latter probably introduced from Arabia. Other
stringed instruments are a form of lute, and two cylinders of
wood and bamboo strung with wire springs. These latter resem-
ble the marouvane of Madagascar. The single wind instrument
shov/n is the souling, a bamboo flute\ Of drums, however, there
are several varieties: the large signal or war drum, found in its
more primitive form in the tree drums of the New Hebrides; others
of cask shape, with a single head of membrane, sometimes used to
accompany the anklang, the curious bamboo "shaking" instrument
from which these islanders elicit weird melodies. In Javanese
music, like other music of the Orient, the sonorous substances
predominate; and the xylophones and gongs form an important part
of the various orchestras.

xvi INTRODUCTION

Sumatra. There is but one example from this island, the
biola or mijue mijue, a delicately carved instrument shaped like
a boat and mounted with two gut strings.

Borneo. In this island the marouvane is found again; here
it is called the yang kong, satong or yadok, and is popular among
the Dyaks. Less primitive are the hlikan or djimpai and the
safe, both examples of the lute type with long, boat-shaped bodies
similar to some of the stringed instruments found on the peninsula,
a form peculiar to this part of the world. The viol type is illus-
trated by the serunai, usually made from a cocoanut shell and
suggestive of the Mohammedan fiddles of northern Africa.

^ The bamboo flutes, which are found everywhere in this dis-
trict, are here supplemented by several varieties of mouth organs
with free reeds, primitive forms of the cheng of China and the
sho of Japan; these have upright pipes, which are sometimes fitted
with covers. The drums of Borneo are of a form peculiar to the
island. They are carved from a log of wood, small at the center
and expanding at the ends, with a single membrane head. The
jews' harp, so popular in these parts, is here represented both in
bamboo and metal, and bears the names aping, rudieng, and
garoeding. As in Java, the gong is much used, and was probably
introduced by the Chinese.

Philippine Islands. With the exception of the gongs, which
are distinctively Oriental, the Philippine instruments show decided
traces of Spanish influence. The jews' harp, and, among the
strings, the bamboo psaltery resembling the marouvane are the only
primitive instruments, the harps and guitars being from European
models. One instrument peculiar to these islands is the bamboo
horn, in form resembling the European cornet and tuba, varying
in size from the soprano to the large double bass.

Under Melanesia, with which is combined the continent of
Australia, the following subdivisions are made: New Guinea, Solo-
mon Islands, New Hebrides, New Caledonia, Fiji Islands, and the
Bismarck Archipelago.

New Guinea. From this group of islands there is but one
example of a stringed instrument, a curious, boat-shaped body
with a raised deck at each end suggestive of the Malay trading
boats. The strings are missing, and, if played with a bow, that
too has long since disappeared. With the exception of the bamboo
flutes and panpipes, of which there is a great variety, there are
few wind instruments from any of these islands. The typical form
of drum resembles those of Borneo. The drum is cut from a log,
smaller at the center and flaring at the ends. In the drums of New

INTRODUCTION xvii

Guinea, however, the open end is carved to represent the open
jaws of a crocodile, and where there is decoration, the carving is
often whitened with lime, a staple article of household use. The
jews' harps are of bamboo and resemble those of the other islands.

Solomon Islands. In this group but three classes, stringed in-
struments, wind instruments, and sonorous substances, are rep-
resented. Of the first there is the kolove or musical bow, and
another form made from a tube of bamboo with two fibre strings.
-^The wind instruments are numerous, chiefly panpipes and bamboo
flutes, while Class IV, Sonorous Substances, is illustrated by jews'
harps, drums, and shell rattles. One of the drums, a small tube
of bamboo, is carried by women to announce their approach on
the occasion of ceremonies from which they are excluded. It
is the same as that carried by the night watchmen in China.

- ' New Hebrides. Only instruments of the most primitive
form are found in these islands, the exhibit comprising mainly
panpipes and flutes, with an occasional musical bow. There is
little or no decoration except such as may be found in the plaiting
of the fibre braids that hold the panpipes together, or the crude
designs etched in the flutes with a heated point. There is, how-
ever, one fine example of the huge drums which form a part in the
equipment of every native village. This measures seven feet in
height and weighs six hundred pounds.

New Caledonia. From this island the collection contains
only wind instruments which are quite difi"erent from those of
adjacent islands, showing a rather more advanced state of civili-
zatipn.

Fiji Islands. The exhibit from Fiji consists only of a couple
of nose flutes and two drums. The latter are called lalis; they are
cut from blocks of wood and are similar to those used in some parts
of Africa.

Bismarck Archipelago. In the collection from these islands
there is no stringed instrument, except a violin of unvarnished
wood made after the European model. Kraus,' however, describes
a musical bow from New Britain (Neu Pommern) which seems
more closely allied to those of Africa than the flat bamboo form of
the neighboring islands; the native name of this, he states, is
a-pagola. This has two strings, the upper one regulated by a loop
of cord passing over the second string. One end is placed in the
mouth and the string is struck with a small wisp of wood held in the
right hand, while the thumb and forefinger of the left hand regulate
the tension. This was originally played only by the women, but
it is no longer used, having been supplanted by the modern jews'
I. Di Alcuni Strumenti Musical!, p. 4.

xviii INTRODUCTION

harp introduced by European trade. There are also the bamboo
flutes and panpipes, similar to those already described, and the
kulepa gane^ or "rubbing instrument" of New Ireland, by far the
most interesting specimen from this group of islands. In this the
sound is produced by moistening the hands with the juice of the
bread fruit and rubbing the surface of a block of wood; by this
process three distinct notes can be produced. An interesting drum
from the Admiralty Islands is shown, which, except for its decor-
ation, resembles the lalis of the Fiji Islands.

Australia. Perhaps the most striking feature of the exhibit
from this continent is the dearth of material. With the aborigines
of this land the musical instinct seems to be almost lacking, and
only the crudest forms of instruments are found, many of which
are used simply to mark the rhythm of the native airs: this, accord-
ing to Wallaschek,' is always strongly marked and very regular.

In Polynesia but two groups of islands are represented — the
Sandwich Islands and New Zealand.

Sandwich Islands. The Hawaiian Islands are well repre-
sented by a number of typical musical instruments. The ukeke, or
musical bow, is indigenous; while the ukulele, a small guitar,
sometimes called the "taro-patch fiddle," was introduced by
the Portuguese. The hano or kio-kio, a signal whistle made from
a gourd and employed by lovers, is similar to many others of
the same type, and finds its parallel in the pottery whistles of
Mexico and China. The nose flute is also shown, as are the drums
and^rattles which accompany the hiila, or native dance. ■

^/'New Zealand. Here the most interesting specimen is the
pufbrino, the Maori flute, a curious instrument ornamented on one
side with a grotesque carving that suggests the masks employed
in the ancient amphitheatre. The native carving is remarkable
not only in design, but also in technique, and the few pieces ex-
hibited are fine examples of the art. '

From Micronesia there is but one specimen, a large drum,
shaped from a log of wood in the form of an hour glass, with a
single head of skin fastened in a groove with a cord.

It only remains to add that, with the advance of civilization, it
is becoming more and more difificult to obtain types of primitive
instruments; and while the present collection is far from complete,
it is the hope of the donor that from time to time additional exam-
ples may be found which will be of value to those who are interested
in this field of research.
I. Wallaschek. Primitive Music, p. 39. N. Y. 1903.

INTRODUCTION xix

Part II. America. This part of the collection is arranged in
five groups: North America, Mexico, Central America, West Indies,
South America.

The instruments of North America are arranged under two
general heads: I. Instruments of the Indian Tribes north of
Mexico: II. American Folk-instruments. Under Group I, which
includes the fifty-eight linguistic families* covering all the minor
tribes north of Mexico, such a diversity of type exists between the
tribes of the United States and those located in British Columbia
and along the Northwest Coast, that Group I has been subdivided,
as follows: i. The Indian tribes and Eskimo of British Columbia,
the Northwest Coast, Alaska, and Greenland; 2. The Indian
Tribes of the United States.

Under the first subdivision, the Indian tribes and Eskimos of
British Columbia, the Northwest Coast, Alaska, and Greenland, six
linguistic families are represented:

1. The Eskimauan, whose territory covers some five thousand
miles, extending from Greenland on the east to Alaska on the
west. The tribes under consideration occupy Alaska, the Aleu-
tian Islands, and the Asiatic coast of Bering Strait.

2. The Koluschan or Tlingit occupy the coast from the Atna
River on the north to the Portland Canal on the south.

3. The Skiitagetan or Haida inhabit Queen Charlotte Islands,
Forester Islands, to the north of the latter, and the southeastern
part of Prince of Wales Island.

4. The Chimmesyan, found on the mainland adjacent to the
Queen Charlotte Islands, around the mouth of the Skeena River.

5. The Salishan occupy the eastern coast of the lower half of
Vancouver Island and the opposite mainland.

6. The IVakashan inhabit the western part of Vancouver Island
and the mainland between the Chimmesyan on the north and
the Salishan on the south.

The culture developed by these tribes shows marked indi-
viduality, and their instruments require special classification. That
adopted is the same used in other sections of the catalogue, except
that under wind instruments the classes have been amplified to
meet the requirements of the various types. Mr. Galpin,^ who
made a special study of these wood winds, has worked out a classi-

1. For list of Linguistic Families see p. 251. Also for special articles on
the various tribes that compose the families, see Handbook of the American
Indians. Bur. Amer. Ethnol., Bui. 30, 2 vols. Washington, 1907-1910.

2. The Whistles and Reed Instruments of the American Indians of the
Northwest Coast. Proceed, of the Musical Assn. 29th Session. '-"Lond.
1902-1903.

XX INTRODUCTION

fication which, with his consent, has been adopted in cataloguing
this part of the collection; this classification is given on p. 58.

While there are many examples of drums and rattles, as is
usual among primitive peoples, the string type is sparsely repre-
sented, only the lute form being shown in a few crude examples
which doubtless owe their presence in this region to Russian immi-
gration.

Among the tribes of the United States, the second subdivision
of the first group, quite different types prevail. As with all primi-
tive peoples, we find a preponderance of rattles and drums, the
stringed and wind instruments showing less variety. Where in
Africa the natives have both the musical bow and many forms of
harps, the North American Indians have no stringed instruments
save a musical bow, yet to be proved indigenous, and a rude form
of fiddle found only in one tribe. This may be due to the fact that
the vegetation of a tropical climate lends itself more aptly to the
fabrication of string forms, as, for instance, the bamboo and palm
wood with their fibrous bark used in the marouvane of Madagascar
and the muet of Africa, and the delicate tendrils and roots of tropi-
cal vegetation which furnish the strings for the primitive harps of
the African savage, whereas the instruments of the North American
Indians, who have been reared under different climatic conditions,
show none of these forms. Owing to the various sources from
which these instruments have been gathered, it has been impossible
in many instances to state the exact provenance of individual
specimens, but by comparison with collections in other museums
it has been possible to identify the greater number of them.

In the second main group, American Folk Instruments, the
banjo of the plantation slave life holds a prominent place; this, with
the "bones" or clappers, formed the accompaniment to all planta-
tion melodies and the clog dance of the southern negro. Under
Folk Instruments also have been classed the gourd mandoline of
the Georgia "Cracker,"^ the cornstalk fiddle, and such other forms
as find their parallels in the peasant types of Europe.

The illustrations in the codices of Old Mexico show the few
forms in use among the people of that ancient civilization. At
that period we find the conch-shell trumpet, the tepona^tli, a hori-
zontal drum still in use among the Aztecs, and the tortoise-shell
drum of which the Museum has a specimen from Nicaragua. That
the natives of that period had a knowledge of a musical scale is
evidenced by the presence of finger-holes in many of the pottery
whistles and flutes that excavation has brought to light in recent

I. Term applied to the poor white element dwelling among the mountains
of the South.

INTRODUCTION xxi

years. These types are variously represented in the Mexican
exhibit and are by far its most interesting feature. The modern
types of instruments are either the primitive forms found among
the Indians or those of markedly Spanish origin, — as for instance,
the small guitar quite as popular here as in the Philippines.

In Central America perhaps the most interesting exhibit, aside
from the pottery whistles in which the collection is especially rich,
is the tortoise-shell drum from Nicaragua already referred to. There
are also various other forms of drums, some of which resemble
those of Africa. In the West Indies traces of African types are
also discernible, especially in the musical bow with its gourd reso-
nator, and the various forms of rattles. This, however, is not
true of the guiro, a rattle peculiar to this section, made sometimes
of gourds and often of tin, which illustrates a variant of the notched-
stick rattle found in many parts of the globe.

The South American exhibit, while covering many types
gathered from a vast area, in many instances almost inaccessible,
is as yet far from complete, there being still many districts unrep-
resented. Of special interest in this section are the pottery trum-
pets and whistling jars, a Bororo funeral trumpet, trumpets of gourd
and basket-work from British Guiana, and bone flutes from tribes
in the interior.

In conclusion the collector desires to express her gratitude to
those who have cooperated with her in collecting the necessary
information: Mr. E. H. Hawley of the U. S. National Museum,
Washington, whose catalogue of musical instruments has been
invaluable in furnishing native names; Dr. Walter Hough of the
same institution for his interest and his help with many matters
relative to the Indians of the Southwest; Lieutenant G. T. Emmons
for his cordial assistance and information regarding the Indians
of the Northwest Coast; the staffs of the American Museum of
Natural History, New York; the Peabody Museum, Harvard Uni-
versity, Cambridge, Mass.; the Field Columbian Museum, Chicago;
the Museum of the University of Pennsylvania, and the Academy
of Natural Science of Philadelphia, who with uniform courtesy have
rendered every assistance in their power.

OCEANICA

The Numerical Index, p. 313, gives the page on which the de-
scription of any instrument may be found from its number.

^m^'^'.

NATIVE WITH DRUM (aRPa), NEW GUINEA
FROM A PHOTOGRAPH

MALAYSIA

JAVA

CLASS I STRINGED INSTRUMENTS

760 A wooden cylinder, painted red, the ends closed and S?*^*'"" ^, ,

I .,/, i -r • ^ • ^L 111' Plucked String!

one side flattened. Two wire strings pass through holes m

the side to pegs inserted in the end of the body. Two

small movable bridges for each string. Two soundholes.

Length, i foot ^yi inches. Diameter, "]% inches.

734 Similar to No. 760, but made of bamboo. Originally

two wire strings; one missing.
Length, 2 feet 2 inches. Diameter, /^yi inches.

758 PSALTERY. Kdia^i or Kachapi. A boat-shaped

body of wood, painted red, with a flat top, the ends project-
ing above the soundboard. Nine wire strings pass through
holes pierced diagonally across the soundboard to the
interior, where they are wound about tuning-pegs which
project at the side.

Length, 2 feet 9 inches. Width, 4K inches. Depth, 7K
inches.

cf. Patola illustrated by Clement. Histoire, p. 158. Ma-
hillon. Catalogue, vol. 1, p. 194. Crawfurd. History,
vol. I, p. 335. de Wit. Facts and Fancies, p. 152.

757 PSALTERY. Ketjapi. Similar to No. 758. Sixteen

wire strings, eight wooden pegs.

Length, 3 feet 2}4 inches. Width, 10 inches. Height, 8
inches.

MUSICAL INSTRUMENTS, OCEANICA

ClaM I

Stringed
Instrunientt
Section A
Pluclced
Strings

Land' considers the ketjapi
evident Hindu origin.

and the tarawangsa of

13 1 1 PSALTERY. Tjelempoeng or Chelempung. A quad-

rangular wooden sound-box, resting on a carved stand,
decorated in red, green, and gold. On one side a coat of
arms and the letter W surmounted by a coronet. Twenty-
six wire strings. A flat scroll at one end holds the strings,
and from this they pass, over a high, thin metal bridge,
placed diagonally across the center of the case, to the
opposite end, where they are fastened.
Length, 3 feet 4 inches. Height at one end, i foot 8 inches;
the opposite end, 8)4 inches. The sound-box tapers from
I foot 5>^ inches to 8}4 inches at the lower end.
The performer sits at the lower and narrow end of the
instrument, the soundboard rising at an angle before him.
The strings are put in vibration by the thumbs, the
fingers serving as dampers. It is used in the Gamelan
Salendro, also in the Gamelan Pelog, and is one of the
instruments that carry the melody.*
The Gamelan Salendro and the Gamelan Pelog are two of
the seven orchestras into which the instruments of this
country are divided. Each of these is arranged for a
certain class of native music dependent upon the occasion
or the hour of the day at which it is to be played. The
orchestras are as follows:

The Gamelan Manggang: This is the most ancient, and,
from its lack of harmony, is sometimes called the Gamelan
Kodok Ngorek, or 'croaking of frogs.' This is used at
public processions and has fewer instruments than some
of the others.

The Gamelan Salendro: This has the greatest variety of
instruments and is in every way the finest of the seven
groups.'

Raffles* names seventeen instruments as composing
the Gamelan Salendro. These are illustrated in his De-
scription Geographique, as follows:

Gamhang Gangsa: xylophone, with i 5 bars.
Gamhang Kayu: with 17 bars.

1. De Gamelan, p. 3.

2. Groneman and Land. De Gamelan, p.
vol. 3, p. 345.

3. Groneman and Land. De Gamelan, p. 7.

4. Description Geographique, p. 282.

39. Mahillon. Catalogue,

MALAYSIA. JAVA 5

Bonang, or Kromo: ten gongs in a frame.

Gender: similar to Gamhang.

Saron: a small xylophone with five bars.

Demong: the same with 7 bars.

Selanian: the same with 10 bars.

Kecher: a wooden standard with two cymbals.

Gongs: two hung in a frame.

Kenong: a large gong on a square stand.

Ketuk: the same, but smaller.

Kumpul: a gong hung in a frame.

Ketipung: a drum with two heads.

Kendang: a drum with two heads supported on a frame.

Chelempung: a form of psaltery.

Suling: a flute with six holes.

Rehab: a fiddle.
The Gamelan Pelog: This resembles the Gamelan Salen-
dro, but while the instruments are larger and heavier
they have smaller compass. ^

The Gamelan Miring: Similar to the Salendro and Pelog.
These three, Salendro, Pelog, and Miring, accompany
dramatic performances.'

The Gamelan Choro Bali: In this group the rebab is
omitted. In other respects it is similar to the Gamelan
Salendro, its instruments being large and of heavy tone
like those of the Gamelan Pelog.

The Gamelan Sakaten: In this group the instruments
are higher and heavier even than those of the Gamelan
Pelog; it is used only on the most solemn occasions and
in the presence of royalty.

The seventh group is the Srunen, the martial music,
which includes trumpets or other wind instruments.*
The Javanese orchestra at the Paris Exposition, 1900,
called the Gamelan Goedjin, was made up as follows:
One kromong; one gambang; one henong, similar to the
gamhang, but with metal bars; two penneros, a large
gong suspended in a frame; one kempoel, a small gong;
one giiendang, a drum.'

The native melodies of the Javanese are based upon two
scales: one a pentatonic, called salendro, and the other
a heptatonic, called pelog. The music is divided into

1. Groneman and Land. De Gamelan, pp. 9-1 1.

2. Tagore. Hindu Music, p. 302. Raffles. Description Geographique,
p. 282. Crawfurd. History, vol. i, pp. 338, 339.

3. Gautier. Les Musiques Bizarres, pp. 7, 8.

MUSICAL INSTRUMENTS, OCEANICA

Class I

Stringed

Instruments

Section A

Plucked

Strings

Section C

Bowed

Strings'

groups adapted to the different orchestras, and again
subdivided for the scales; certain selections, based upon
certain notes, can be played only at stated hours of the
day or night. These traditional rules are adhered to
rigidly, the Sultan alone having the power to change them.

149 1 ^ ^^^' boat-shaped body cut from a solid block of

wood, painted in red and green. A carved neck with five
knobbed frets extends in a ridge along the center of the
body, and terminates in a circular block near the lower edge.
Two wire strings.
Length, 3 feet 3 inches. Width, 4}^ inches.

728 REBAB. A flat, pear-shaped body with wooden

sides; the back covered with cloth edged with tinsel,
the front with parchment. A long wooden neck, taper-
ing to a point and ornamented with turned bands. On
the lower side a projecting foot. Two long string pegs.
Strings missing.

Length, 3 feet 10 inches. Diameter, 6K inches.
cf. Mahillon. Catalogue, vol. 2, p. 177; vol. 3, p. 342.
Raffles. Description Geographique, p. 281.
The rebab, although of Persian origin, plays an impor-
tant part in the native orchestras. It was probably
introduced by the Arabs, who invaded Java in 1406,
and there established the Mohammedan religion.-
Mr. Balfour,3 quoting Mr. W. W. Skeat, furnishes
the following note in regard to the word rebat: "The
rebat is merely a loose pronunciation of reba — more
strictly geba — which is the Patani-Kelantan form of
rebab or harebab, the Malay fiddle. Certain final con-
sonants, e.g. 'b,' 'p,' 'k,' etc., are broken down into a
mere 'click' in the Patani-Kelantan dialect, and rebat
is merely a loose pronunciation of this — rebab. A fur-
ther note by the editor states that the word is not Malay,
but Arabic, probably having come originally from North
Africa or Turkey.

730 TARAWANGSA or TRAWANGSA. An oblong

wooden box, the upper edge carved and gilded, the front of

1. Section B. Struck Strings not represented.

2. Larousse. V0I.9, p. 921. Crawfurd. History, vol. i, p. 335; vol.2, p. 259*

3. Fasciculi Malayenses, p. 11.

MALAYSIA, JAVA 7

parchment, held in place by strips of split rattan. A long. Class i

straight neck, the end carved in a simple scroll, with three instruments

long, straight pegs, and three silk strings. Circular bridge ^^^^}°^ ^

made from a section of bamboo. A carved wooden bow strings

strung with a loose strand of horsehair.

Length, 2 feet 10 inches. Diameter, 5 inches. Bow, 2

feet I inch.

cf. Mahillon. Catalogue, vol. 2, p. 160; vol. 3, p. 34I.

Fetis. Histoire, vol. i, p. 90.

733 TARAWANGSA. Similar to No. 730, but with an

oval body hollowed out of a block of wood. Three brass
strings. The bow a bent stick strung with horsehair.
Length, 2 feet 10 inches. Width, 5 inches. Bow, 2 feet
I inch.

CLASS II WIND INSTRUMENTS

731 VERTICAL FLUTE. Souling. Lowest note E. A

tube of bamboo decorated with burnt lines and dots. A
small square hole in the side at the upper and closed end.
A strip of split rattan bound around the top forms an air
channel to direct the wind against the lip of the square hole
just below. Six finger-holes.
Length, i foot j}^ inches. Diameter, fi inch.
While some authorities classify the Souling as a nose
flute, Groneman,! in his treatise on the instruments
of the Gamelan, describes it as follows: "The mouth-
piece is slightly sloping, cut off on the under side; and
this is the only part that touches the lips when it is used."
The custom, prevalent in these islands, of blowing the
flute with the nostril rather than the lips, may be traced,
in Java, to the conquest of the island by the Hindus.
Crawfurd^ states: "That the Hindus and their religion
existed in Java from the end of the thirteenth century
to that of the fifteenth century is a matter of certainty
proved by monumental dates entirely reliable."
Engel^ refers to the origin of the nose fiute as follows:
"In Hindustan the use of the nose flute originated in
the religious doctrine of the Brahmins that a person of

1. De Gamelan, pp. 32, 33.

2. History, vol. 2, p. 185.

3. Catalogue, p. 166.

Section A
Whistles
I. Vertical
Flutes

8 MUSICAL INSTRUMENTS, OCEANICA

Class II
Wind Instru-
ments
Section A
Whistles
I. Vertical
Flutes

superior caste is defiled by touching with his mouth
anything which has been touched by the mouth of an
inferior\

Crawfurdi describes the Javanese flutes as follows:
"The suling (soeling) and serdum are sorts of flutes or
fifes in use among the Malay tribes, played alone and
never in a band. . . The fife or flute they acquired
from the Hindus, as its Sanskrit name hangsi points out.
Trumpets they acquired from the Persians and Euro-
peans, as we learn from their names nafiri and salompret.
Mahillon^ mentions four different forms of the souling:
one with four holes used in the Gamelan Salendro; one
with four holes used in the Gamelan Pelog; one with five
holes used in the same orchestra; and one with six holes
for use with either of the two scaleV

729 VERTICAL FLUTE. Souling. Similar to No. 731.

Lowest note E flat. Six finger-holes.
Length, i foot 8 inches. Diameter, }4 inch.
Described by Mahillon as a nose flute. Catalogue, vol.
I, p. 408.

732 VERTICAL FLUTE. Souling. Similar to No. 731.

Lowest note D. Six finger-holes.
Length, i foot 10 inches. Diameter, ^2 inch.

1383 VERTICAL FLUTE. Souling. Similar to No. 731.

Lowest note A. Six finger-holes.
Length, 2 feet 4 inches. Diameter, i K" inches.

736 WHISTLING TOP. Aslendercylinderof wood, with

a slit on one side and a wooden peg at each end.
Length, 9 inches. Diameter, 2 inches.
A similar specimen from the island of Nias in the National
Museum at Washington, D. C, is labeled gissang or
gar sing.

Elsdon Best^ of Tuhoe-land, New Zealand, describes an
ancient custom of the Maoris in which humming tops
were used as an accompaniment to the dirge or lament
chanted when a tribe had been defeated in battle: "A
dirge or lament (tangi) would be composed in the form

1. History, vol. I, p. 334.

2. Catalogue, vol. 3, pp. 307, 309.

3. Journal of the Polynesian Society, vol. 11, p. 153. Wellington, N.Z., 1902.

DRUMS, OCEAN ICA
PI'. 9, 2 1, 40, 44, 45, 52

MALAYSIA, JAVA 9

of a whakaoriori pofaka (song sung while tops are being
spun). The people would collect in the marae (plaza),
many of them being provided with humming tops {poiaka
iakiri). The tangi would be commenced, and at the
end of each couplet all the tops were started spinning
at the same time, the result being a weird moaning hum
which is said to be a lament in itself, being not unlike
the singular moaning sound made by the natives when
mourning for the dead."

CLASS III VIBRATING MEMBRANES
18'? I DRUM. A tube of bamboo with a head of snake-skin Division i

• • • • • Struck

held m place with strips of split rattan laced to a braid of section A
the same tightened by wooden wedges. f'^v^th one

Height, I foot. Diameter, 3 >^ inches. head

750 DRUM. A tube of bamboo, the head of skin held in

place by strips of fibre fastened to a braided rope of the
same. The tension regulated by wooden "wedges.
Height, 2 feet 2}^ inches. Diameter, 4 inches.

724 DRUM. Similar to No. 750, but cut from a tree trunk
and painted red and green with a band of gold around the
base.

Height, 2 feet I inch. Diameter, 65^ inches.
This form of drum is used to accompany the anklang.
No. 3572.

725 DRUM. Similar to No. 724.

Height, I foot 1 1 yi inches. Diameter, 6K inches.

752 DRUM. Ketipoeng. A cask-shaped shell of wood

with heads of skin held in place by wooden hoops laced
together at the sides with strips of fibre. Two holes in one
side and a rope of twisted fibre.

Height, I foot 7 inches. Diameter, 10^ inches, tapering
to gyi inches.
The ketipoeng is one of the instruments used in the
Gamdan Salendro. The beater is made of a stick with
one or both ends covered with a ring of leather. The
kendang is similar in form, but of larger dimensions, and
is placed on a wooden support in front of the performer

2. With two
heads

10 MUSICAL INSTRUMENTS, OCEANICA

Class III

Vibrating

Membranes

Division i

Struck

Section A

Drums

2. With two

beads

or held in his lap. This drum is struck either with the
palm or the fingers of the hand, the right hand giving
the louder tones, the left, the softer ones.'
Still another drum is the bedoeg, a large, cylindrical
shell suspended in a wooden framework. The beater
used with this has a spherical head covered with leather
or canvas.2

Division I
Strucls

775

776

CLASS IV SONOROUS SUBSTANCES

SIGNAL DRUM. A quadrangular body cut from a
tree-trunk, with a long narrow opening in one side. At the
top a carved ornament decorated in red, green, and gold.
Height, 5 feet i >^ inches. Diameter, 8>^ inches.

The prototype of this drum is found in the large tree

drums of New Hebrides.

TJALANG. Eleven tubes of bamboo strung on two

cords.

Longest tube, 2 feet 6 inches. Diameter, 2]4 inches.

Shortest tube, i foot 2 inches. Diameter, i X inches,
cf. Mahillon. Catalogue, vol. 2, p. 160. Chouquet.
Catalogue, Supplement 1894, p. 69.

In playing this instrument it is hung on the branch of
a tree and struck with wooden sticks. A similar form
is found on the island of Nias; it has three tubes, and
is called doli. Rijks Ethnographisch Museum Coll.,
Leiden, No. 1002.59.

According to Land,' who quotes Howell, the tjalang,
like the ketjapi and tarawangs'a, should be classed
among those instruments developed under foreign in-
fluence, it being closely allied to the ranat and pattala
of Siam and Burmah.

3572 ANKLANG. An upright frame with an arched top

made of a narrow strip of bent wood with its ends inserted
in a tube of bamboo. Three tubes of bamboo with one side
of the upper ends cut away, hung loosely on cross-bars, the

1. Groneman and Land. De Gamelan, p. 32. Raffles. Description
Geographique, p. 282.

2. Groneman and Land. De Gamelan, p. 42.

3. De Gamelan, pp. 3, 4.

Struck

MALAYSIA, JAVA II

ends resting in openings cut in the lower part of the frame. Class iv
A fringe of colored grass across the top. iubstances

Height of frame, 5 feet. Width, i foot 10 inches. Division!

Longest tube, i foot 10 inches; diameter, 4 inches; total
length of bamboo, 4 feet 4 inches. Middle tube, length,
1 1 Yi. inches; diameter, 2>^ inches; total length, 31 ]4. inches.
Shortest tube, length, 6 inches; diameter, \% inches; total
length, 16 inches.

3573 ANKLANG. Similar to No. 3572.
Height of frame, 4 feet ?>yi inches. Width, i foot \oyi inches.
Longest tube, i foot 7 inches; diameter, 3>^ inches; total
length, 4 feet. Middle tube, length, lo inches; diameter, 2>^
inches; total length, 2 feet 4 inches. Shortest tube, length,
5>< inches; diameter, i ^ inches; total length, i foot 3 inches.

3574 ANKLANG. Similar to No. 3572.
Height of frame, 4 feet 3 inches. Width, i foot 9%^ inches.
Longest tube, i foot 5 inches; diameter, 33/^ inches; total
length, 3 feet 7 inches. Middle tube, length, 8>^ inches;
diameter, 2X inches; total length, 2 feet i yi inches. Short-
est tube, length, 4>^ inches; diameter, \yi inches; total
length, I foot i >^ inches.

3575 ANKLANG. Similar to No. 3572.
Height of frame, 4 feet y^ inch. Width, i foot 9^ inches.
Longest tube, i foot 2>^ inches; diameter, 3 inches; total
length, 3 feet 4 inches. Middle tube, length, 'jyi inches;
diameter, 2 inches; total length, i foot 10 inches. Shortest
tube, length, 3^ inches; diameter, xyi inches; total length,
I foot.

756 ANKLANG. A wooden frame of two standards with

carved heads and a cross-bar on which are hung eleven
small frames similar to No. 3572.

Width of frame, 6 feet 2 inches. Height, 2 feet 6 inches.
cf. Mahillon. Catalogue, vol. 2, pp. 2, 160; vol. 3, p. 272.
Fetis. Histoire, vol. 4, p. 91. Chouquet. Catalogue,
p. 133.

In playing this instrument the sound is produced by shak-
ing the frame, the ends of the loose pipes striking against
the edges of the openings in the bamboo cross-bar in
which they rest. Tagore' states that the anklang "is
I. Hindu Music, p. 298.

12 MUSICAL INSTRUMENTS, OCEANICA

Class IV confined to the mountaineers of Java, particularly those

Substances o^ the westem end of the island. ... A troupe

Division I of forty or fifty mountaineers will be seen dancing in

wild and grotesque attitudes, each individual playing
upon an angklung, himself and his instrument decked
with feathers." Raffles^ also describes the instrument
as the angklung.
Land"* refers to the angkoeng as a popular instrument.

1462 XYLOPHONE. Sawn. A dragon of carved wood

supporting on its back seven bars of wood, usually a species
of pyrus.

Length, 4 feet. Height, 3 feet. Width, i foot 3 inches,
cf. Mahillon. Catalogue, vol. 2, p. 131. Groneman and
Land. De Gamelan, p. 32.

There are usually four sarons in the Gamelan Salendro:
the saron proper, the saron demoeng, the saron selento,
and the saron peking. A fifth, the saron tjeloering, is
used only in the Gamelan Pelog. These differ only in
the diapason of their notes. ^

Quoting from an article on the Musical Instruments of
the Javanese printed in the Journal of the Society of Arts^:
"In the sarons of the Gamelan Salendro the notes are in
groups of six for each instrument, each being a complete
octave interval, and the sarons in sequence range over
three octaves, with the pentatonic intervals. The high-
est is called the saron peking salendro, the next saron
allele salendro, and the lowest the Saron demoeng salendro.
For the Gamelan Pelog there are similarly three sarons,
but in groups of seven notes each. . . . The sarons
are played with tapoos; those of the demongs are padded,
those for the alleles and pekings are mallet-shaped and
of hard wood."

in speaking of this class of instruments, Tagore, quoting
from Crawfurd, says: "The last class of instruments
of percussion are the staccados, in the Javanese language
called gambang. These are of greater variety than any
of the rest. The first 1 shall mention is the wooden
staccado, or gambang kayu. This consists of a certain

I. Description Geographique, p. 280. See also Crawfurd. History, vol.

1. p. 334.

2. De Gamelan, pp. 4, 19.

3. Mahillon. Catalogue, vol. 3, pp. 269-271.

4. vol. 30, p. 1020.

SARON, JAVA

NO. 1,462, P. 12

GENDER, JAVA

NO. 1, 40 1, P. 14

MALAYSIA, JAVA

number of bars of a hard sonorous wood of graduated Class iv
lengths, placed over a wooden trough or boat, and struck fubstances
with a little hammer. This instrument is common Division i

11 c 1 » I • , • 1 1 Struck

throughout every part of the Archipelago, particularly
among the Malay tribes, and is often played alone.
The second kind of staccado resembles this, differing
from it only in having the bars made of metal instead
of wood.

"They each assume different names in the copious lan-
guage of Java, according to the number of bars, or notes,
or other modification of their construction." ^

1463 XYLOPHONE. Saron. A block of wood carved in

the form of a crouching animal supporting seven strips of
wood on its back.
Length, 3 feet }4 inch. Height, i foot 10 inches.

777 BONANG BAROENG or KROMO. Ten metal

gongs arranged in two rows suspended on cords in a quad-
rangular frame of carved wood resting on four feet.
Length of stand, 3 feet 7 inches. Width, i foot 9 inches.
Height, 10 inches. Diameter of gongs, 5 inches. Depth,
3 inches.
In the Gamelan, where the melody is not carried by the
rehah or by the soeling, it is taken by the bonang.
Sometimes three are used, named according to their
size respectively: honang-penemboeng, honang-haroeng,
and bonang-peneroes; these are tuned an octave apart. ^

3622 BELL. Bronze. Cone-shaped with a pointed finial
and a triangular base. The surface ornamentation con-
sists of parallel lines and a band of ornament in relief near
the top.

Height, 7K inches. Diameter, 4 inches.

3623 GONG. Bronze, slightly conical in form with flattened
sides, the metal worn through on one side. An indistinct
pattern etched on the surface. Open at the base and at
the top.

Height, 5H inches. Diameter, ^J4 inches.

1. Tagore. Hindu Music, pp. 300, 301.

2. Mahillon. Catalogue, vol. 3, pp. 265, 266, also Raffles.
Geographique, p. 281.

Description

Class IV
Sonorous
Substances
Division i
Struck

14 MUSICAL INSTRUMENTS, OCEANICA

I461 XYLOPHONE. Gender. A frame of wood, the up-

rights ornamented with dragons' heads. Twelve metal
plates, beneath each of which is a bamboo tube.
Length of frame, 4 feet 9 inches. Height, 3 feet 6)4 inches.
Longest bar, 1 1 inches; shortest, 8 inches.

In the Gamelan Salendro there are three sizes of genders
tuned an octave apart: The gender-penemhoeng, the
gender-haroeng, and the gender-peneroes. In the Gam-
elan Pelog there are two: the gender nem and the gender
harang, named according to the arrangement of the
plates. In a complete orchestra each of the genders
is represented by the three sizes: penemboeng, haroeng,
and peneroes, as in the Salendro. cf. Mahillon. Cata-
logue, vol. 3, p. 263. Groneman and Land. De Game-
lan, p. 38. Crawfurd. History, vol. i, p. 337.

759 XYLOPHONE. GamhangGangsa. A stand of carved

wood decorated in red and gold, supporting six metal bars.
Length of frame, 2 feet 2 inches. Height, 9 inches.
Longest bar, 8 inches; shortest, 6^ inches.
A complete Gamelan usually has two gambangs, one with
bars of wood {gambang kajoe or kayu), the other with
bars of metal {gambang gangsa). cf. Mahillon. Cata-
logue, vol. 3, p. 266. Groneman and Land. De Game-
lan, p. 37. Crawfurd. History, vol. i, p. 337. Fetis.
Histoire, vol. i, p. 93.

Division 2
Pluclied

3370 JEWS' HARP. A slip of bamboo with three vibrat-

ing tongues cut in the center. Reproduction. Original in
the National Museum, Washington, D. C.
Length, \o}4 inches. Width, j4 inch.

SUMATRA
CLASS I STRINGED INSTRUMENTS

Section A 11 1 A
Plucked J^J^
Strings

BIOLA or MIJUE MIJUE. A slender, boat-shaped
body of wood, tapering to a point at the lower end. Two
gut strings and two wooden pegs. Played with a plectrum,
which is attached by a cord.
Length, i foot 7 inches. Diameter, 2}4 inches.
Found among the Bataks, a tribe of semi-civilized canni-

BONANG OR KROMO, JAVA

NO. 777, P. 13

SARON, JAVA

NO. 1,463, P. 13

MALAYSIA, SUMATRA I5

bals resident in the Atjeh mountains on the north coast Class i
of the island. A similar specimen (No. 905.20) in the inst"uments
Rijks Ethnographisch Museum Coll., Leiden, is called ?>'j'^'^'n"i'^
ketjapi and comes from the Toba Bataks. strings

In describing a ceremonial dance witnessed in Sumatra,
Ling Rothi refers to an "orchestra consisting of a few
iingkahs, or drums, of nativ? manufacture, pla\ed with
the knuckles, constructed of a hollow cylinder of wood,
across both ends of which goat's skin is stretched; a
bamboo flute, called soeling, and a European fiddle."
A variety of instruments from Sumatra are shown at
the Rijks Ethnographisch Museum, Leiden. From the
Lampong districts, jews' harps of bamboo, one with a
bamboo cylinder, which serves as a resonator; native
name djoering. From the Bataklands; a bamboo flute
with five holes called paloea, and two sizes of a double-
reed instrument similar to the sona of China and the
{ourna of India; the larger called seroene, the smaller
sordam. A stringed instrument identical with No. 3134
is called kesapi or ketjapi, a drum with two heads,
gendang or gordang, a bull-roarer, for which no native
name is given. From the Residency Benkoelen; a moko-
moko fiddle or rebab; a tambourine with membrane of
deer-skin, radoh; three vertical flutes of bamboo — seroen-
dam, with three holes; serdam, longer than the seroendam,
with three holes; ia;z^5?, with five holes; a transverse flute
with six holes, kerilong. From the Lowlands of Padang
on the west coast, a drum, gandang, and a tambourine
with membrane of fish-skin, called adok or rehana.

BORNEO

CLASS I STRINGED INSTRUMENTS

825 YANG KONG, SATONG, or YADOK. A section of Section a

bamboo with five strings of fibre cut and raised from the stings
surface by small bridges placed at each end.
Length, 2 feet ^}i inches. Diameter, ^}4 inches,
cf. Roth. The Natives of Sarawak, vol. 2, p. 262. Simi-
lar to the marouvane of Madagascar and the gandang
hoeloe of Sumatra.

I. The Natives of Sarawak, vol. 2, p. 281.

Class I

Stringed

Instrumentf

Section A

Plucked

Stringi

l6 MUSICAL INSTRUMENTS. OCEANICA

1838 YANG KONG. SATONG, or YADOK. Similar to

No. 825. A narrow opening on one side.
Length, i foot 'jyi inches. Diameter, 4J< inches.

1292 BLIKAN. A long, narrow body, square at the base

and tapering to the neck, which is finished with a rudely
carved ornament. fhe front a thin board pierced with six
small holes and decorated at the base with a projecting
ornament which holds the strings. Originally seven knobs
of gutta on the finger-board, two missing. Two wire strings
and a movable fret of braided split rattan.
Length, 4 feet 6 inches. Diameter, 5X inches.
The blikan is a Dyak instrument. It is described by
Roth* as being hollowed out from the upper surface
and covered with a thin plate of wood. The safe (No.
2738), on the other hand, is hollowed out from under-
neath, and the back left open. Another form of lute
from Sambas, West Borneo, is shown in the Rijks Ethno-
graphisch Museum Coll., No. 370.3688, the native name
for which is gambas. The body is pear-shaped, with
a rounded back and parchment front, tapering to the
neck, which is finished in a scroll. An open peg-box
with three pegs. This instrument closely resembles the
Wayao Guitar of Eastern Africa, No. 1657, ^nd a similar
form is found in Syria, No. 304,

819 BLIKAN. Similar to No. 1292, but without frets.

Two strings of split rattan. One triangular soundhole.
Kanowit, Sarawak.
Length, 3 feet i inch. Diameter, 4K inches.

2738 SAFEor DJIMPAI. Similar to No. 1292. The neck

carved to represent a stooping figure supporting a fish, the
two string-pegs in the form of figures with arms folded at
the back. The body hollowed out from a solid block, the
back left open. Strings missing.
Length, 4 feet i K inches. Diameter, 9 inches.
This instrument is found among the Mandalam Kayans
of Central Borneo, where it is called safe. In the south-
eastern part of the island it is called sapeh or kasapi.
d. Rijks Ethnographisch Museum Coll., Nos. 1219.329
and 37.553. Bock. Head Hunters, p. 217. Roth. The

I. The Natives of Sarawak, vol. 2, p. 262.

STRINGED INSTRUMENTS, BORNEO
1>1>. 16, 17

MALAYSIA, BORNEO I7

Natives of Sarawak, vol. 2, p. 262. See note to No. 1292.
A similar instrument from Long Wia, in the British
Museum, is called impai. Described and illustrated by
Roth. vol. 2, p. 261.

814 SERUNAI. Body made from the shell of a cocoanut, ciass^i^
with a long, straight neck of wood. A hole in the back; instruments
the front covered with snake-skin held in place by lacings |o w e°d ^
of split rattan. One string of segu cane. A slender bow of strings"
wood fibre. Kanowit, Sarawak.

Length, 2 feet 7>^ inches. Diameter, 5 inches. Bow, 2 feet

4 inches.

In playing this instrument the performer sits upon the
ground and holds the fiddle between his toes, the knees
bending outward, the soles of the feet together. The
string must be moistened in order to produce the sound.
The seams are usually cemented with "wild wax. "2 A
similar specimen in the Rijks Ethnographisch Museum
Coll., Leiden, No. 1059.33, is labeled srunai and comes
from the Lupue Dyaks of Batang, West Borneo, while
another, No. 659.105, is named by Roth (p. 260) garadap.

815 SERUNAI. Similar to No. 814. No pegs; the strings
fastened to a loop on the neck. Kanowit, Sarawak.
Length, 2 feet 4}^ inches. Diameter, 4}^ inches. Bow, i
foot 4>^ inches.

816 SERUNAI. Similar to No. 815. This specimen has
a small bridge. Sarawak.

Length, 2 feet 3 inches. Diameter, 4}i inches. Bow, i
foot 6K inches.

2365 SERUNAI. Similar to No. 816, but more elaborate.

The peg-box re-curved, expands into a large disk carved in
an open scroll pattern of conventionalized floral forms.
Tw 1 long string-pegs carry two strings of fibre that pass
through a tail-piece fastened to a projecting peg at the base.
An arched bow. Sadong River, Sarawak.
Length, 3 feet ^}4 inches. Diameter, 6 inches. Bow, 8
inches.

1. Section B. Struck Strings not represented.

2. Roth. The Natives of Sarawak, vol. 2, p. 260.

l8 MUSICAL INSTRUMENTS, OCEANICA

Section A
Whistles
I. Vertical
Flutes

a. Transverse
Flutes

CLASS II WIND INSTRUMENTS

822 VERTICAL FLUTE. Souling or Soeling. Lowest
note D. A tube of cane, the closed end chamfered on one
side and originally bound with a strip of split rattan; at the
edge of this band the breath-hole. Six finger-holes on the
opposite side of the tube from the breath-hole. Kanowit,
Sarawak.

Length, i foot 9 inches. Diameter, }i inch.

823 NOSE FLUTE. Lowest note D. A tube of cane
with one end closed. At one side of the closed end a narrow
opening ^ of an inch long, originally partially covered by
a band of split rattan, now missing. Three finger-holes on
the same side of the tube as the breath-hole. The open
end cut at an angle.

Length, i foot 5 inches. Diameter, i inch.

BocRi refers to a nose flute, but gives no name. Roth*
shows a bamboo nose flute with four holes, to which he
gives the name silinguit.

824 WHISTLE FLUTE. Lowest note C. A wooden
tube with a pointed mouthpiece similar to the flageolet.
Four finger-holes.

Length, ii^ inches. Diameter, i inch.

Identical with the seroene, a nose flute of the island of
Nias. Rijks Ethnographisch Museum Coll., Leiden, No.
1002.57. Among the flutes described by Roth'* may
be mentioned the gulieng, a bamboo pipe with a plug
at the mouthpiece, three finger-holes; the silinguit, a
Kenniah nose flute two feet in length, made of bamboo;
and the ensuling, a bamboo flute, played with the mouth.

1732 TRANSVERSE FLUTE. Lowest note D. A brass

tube with six finger-holes, a central hole similar to that in
the ti-t^u of China, and two additional holes near the end.
Length, 2 feet i inch. Diameter, ^ inch.

821 TRANSVERSE FLUTE. A tube of cane with six

finger-holes. Kanowit, Sarawak. Length, 2 feet i inch,

1. Head Hunters, p. 218.

2. The Natives of Sarawak, vol. 2, p. 258.

MALAYSIA, BORNEO

1827 REED PIPE. Two bone tubes, each pierced with Section b

five finger-hoIes and bound together with strips of metal. ^^^B^ating
The mouthpiece, similar to that of the ^ttmmarah, consists Reeds
of two small pieces of reed each with a vibrating tongue beating Reeds
cut in the side.
Length, 10 inches.
This instrument is identical with the lummarah of
Northern Egypt, and the meijiwii of Arabia. The Arabs
migrated to Borneo as early as the thirteenth century,

820 MOUTH ORGAN. Engkruri or Kleddi. Six bamboo 2. Free Reeds

pipes bound around a central one with two braids of split
rattan and fastened in a long-necked gourd with gutta. In
each pipe a free reed and in the six outside pipes a single
hole just above the point where they enter the gourd. Three
of the pipes fitted with covers made from larger tubes of
bamboo.
Longest pipe, 2 feet i>^ inches. Shortest, 2 feet.

Referring to a similar instrument, Roth^ describes it
as the klurai or keluri of the Kayan tribe, and states
that four of the pipes produce the chord of F (F, A, C, F,
with the upper and lower tonic). A fifth has a faint
suspicion of a flattened ninth G flat (from the lower
tonic), while a sixth pipe adds the pluperfect fourth B.
It is played by suction, and is tuned by shortening the
pipes. He further states that there are distinct differ-
ences between the instruments as made by each tribe.
That from the Baram Kayans consists of seven pipes,
six arranged in a circle around a long central one, all
seven being furnished with free reeds at the ends, where
they are insertecd in a calabash gourd. Holes are cut
in the six outer pipes for fingering; the central pipe
is, however, an open or drone (bourdon?) pipe, the tone
being intensified by fixing a loose cap of bamboo on the
upper end. It is played by blowing air into the neck of
the gourd or by drawing the breath, according to the
effect desired.

812 iVlOUTH ORGAN. Engkruri or Kleddi. Similar to

No. 820. Eight pipes, decorated with red and blue glass
beads, arranged in two parallel rows instead of being grouped
around a central pipe, as in No. 820. A soundhole in the
gourd and a short bamboo mouthpiece inserted in the neck.
I. The Natives of Sarawak, vol. 2, pp. 259, 260.

Class II
Wind Instru-
ments
Section B
Reeds
2. Free
Reeds

20 MUSICAL INSTRUMENTS, OCEANICA

Seven pipes fitted with free reeds, the eighth carved with
an open-work scroll design. In two pipes a single hole just
above the point where they enter the gourd. Kanowit,
Sarawak.

Longest pipe, i foot 8 inches. Shortest, q}4 inches. Diam-
eter or gourd, 4 inches.
Similar to the garoede of the Doesan Dyaks, North
Borneo. Rijks Ethnographisch Museum Coll., Leiden,
Nos. 898.26, 898.37. Rothi in describing this pipe as
peculiar to the Dusans (Doesans) states: "The Dusan
pipes are formed of eight pipes, four short and equal in
length, and four long and unequal. Reeds are cut at the
lower end in all the pipes, but the fingering is performed
on the ends of the four equal short pipes, there being no
holes cut in the pipes for this purpose, as in the Kayan
instrument."

810 MOUTH ORGAN, ^ngkruri or Kleddi. Similar to

No. 812. Eight pipes arranged in two rows, four with holes
near the point of insertion in the gourd. Kanowit, Sarawak.
Longest pipe, i foot 2 inches. Shortest, 6 inches.

813* MOUTH ORGAN. Engkruri. Six reed pipes, in-
serted in a short-necked gourd. A vibrating tongue cut in
each pipe where it enters the gourd. Kanowit, Sarawak.
Longest pipe, 9 inches. Shortest, 3^^ inches. Diameter
of gourd, 3>2 inches.

CLASS 111 VIBRATING MEMBRANES

Division I

Struck

Section A

Drums

I . With one

head

806

811

DRUM. Gendang. Similar to No. 81 !
Sarawak.
Height, 2 feet 10 inches

Kanowit,
Diameter at base, 7 inches.

DRUM. Gendang. Body cut from a log of wood,
smaller in the center and flaring slightly at the ends. Head
of snake-skin held in place with strips of rattan fastened to
a braid of the same secured by wooden wedges. Kanowit,
Sarawak.

Height, 2 feet 4 inches. Diameter at base, 4/^ inches.
A similar specimen in the Edinburgh Museum from the

I. The Natives of Sarawak, vol. 2, p. 260.

*This instrument is placed with Class II in the Kindred Instruments of

the Historical Groups.

■ ■PMiimiiw. ».«■.! -mr-

- -^*"^*'" - - -

INSTRUMENTS OF BORNEO AND SUMATRA
PP. 14-16, 18-21

MALAYSIA, BORNEO 21

Muruts of the Upper Labok River district, is described ciassiii
by Rothi as being cut from a log of palm wood, the upper Membranes
end covered with a piece of monkey skin. struck" ^

Section A

DRUM. Katamhong. Similar in form to No. 806, ^'v^thone
but of smaller diameter and of finer workmanship, the open head
end ornamented with a band of carving.
Height, 2 feet 5 inches. Diameter, 4^ inches.

Similar to No. 751.180 in the Rijks Ethnographisch

Museum Coll., Leiden, from Southeast Borneo.

CLASS IV SONOROUS SUBSTANCES

3585 BELL. Bronze. A small globular bell, the surface Division!
decorated with a narrow band of ornament in relief. ^^^^'^
Height, 2yi inches.

3586 BELL. Bronze. Similar to No. 3585, the surface
decoration simple bands of radiating scrolls in relief.
Height, 2 inches.

3587 BELL. Bronze. Similar to No. 3586.
Height, \^/i inches.

3588 BRACELET RATTLE. A string of small bells that
alternate with colored glass beads.

Diameter, 6 inches.

808 KOULINTAUGAU. A series of ten metal gongs.

Saudakan, British North Borneo.

Largest gong, i foot 6 inches in diameter; depth, 8>^ inches.
Nine smaller gongs, 7>^ inches in diameter; 2J/4 inches deep.

1652 JEWS' HARP. Aping. A slip of bamboo, pointed at ^j",^^^"?^

one end, a vibrating tongue cut in the center. Kayan tribe.
Length, i foot \]4 inches. Width, ^ inch,

cf. Roth. The Natives of Sarawak, vol. 2, p. 258.

817 JEWS' HARP. Giriding. Similar to No. 1652, but

square at the ends. Kanowit, Sarawak.
Length, 10 inches. Diameter, i inch.
A similar specimen in the Rijks Ethnographisch Museum
I. The Natives of Sarawak, vol. 2, p. 263.

22 MUSICAL INSTRUMENTS, OCEANICA

Class IV
SonorousSub-
stances
Division 2
Plucked

818

I29I

1653
3657

Coll., Leiden, No. 551.52, from Southeast Borneo, cf. also
Roth. The Natives of Sarawak, vol. 2, p. 257.

JEWS' HARP. Rudieng. A narrow strip of metal,
pointed at one end, with a vibrating tongue in the center.
Kanowit, Sarawak.
Length, 3>^ inches.

Roth gives a slightly different spelling — rodiung. The
Natives of Sarawak, vol. 2, p. 257. Balfour gives geng-
gong as the Malay name for the jews' harp. Fasciculi
Malayenses, p. 6.

JEWS' HARP.
Length, 3>^ inches.

Rudieng. Similar to No. 818.
Rudieng. Similar to No. 818.

CLAPPER. Similar to No. 1839, p. 29.
Length, i foot 1 1 J< inches.

Section A
Whistles
I. Vertica
Flutes

CELEBES

CLASS II WIND INSTRUMENTS'

3650 VERTICAL FLUTE. Bamboo, the surface etched

with burnt lines and dots. Six finger-holes. From Macas-
sar. Presented by Dr. Julius Hoffmann.
Length, i foot 8 inches.

This flute is identical with the souling of Java (cf. No.

729). The strip of split rattan originally bound around the

mouthpiece end is missing.

Section A

Plucked

Strings'

PHILIPPINE ISLANDS

CLASS I STRINGED INSTRUMENTS

3412 HARP. European model. Body quadrangular, open

at the back. Front pillar straight, the head and base
ornamented with carvings of white wood; the scroll finished

1. Other classes not represented.

2. Miss Densmore describes the musical bow of the Filipinos as follows:
" Its one string was a fibre of bamboo about 45 inches long, the ends wrapped
around stones and firmly imbedded in the ground. Under this string, near
the middle, the boy had dug a hole in the ground about the size of a quart

INSTRL'MhNTS OF THE PHILII'IMNH ISLANDS
I'l'. 2^-26

MALAYSIA, PHILIPPINE ISLANDS 23

with an ornamental rose. Thirty-three strings of silk, five Ciasa i
overspun with waxed fibre. Presented by Mr. Morris K. instruments

Tpijiin Section A

J coup. Plucked

Height of front pillar, 5 feet -^yi inches. strings

2962 HARP. European model with pillar and framework

of bamboo. Twenty-six strings of gut fastened with iron
pegs.
Height of front pillar, 4 feet 6 inches.

2616 A tube of bamboo with two oblong openings cut be-

tween the joints on one side. Four fibre strings fastened to
wooden pegs inserted at one end, passed through holes to
the inside where they are held by knots.
Length, 2 feet 9 inches. Diameter, 3K inches.

3414 BANDURIA. A circular body of unvarnished wood.
A single soundhole outlined with a circle of inlay. Two
movable fibre frets on the finger-board. A flat head with
holes for four pegs, three of which are missing. Two addi-
tional holes for a cord. Fibre strings. Santo Nino, Samar.
Presented by Mr. Morris K. Jesup.

Length, i foot 7^ inches. Diameter, 3 inches.

3413 BANDURIA. Body of unvarnished wood, a single

hole in the soundboard outlined with a band of inlay.
Nineteen frets on the finger-board. A flat head with sixteen
pegs inserted from behind. Eight double wire strings.
Six pegs and strings missing. Presented by Mr. Morris
K. Jesup.
Length, 2 feet 7 inches. Width, 1 1 % inches.

3415 GUITAR. Tipla. Body of unvarnished wood. Five
fibre strings. Three movable gut frets on the neck. Pre-
sented by Mr. Morris K. Jesup.

Length, i foot -^yk inches. Width, 3^^ inches.

2674 BANDURIA. A circular body made from a cocoa-

nut shell, with soundboard edged with inlay. A single

cup, lining it neatly with stones. Over the top of this hole he had placed a
round piece of tin, on which rested the little stick which formed the ' bridge'
and supported the string at such an angle that the two ends gave tones a
major third apart. The boy twanged this most happily as he sang a little
Igorrote song." Filipinos, Amer. Anthrop., n. s., vol. 8, pp. 621, 622, 1906.

24 MUSICAL INSTRUMENTS. OCEANICA

Class I

Stringed

Instruments

Section A

Plucked

Strings

Section B

Struck

Strings

Section C

Bowed

Strings

soundhole also ornamented with a band of inlay. On the
finger-board seventeen metal frets. A flat head with pegs
inserted from behind and four fibre strings fastened to metal
pins at the base of the body.
Length, i foot 8K inches. Diameter, ']% inches.

1956 BANDURIA. Similar to No. 3413. Twelve metal

frets on the finger-board. Twelve wire strings arranged in
pairs.
Length, i foot 10 inches. Width, 9 inches.

2606 AGONG. A tube of bamboo closed at each end by

a node with a small opening at the center of one side. Over
this hole a square piece of wood supported on two fibre
strings raised from the surface of the tube by a small wooden
bridge placed at each end. Northern Luzon.
Length, i foot 6 inches. Diameter, 4 inches.
The National Museum at Washington, D. C, has a
similar instrument from the island of Nias, the native
name of which is krumba. See also No. 1490, from
Madagascar, and No. 2746, Kindred Instruments.

3416 VIOLIN. European model of unvarnished wood.

Four fibre strings and a horn tail-piece. Two strings miss-
ing. Presented by Mr. Morris K. Jesup.
Length, i foot io}4 inches. Width, 7 inches.

CLASS II WIND INSTRUMENTS

Section A

Whistles

2. Transverse

Flutesi

Section C»
Cup Mouth-
pieces

3420 TRANSVERSE FLUTE. A tube of bamboo with six

finger-holes. Presented by Mr. Morris K. Jesup.
Length, i foot 1 1 inches.

2612 HORN. Two tubes of bamboo, the smaller one closed

at both ends, the larger open at the top. At the center of
the larger tube a mouthpiece of bamboo, inserted at a right
angle, passes through it to the smaller tube; from this the
air enters the larger tube through a short connecting pipe,
and escapes at the top. Northern Luzon.
Large tube, i foot 9^ inches; diameter, 2^ inches. Small
tube, I foot \}4 inches; diameter, i}i inches.

1. (i) Vertical Flutes not represented.

2. Section B. Reeds not represented.

ILONGOTS PLAYING THE NATIVE DULCIMER, I'M 1 1 I I'l'INE ISLANDS

FROM NAIIONAL GEOGRAPHIC MAGAZINR, WASHINGION, D.C.

MALAYSIA, PHILIPPINE ISLANDS 25

2614 HORN. Similar to No. 2612. Large tube, i foot 8 K
inches; diameter, 2 inches. Small tube, i foot iK inches;
diameter, i >2 inches.

2610 HORN. Similar to No. 2612.

Large tube, i foot 1 1 yi inches; diameter, 334' inches. Small
tube, I foot 3>< inches; diameter, 2^ inches.

261 1 HORN. Similar to No. 2612.

Large tube, 2 feet lyi inches; diameter, 3^ inches. Small
tube, I foot 3;^ inches; diameter, 2^ inches.

2613 HORN. Similar to No. 2612.

Large tube, 2 feet 4 inches; diameter, 4>^ inches. Small
tube, I foot 3 inches; diameter, 2% inches.

2609 HORN. Similar to No. 2612.

Large tube, 2 feet 8 inches; diameter, 4K inches. Small
tube, I foot 4K^ inches; diameter, 3K inches.

2608 HORN. Similar to No. 2612.

Large tube, i foot 'jyi inches; diameter, 2yi inches. Small
tube, 1 1 K inches; diameter, i yi inches.

2615 HORN Similar to No. 2612, except that in this the
air enters through a long tube inserted in the connection
between the large and small tube, entering first the short
tube and passing through it to the larger one, from which it
escapes at the lower end.

Large tube, i foot 5 inches; diameter, i^ inches. Small
tube, I foot y^ inch; diameter, i yi inches.

765 HORN. A tube of bamboo with a mouthpiece inserted

at a right angle near one end. On the side, small tubes bent
to represent the tubing of a cornet. Manila.
Length, i foot 1 1 yi. inches. Diameter, 2 inches.

Class II
Wind Instru-
ments
Section C
Cup Mouth-
pieces

766 HORN. Similar to No. 765, but differing in having

the end of the tube split to give it a reedy tone. Manila,
Length, 2 feet. Diameter, 2 inches.

3417 CONCH SHELL

Length, 13^^ inches.

TRUMPET.

26 MUSICAL INSTRUMENTS, OCEANICA

CLASS III VIBRATING MEMBRANES

Smck" ' 2607 DRUM. A tube of bamboo, the ends originally cov-

Section A ered with membrane, now open. A hole in the center of

Drums . ,

2. With two one Side.

^'^^^^ Length, 2 feet 4 inches. Diameter, 4 inches.

3418* DRUM. European model. Wooden shell with two
heads of skin held in place with wooden hoops laced together
with cords.
Height of shell, 5 yi inches. Diameter of heads, \oyi inches.

CLASS IV SONOROUS SUBSTANCES

stni'ck" ^ 34^9 GONG. A deep metal bowl with a boss in the center.

Diameter, 8 inches. Depth of rim, 3 inches.
"The Negritos have three musical instruments: a copper
gong, the hansi or flute, and the harimho or jews' harp.
In playing the hansi the pointed end is rested on the
ground and held firmly between the toes of the performer."
Densmore. Filipinos, Amer. Anthrop., vol. 8, No. 4,
p. 617.

3422 BELLS. Three small pear-shaped metal bells orna-

mented with raised dots.
Diameter, ^ inch.

PiuS"* 2617 JEWS' HARP. Barimho. A strip of bamboo in

which is cut a vibrating tongue.

Length, i foot. Width, lA Xo Vi inch.
Sometimes spelled culang. This is the Moro name for
jews' harp. (National Museum, Washington, D. C.)

3421 JEWS' HARP. Barimho. Similar to No. 2617.

Length, i foot i inch. Width, yi inch.

1. Section Ai not represented.

2. Nos. 3417, 3418, 3419 presented by Mr. Morris K. Jesup.

NEGRITO PLAYING A NOSE FLUTE, PHILIPPINE ISLANDS

FROM NATIONAL GEOGKAPHIC MAGAZINE, WASHINGTON, D.C.

MELANESIA AND AUSTRALIA

NEW GUINEA

CLASS I STRINGED INSTRUMENTS

1306 A body of wood in the form of a boat with a raised |^^^^^'

deck at each end suggestive of the Malay trading prahu. strings
A straight neck, finished with a carved head. Open peg-box
pierced for four pegs, three of which are missing. Two
soundholes. Strings missing. Possibly played with a bow.
Length, 2 feet 3 inches. Width, 6 inches.

CLASS 11 WIND INSTRUMENTS

771 TRANSVERSE FLUTE. Lowest note G. A tube ^^^^^

of bamboo with six finger-holes. 2. Transverse

Length, i foot 5 K inches.

1990 TRANSVERSE FLUTE. A tube of bamboo with

five holes on one side placed five inches apart. A single one
on the back opposite the central hole.
Length, i foot 8K inches. Diameter, i }4 inches.

774 HORN. A tube of bamboo with one of smaller f^J^^'^jStij.

diameter inserted in the side at a right angle, near the pieces'
closed end.
Length, i foot 5 inches. Diameter, 3 inches.

Similar to the bamboo horns of the Philippine Islands.

of. No. 765, p. 25.

1. Other sections not represented.

2. Vertical Flutes not represented.

3. Section B. Reeds not represented.

»7

28 MUSICAL INSTFIUMENTS. OCEANICA

Division I IO'^2

Struck -^

Section A

Drums

I With one

head

CLASS III VIBRATING MEMBRANES

DRUM. Arpa. Body made from a log of wood hol-
lowed out, small at the center and expanding at the ends.
The sides cut away at one end, forming two rounded points.
The opposite end originally covered with membrane. The
surface unstained, the only attempt at decoration being a
rude carving of a human face with a beaked nose. A
handle in the center.

Length, 4 feet 8f^ inches. Diameter, sH inches.
Williamson' shows a drum of this type with four prongs
which he states is from the Mafulu Mountain people,
and adds that it is similar to that of the Memeo but
smaller. These drums are usually of pine, but sometimes
of arive wood, which word also is the native name for
drum.

1288 DRUM. /irpa. Similar in form to No. 1832, but of

more finished workmanship. The open end carved to rep-
resent the open jaws of a crocodile. The surface blackened
and ornamented with a simple border cut in the edge and
whitened with lime. Membrane held in place with braided
rattan.
Length, 3 feet 2 inches. Diameter of head, 7 inches.

773 DRUM. Kaba. A small cylindrical hand drum cut

from a solid block of wood. Characteristic carving whitened
with lime.

Length, 1 1 >4 inches. Diameter, 2}4 inches,
cf. Wallaschek. Primitive Music, p. 28.

762 DRUM. /Irpa. Similar to No. 1288. The surface

stained brown, the ornamental border more elaborate. A
handle in the center. Head of snake-skin fastened with
cement.
Length, 2 feet 5 inches. Diameter, 6 inches.

1830 DRUM. Arpa. Cut from a log of wood, slightly

smaller in the center, the surface blackened. One end open,
the opposite end covered with snake-skin held in place by a

I. Williamson. The Mafulu Mountain People of British New Guinea,
pi. 75. London, 1912.

DRUMS, NHW GUINEA
I'l'. 28, 29

MELANESIA, NEW GUINEA

band of twisted fibre. A handle at the center, and on the

opposite side a carved ornament.

Length, i foot g^i inches. Diameter, 4H inches.

A similar specimen in the Peabody Museum, Salem, Mass.

DRUM. Kaba. A cylindrical shell cut from a log of
wood and blackened. One end open and cut in two prongs
similar to the arpa, and carved in low relief. The head of
snake-skin.
Length, 2 feet 7K inches. Diameter, 45^ inches.

RatzeU shows a similar drum from Pigville. The orna-
mental carving on this specimen resembles the totemic
designs of the Haida Indians of the Northwest Coast of
North America, cf. No. 1456, p. 100 and No. 646, p. 95,
American Section.

Among the people of Moatta at the mouth of the river
Kataw, the native name for drum is gama. D'Albertis^
also shows a drum of this type from the Fly River and
one shaped similar to No. 762 from Hall Sound.

Clas3 III
Vibrating
Membranes
Division I
Struck
Section A
Drums
I With one
head

CLASS IV SONOROUS SUBSTANCES

y6y TIME MARKER. A spatula made of dark wood,

the design etched in the handle whitened with lime.
Length, 2 feet 9H inches. Width, 2 inches.
These are used by the natives to mark time in their chants
and songs by striking the palm of the hand. They are
also used to stir the lime in their betel boxes. The betel,
a nut from the areca palm, is mixed with lime and chewed,
like tobacco, both by men and women.

768 TIME MARKER. Similar to No. 767.

Length, 1 1 X inches. Width, i X inches.

[839 CLAPPER. A tube of bamboo with one end cut in

two long prongs, which are probably used as clappers. The
prongs are cut as far as the node which closes the tube; just
below this point is what is apparently the breath-hole. At
the opposite end of the tube a single hole on the same side.

Division i
Struck

1. History, vol. 1, p. 221.

2. D'Albertis. New Guinea: What I did and what I saw, vol. 2, p. 269.

Class IV
Sonorous
Substances
Division I
Struck

30 MUSICAL INSTRUMENTS, OCEANICA

and on the other side two additional holes; one 4>^ inches
from the end, the second -jyi inches above it.
Length, 4 feet i inch. Diameter, i yi inches.
This may be a form of the musical clapper described by
Mr. Balfouri for which he gives the Malay name as
genggong sakai. The method of sounding is as follows:
"The instrument is struck upon the thigh, the split edges
being thus caused to jar together, and the two tongues to
vibrate. The sound is modified by closing one or both of
the lateral holes. ... It somewhat resembles a tun-
ing-fork in principle, but is peculiar from the fact of its
being furnished with stops, a very unusual feature in per-
cussion instruments. A similar instrument is described
by Dr. A. Schandenburg from the Philippine Islands
under the name of buncacan."

3625

Division 2
Plucked

BULL -ROARER. A thin blade of dark wood with
rounded ends. The surface at one end ornamented with
incised lines and two grotesque masks thrown into relief by
a white background of lime rubbed into the wood. A hole
at one end for the cord.
Length, 2 feet i inch. Width, 3 inches.

769 JEWS' HARP. Daruhiri. A slip of dark wood tap-
ering from a rounded end to a point. A vibrating tongue
cut in the center.

Length, 5 K inches.

770 JEWS' HARP. Biho. A long, narrow slip of bam-
boo, one end square, the opposite end cut in a point. In
the pointed end a vibrating tongue.

Length, 12 inches,
cf. Wallaschek. Primitive Music, p. 28.

Section B

Struck

Strings'

SOLOMON ISLANDS

CLASS I STRINGED INSTRUMENTS

1734 MUSICAL BOW. Kodili. A tube of bamboo with

a double fibre string wound around one end and fastened at
the opposite end in a hole in the tube. Norfolk Island.

1. Fasciculi Malayenses, p. 15.

2. Section A. Plucked Strings not represented.

MELANESIA, SOLOMON ISLANDS 3I

Length, i foot 1 1 inches. Diameter, i >^ inches.

This instrument is held by the extreme tips of the finger
and thumb of the left hand and put between the lips close
to the fingers. One finger is used to stop the string as it
is struck by a small plectrum. The folded end of the long
string answers this purpose.

In form and construction this instrument resembles the
Apache fiddle of North America, cf. Nos. 2733, 2924,
American Section, p. 107. See also the pagola described
by Balfour.i and the orang hukit described by the same
author.2

143 1 MUSICAL BOW. Kigulu. A stick of bamboo or

reed with two fibre strings fastened to a projecting spur at
each end, where they are raised from the surface by a bit of
wood which serves as a bridge. Norfolk Island.
Length, i foot 7 inches.
A similar musical bow is found among the North American
Indians, cf. No. 3250, p. 104.

781 MUSICAL BOW. Kalove. Similar to No. 1431.

Florida Islands.

Length, i foot 2 inches.

Referring to a similar instrument from this district, Mr.
Balfour^ says: "The bow is held in the teeth in playing.
The strings are sounded by striking with a little plectrum
of bamboo or reed held in the right hand. Both strings
are tuned to one note; one string is permanently stopped
with one finger of the left hand, raising the note by a cer-
tain interval; the other is alternately stopped and released
higher up with another finger."

CLASS II WIND INSTRUMENTS

•

835 PANPIPES. Galevu N gungu. Fifty tubes of bamboo Section A

in two rows bound between two strips of wood. Old and i. Vertical
discolored. Florida Islands. ^^"*^*

Longest pipe, 2 feet 4 inches; shortest, i foot ^ inch.
These instruments are used in groups, the bass and tenor
parts of which are supplied by the pupu horu (bass) and
the pupu galaga (tenor), Nos. 787, 782, p. 33.

1. Musical Bow, p. 72.

2. Fasciculi Malayenses, p. 18.

3. History of the Musical Bow. pp. 76-78.

Class II

Wind

Instruments

Section A

Whistles

I. Vertical

Flutes

32 MUSICAL INSTRUMENTS. OCEANICA

828 PANPIPES. Galevu Kauhaumumu. Eleven tubes of

bamboo bound between two strips of wood with lacings of
fibre. Florida Islands.
Longest tube, i foot 7 inches; shortest, 2>^ inches.

826 PANPIPES. Galevu Soniruka. Forty tubes of bam-
boo arranged in two rows; five of the original tubes missing.
Seruka, Florida Islands.

Longest pipe, 10 inches; shortest, \l4 inches.

804 PANPIPES. Galevu Kauhaumumu. Thirteen tubes

of bamboo. Florida Islands.
Longest tube, i foot 7 inches; shortest, i foot flinch.

827 PANPIPES. Galevu Soniruka. Similar to No. 826.
Forty-four tubes. Florida Islands.

Longest tube, 8K inches; shortest, \]4 inches.

803 PANPIPES. Gau Pitt Pitt or Putu. Thirteen tubes

of bamboo bound around a central tube which serves as a

bourdon. Florida Islands.

The dimensions of the tubes are as follows:

Length, 2 feet 4 inches; diameter, fi inch.

Length, i foot 3^ inches; diameter, }4 inch.

Length, 2 feet; diameter, ^ inch.

Length, i foot 6K inches; diameter, }4 inch.

Length, i foot 7H inches; diameter, K inch.

Length, 11 inches, 8^ inches, 7^ inches, 7X inches, 3^

inches, 2^ inches, 2^ inches, 2^ inches; the smaller ones

all 2/15 inch in diameter.
These pipes instead of being open the full size of the tube
are cut at the nodes of the bamboo and a small hole is
pierced in the dividing fibre. A small square hole cut
in the side of the 8}4 inch pipe.

802 PANPIPES. Gau Piti Pitt or Putu. Similar to No.

803.

Length of pipes: 2 feet, i foot 9 inches, i foot 6^ inches,
I foot 4 K inches, all ^2 inch diameter; i foot \^ inches,
f^ inch diameter.

780 VERTICAL FLUTE. Uvete. A tube of bamboo

badly cracked, closed at one end; a notch burnt in the edge

PANPIPES, OCtANICA
PI'. 32, 33, 38, 42

MELANESIA. SOLOMON ISLANDS 33

of the open end and three holes near the opposite end. ^f^^i^jtju.
Florida Islands. ments

Length, i foot i yi inches. Diameter, i/i inch. wwstL^

I. Vertical
^ . », ^ Flutes

783 VERTICAL FLUTE. Uveie. Similar to No. 780-

Badly cracked. Florida Islands.
Length, i foot 7 inches. Diameter, K inch.

782 PUPU GALAGA. A simple tube of bamboo open at

both ends. Florida Islands.
Length, 1 foot 4K inches. Diameter, "i/i inch.

Used to accompany the Galevu Ngungu. See note to
No. 835, p. 31.

787 PUPU HORU. Similar to No. 780. Closed at one

end. Florida Islands.
Length, i foot 9K inches. Diameter, i^ inches.

1509 PANPIPES. Nineteen tubes of bamboo bound be-

tween two strips of wood.
Longest tube, 12 K inches; shortest, 2 inches.

1425 PANPIPES. Twelve tubes of bamboo similar to No.

1509. Norfolk Island.
Longest tube, i foot jj^ inches; shortest, 4j4 inches.

1433 PANPIPES. Seven tubes of bamboo held together

with strips of bark. Norfolk Island.
Longest tube, io>^ inches; shortest, 6 inches.

1432 PANPIPES. Six tubes of bamboo, old and discolored.

Norfolk Island.
Longest tube, io>^ inches; shortest, 6 inches.

1439 PANPIPES. Eight tubes of bamboo. Apparently a

very old specimen. Norfolk Island.
Longest tube, 9 inches; shortest, 4K inches.

1427 VERTICAL FLUTE. A tube of bamboo closed at

one end; a notch burnt in the edge of the open end; a hole on
the back two inches from the closed end. Badly cracked.
Length, i foot 8 inches.

Class II
Wind Instru-
ments
Section A
Whistles
I Vertical
Flutes

34 MUSICAL INSTRUMENTS, OCEANICA

1430 VERTICAL FLUTE. Lowest note E flat. A simple

tube of bamboo similar to No. 1429. Norfolk Island.
Length, i foot i yi inches.

1429 VERTICAL FLUTE. Lowest note E flat. A simple

tube of bamboo with a notch in the edge of the open end
and two holes near the opposite end. Norfolk Island.
Length, i foot i )/i inches.

1428 VERTICAL FLUTE. Lowest note B flat. Similar

to No. 1430, but with one hole near the closed end. Nor-
folk Island.
Length, 1 1 inches.

1408 A simple tube of bamboo closed at one end. Norfolk

Island.
Length, 3 feet. Diameter, i inch.

1407

Similar to No. 1408. Norfolk Island.
Length, 2 feet i inch. Diameter, 2X inches.
These instruments (1407, 1408) are evidently similar to
those described by Wallaschek,' who quotes Angas*
as follows:

"The Maoris use their seven-foot tubes {putura putura)
for the purpose of war; during an uproar they blow with
such vigor as to be heard at a distance of several English
miles."

FiuEef''^"' 1406 TRANSVERSE FLUTE. A tube of bamboo with

two fmger-holes. Norfolk Island.
Length, 3 feet 4 inches. Diameter, i }4 inches.

Section C
Cup Mouth-
pieces*

761 CONCH SHELL TRUMPET.

Length, i foot i>^ inches.

Division I
Struck

CLASS IV SONOROUS SUBSTANCES*

1438 RATTLE. A string of small shells worn on the neck

or arm and used to accompany the dance.

1. Primitive Music, p. loi.

2. Savage Life, p. 1 52.

3. Section B. Reeds not represented.

4. Class III. Vibrating Membranes not represented.

MELANESIA, SOLOMON ISLANDS 35

1423 DRUM. A section of bamboo with a narrow opening

cut in one side, the ends closed. Two sticks. Norfolk
Island.

Length, 11 inches. Diameter, 2X inches.
A similar instrument in the Pitt Rivers Museum, Oxford,
is from the Siamese Malay States; native name kalah.
Mr. Balfour,^ quoting Mr. Annandale, the collector,
furnishes the following information in regard to its use:
"Malays travelling at night often carry one of these
bamboo gongs, which they strike when uncertain as to
the way. The people in the nearest village reply. In
some districts of the Patani States the use of the kalab
is restricted to the nai-ban and kem-nan (heads of tens
and hundreds), who summon their followers with it in
case of fire, robbery, or the like. Similar gongs are used
by the guards on the birds'-nest islands of the Taleh Sap,
where each sentinel is obliged to strike his gong every
hour through the night, the signal being taken up by the
next watcher, and so on all around the island. In the
Patani States the end of the rounds at cock-fights was
formerly announced by means of a kalah, but a Chinese
gong is now more commonly employed. Such gongs of
bamboo are common in the Asiatic region, the Malayan
Islands, and parts of the South Pacific."
Similar to a drum used by the night watchmen in China,
of. kong chok, No. 1496. Asiatic Section.

Class IV
Sonorous
Substances
Division i
Struck

1434 JEWS' HARP. Mike. A slip of bamboo with a

vibrating tongue cut in the center. Norfolk Island.
Length, 7>^ inches.

743 JEWS' HARP. Neve. Similar to No. 1434. Ysabel

Island.
Length, 9^ inches.

737 SNAPPER. A three-sided nutshell, highly polished, Division a

with a vibrating tongue cut in one side. By plucking this
with the thumb nail a penetrating sound is produced which
carries for a long distance.
Diameter, i J4 inches.

. Fasciculi Malayenses, pp. 3, 4.

36 MUSICAL INSTRUMENTS. OCEANICA

NEW HEBRIDES

Section B»
Struck Strings

CLASS I STRINGED INSTRUMENTS

778 MUSICAL BOW. Vuhudendung. A flat strip of

bamboo with a small projection at one end which holds the
string. At the opposite end the string passes through a hole
and is knotted on the under side. Pentecost Islands.
Length, i foot 8K inches. Width, pi inch.

Referring to this instrument, the collector^ writes: "It is
played with a bit of grass or stick for a plectrum; not held
in the mouth."

Mr. Balfour,' in describing the Vuhudendung, states
that it is held between the teeth and the string struck
with a double stick.

Section A

Whistles
Vertical
Flutes

CLASS II WIND INSTRUMENTS

796 VERTICAL FLUTE. Gore. A tube of bamboo,

closed at one end, a notch burnt in the upper end. Two
finger-holes near the closed end, also one at the back.
The tube badly cracked. Opa, Leper Island.
Length, 2 feet 6 inches. Diameter, pi inch.

792 VERTICAL FLUTE. Gore. A tube of bamboo, sim-
ilar to No. 796, but decorated with a design of dots burnt
in the surface. Opa, Leper Island.

Length, 2 feet 4}4 inches. Diameter, % inch.

793 VERTICAL FLUTE. Gore. Similar to No. 792.
The upper end of the tube decorated with a pricked design
of burnt dots. Cracked. Opa, Leper Island.

Length, 2 feet 45^ inches. Diameter, ^ inch.

794 VERTICAL FLUTE. Khore.^ A tube of bamboo
closed at one end, a notch burnt in the edge of the open end;
a hole four inches from the closed end and a second four
inches above it; one hole at the back at the closed end.

1. Other sections not represented.

2. Mr. J. Holford Plant, of the Polynesian Mission, 1889.

3. Musical Bow, p. 80.

4. Doubtless a variant of gore and kaur.

MELANESIA. NEW HEBRIDES 37

Entire surface covered with etched lines. Badly cracked.

Aurora Island.

Length, 2 feet 3K inches. Diameter, \}i inches.

Krausi gives the name of a similar flute from New

Britain as kaur.

791 VERTICAL FLUTE. Gore. Lowest note B. Sim-

ilar to No. 796. Opa, Leper Island.
Length, 2 feet 2^ inches. Diameter, i inch.

790 VERTICAL FLUTE. Gore. Lowest note A. Simi-

lar to No. 79 1 . A band of etched ornament around the top.
Opa, Leper Island.
Length, 2 feet 2 inches. Diameter, ^ inch.

789 VERTICAL FLUTE. Gore. Lowest note A. Simi-

lar to No. 790. The upper end decorated with an etched
design. A single hole near the top. Opa, Leper Island.
Length, i foot 1 1 }4 inches. Diameter, i yi inch.

788 VERTICAL FLUTE. Gore. Similar to No. 789.

Cracked. Opa, Leper Island.
Length, 2 feet i inch. Diameter, i yi inch.

785 VERTICAL FLUTE. Gore. Similar to No. 788.
Cracked.

Length, i foot 10 inches. Diameter, H inch.

786 VERTICAL FLUTE. Gore. Similar to No. 791.
The surface decorated with a simple band of etched orna-
ment. A hole near the top. Cracked. Opa, Leper Island.
Length i foot 10 inches. Diameter, ''/i inch.

A very old specimen; the wood much discolored.

784 VERTICAL FLUTE. Rura. A tube of bamboo

with three holes. Cracked. Opa, Leper Island.
Length, i foot 9 inches. Diameter, ^ inch.

779 VERTICAL FLUTE. Mai. A tube of bamboo with

two holes. Cracked. Opa, Leper Island.
Length, i foot. Diameter, ^ inch.

I. Di alcuni Strumenti Musicali, p. 6.

Class 11

Wind

Instruments

Section A

Whistles

I. Vertical

Flutes

38 MUSICAL INSTRUMENTS, OCEANICA

838 PANPIPES. Puepava. Seven tubes of bamboo

bound together with a band of braided grass or fibre.
Aneityum Island.
Longest tube, 5 inches; shortest, 2 inches.

837 PANPIPES. Puepava. Fifteen tubes of reed bound

between two flat pieces of wood, the longest in the center,
the other pipes graduated to a short one at each end. The
middle or eighth pipe missing. Aneityum Island.
Longest tube, 4>^ inches; shortest, 2}i inches.

833

834
829
832
839

830
836
831

PANPIPES. Buehalabala. Seven tubes of bamboo
bound together with two bands of braided grass or fibre.
Opa, Leper Island.
Longest tube, ^J/i inches; shortest, scinches.

PANPIPES. Buehalabala. Similar to No. 833.
tubes of bamboo. Opa, Leper Island.
Longest tube, 8^ inches; shortest, 4 inches.

Six

PANPIPES. Buehalabala. Seven tubes of bamboo.
Opa, Leper Island.
Longest tube, 6j4 inches; shortest, ^}i inches.

PANPIPES. Buehalabala. Seven tubes of bamboo.
Opa, Leper Island.
Longest tube, 6yi inches; shortest, 3>< inches.

PANPIPES. Kove. Three tubes of bamboo bound
together with a single band of braided grass or fibre. Opa,
Leper Island.
Longest tube, 9>^ inches; shortest, 6yi inches.

PANPIPES. Puepava. Seven tubes of bamboo. Pen-
tecost Island.
Longest tube, "j^/i inches; shortest, 3>^ inches.

PANPIPES. Puepava. Seven tubes of bamboo. Pen-
tecost Island.
Longest tube, 7X inches; shortest, 3 inches.

PANPIPES. Puepava. Six tubes of bamboo. Pente-
cost Islands.
Longest tube, 5 inches; shortest, 3>^ inches.

dJ p

MELANESIA, NEW HEBRIDES 39

772 CONCH SHELL TRUMPET. f?^''"i''^ u

II. , . Cup Mouth-

Length, I foot. piecesi

CLASS IV SONOROUS SUBSTANCES^

764 DRUM. A tube of bamboo closed at both ends by Division i

the nodes of the wood, a narrow slit along one side. Banks
Island.
Length, 2 feet ^l4 inches. Diameter, 4}4 inches.

763 DRUM. Similar to No. 764. One end open and cut

in two prongs, similar to the drums of New Guinea. Banks
Island.
Length, i foot 1 1 inches. Diameter, 4 inches.

799 DRUM. Cut from a block of wood and hollowed out

like a trough, with a projection at each end. Aneityum
Island.

Length, 2 feet 2 inches. Diameter, 3 >^ inches. Depth, 7 >^
inches.

1494 RATTLE. Nutshells strung on fibre cord; eight shells

in one bunch, six in the other.
Diameter of shells, i yi inches.

1290 TREE DRUM. Made from a tree trunk, the sur-

face ornamented with crude etchings of geometric designs
and two ships. On one side a long, narrow opening, the
interior of the log hollowed out, the base left solid. Near
the top, which is rounded, two circular holes.
Height, 6 feet 5 inches. Diameter, 1 foot 4 inches.
A group of these tree drums forms an important feature
in the equipment of the villages of the island, as cer-
tain ceremonials are held in the " drum groves."

1. Transverse Flutes and Section B. Reeds not represented.

2. Class III Vibrating Membranes not represented.

40 MUSICAL INSTRUMENTS, OCEANICA

Section A

Whistles'

2. Transverse

Flutes

Section C

Cup

Mouthpieces

NEW CALEDONIA

CLASS II WIND INSTRUMENTS^

798 NOSE FLUTE. A long tube of bamboo, slightly

arched and decorated with irregular bands of black. A
single hole two inches from the closed end.
Length, 3 feet 3>^ inches,
of. Mahillon. Catalogue, vol. i, p. 409. No. 364.

800 TRANSVERSE FLUTE. A tube of hard wood with
polished surface bulbed at one end and tapering to a point.
A mouthpiece on the side near the pointed end.

Length, g}4 inches.

801 HORN. A small ivory tusk with mouthpiece cut
in a small block near the smaller end. The other end
inserted in a wooden bell decorated at the larger end with a
braid of split rattan; where the wood and ivory join, a band
of snake-skin.

Length, i foot 2}4 inches. Diameter of bell, 3 inches.
This horn strongly resembles those of Africa and may
have been brought to the island by traders.

Division i
Struck
Section A
Drums
I With one
head

CLASS III VIBRATING MEMBRANES

755 DRUM. A large, goblet-shaped shell of wood, the

lower part painted yellow, the drum part. black. The mem-
brane held in place with strips of skin fastened to a ring
nine inches below the head.
Height, 2 feet 7 inches. Diameter of head, 9 inches.

This drum resembles closely the o^ee of Burmah, Nos.

2103 and 251, Asiatic Section.

Section A
Whistles
1. Vertical
Flutes

795

FIJI ISLANDS

CLASS II WIND INSTRUMENTS^

NOSE FLUTE. Mbi-ta-nt-ianga. A tube of bamboo
closed at both ends and ornamented with lines and arrow-

1. Classes I and IV not represented.

2. Section A. Whistles (i) Vertical Flutes and Section B. Reeds not rep-
resented.

3. Classes 1 and III not represented.

-ijjsa-ittiW!^**" **

1754

ir>ui

2636

2605

801

1823

INSTRUMHNTS OF MELANESIA
IM'. 40, 41, 50, 51

MELANESIA, FIJI ISLANDS

Wind

Instruments
Section A
Whistles
I. Vertical
Flutes

heads burnt into the surface. Five holes on one side, placed Class 11
one at each end, one in the center, and one between the
central hole and each end hole; a single hole at the back.
Length, 2 feet 3^ inches. Diameter, iH inches.

In Fiji the nose flute is played only by the women. Refer-
ring to the instruments of these islands, Thomas Williams
writes: "Although most of the Fijians are fond of music,
yet their own attempts in that direction are very rude.
Their musical instruments are the conch shell, the nose
flute, the Pandean pipes, a jews' harp made of a strip of
bamboo, a long stick, large and small drums made of a
log, hollowed out like a trough and having cross pieces
left near the ends, also bamboos used for the same pur-
pose. The shell is the favorite instrument of the fisher-
men."^ cf. also Mahillon. Catalogue, vol. 3, p. 176, No,
133, Andree. In Globus, vol. 75, No. 9, 1899.

797 FLUTE.* Similar to No. 795, but open at one end.

A single hole on the side at the closed end.
Length, 2 feet 7 inches. Diameter, i K inches.

1726 REED PIPE. Three bamboo pipes fastened together section B

side by side and inserted in one end of a cocoanut shell, J^^Beating
having in its opposite end a small opening holding an ordi- Reeds
nary wooden spool, which serves as a mouthpiece. The
center pipe has six holes; one of the outside pipes three;
the third pipe none. Each of the pipes with holes fitted
with a single beating reed like that of lummarah placed in
the end that is inserted in the shell.
Length, 1 1 inches. Diameter of shell, 3 inches.

cf. Balfour. Anthropological Journal, vol. 20, p. 151,

fig. 12.

1 823 CONCH SHELL TRUMPET. With a heavy carrying Section c

rope of braided fibre finished in a loop and tassel. Mouthpieces

Length, 9 inches.

CLASS IV SONOROUS SUBSTANCES

1289 DRUM. Lalis. A narrow block of wood tapering

to the ends with a square opening on one side.

1. Fiji and the Fijians, vol. 2, pp. 163, 164.

2. Fiji Islands (?).

Division i
Struck

42 MUSICAL INSTRUMENTS, OCEANICA
Class IV Length, 2 feet 5>^ inches. Width, 4 inches. Thickness,

Sonorous • ,

Substances 3 mches.

Struck" ^ RatzeU describes a similar alarm drum of the Battaks,

which they call tabu.

1835 SIGNAL DRUM. Lalis. A troughlike body hol-

lowed out from a log of wood.

Length, 2 feet 3 inches. Diameter in center, 10 inches; at
end, 7 inches.

BISMARCK ARCHIPELAGO

CLASS I STRINGED INSTRUMENTS

Bowl°d^' '399 VIOLIN. European model, roughly carved, of un-

strings varnished wood. F soundholes. Four strings, two gut

and two overspun. A heavy wooden bow. New Ireland.

Length, 2 feet. Width, 7^ inches. Bow, i foot 1 1 inches.

CLASS II WIND INSTRUMENTS
Section A IA.0^ PANPIPES. Seven tubes of bamboo grouped around

Whistles * or

I. Vertical a long central tube which serves as a bourdon. Bound

^'"'^* together with a strip of fibre.

Longest pipe, 14^^ inches; shortest, 6)4 inches.

1404 PANPIPES. Seven tubes of reed placed side by side

and bound together with fibre. The binding of these
pipes differs from those of New Hebrides, the cord encircling
all of the pipes at the open ends, while at the opposite and
closed ends it is wound about them in groups of two. In
the New Hebrides there are usually two bands of braided
^fc, fibre.

Longest pipe, 7^ inches; shortest, 4 inches.

3627 PANPI PES. Twenty-four pipes of reed placed side by

side and bound together with fibre. Upper binding missing.
Longest pipe, 14^ inches; shortest, ^ inch.

I. History, vol. 1, p. 404.
2. Sections A and B not represented.

MELANESIA, BISMARCK A R C H I P E L A G O 43

*397 WHISTLE. Made of a bone of the condor, covered

with leather and inserted in a tin case covered with cloth.

Length of bone, i foot 6 inches. Length of case, i foot -jyi

inches.

This unique specimen may be allied to the whistles from

New Guinea described in the following paragraphs by

Wallaschek^ who quotes Schellong^ as his authority: "A

peculiar species seems to be the flute of the Papuans

of New Guinea. They have two sorts, the 'male' and

the 'female' flute: the latter constructed like a German

'Schalmei,' the former rather a small trombone, so far

as the construction is concerned, as the natives prolong

and shorten the hollow tube by means of a slide to

produce different tones. Women are forbidden even to

see these flutes."

Another instance where the tube is lengthened or short-
ened in a similar way is mentioned by Mr. Balfour' in his
article on the Musical Instruments from the Malay
States and Perak, where he describes the sernei or whi, a
whistle from Bau Sai Kau. "This," he states, "is
roughly made of wood, consisting of a plain tube, two
and seven-eighths inches long, having a cylindrical bore.
Externally it tapers towards the mouthpiece. At the
narrower end the surface is cut through on one side, and
a small slit is pierced through the flattened portion.
There is no duct for directing the breath, which is guided
against the edge of the hole by the lips of the performer.
Inserted into the tube is a rough, short stick, which can
be slid up and down the bore, and by this means the
pitch is raised or lowered at will." In the present exam-
ple the column of air is regulated, not by a stick inserted
in the tube, but by sliding the bone tube in the tightly
fitting case.

1 398 TRANSVERSE FLUTE.* A tube of bamboo open at 2. Transverse

both ends. Seven fmger-holes placed near the center of ^^"'•^^
the tube. Badly cracked.
Length, i foot 6 inches. Diameter, T/i inch.

1. Primitive Music, p. 93.

2. Musik und Tanz der Papuas, in Globus, vol. 56, No. 6, p. 81.

3. Fasciculi Malayenses, p. 8.

4. Exact locality unknown.

44 MUSICAL INSTRUMENTS, OCEANICA

CLASS III VIBRATING MEMBRANES

struck"^ 1392 DRUM.i A cylindrical shell of corrugated metal,

Section A probably a discarded powder can, the heads of skin laced

Pwithone together with cord.

^^'^ Height, 10 inches. Diameter, 8 inches. Stick, i foot 1 ^2

inches.

A similar drum is found among the North American
Indians, cf. No. 3178, Drum, Apache Indians, Arizona,
U. S. A., p. 138.

CLASS IV SONOROUS SUBSTANCES

Division I 1493 RATTLE. A large nutshell cut in two points at one

^'"'^ end, a piece of horn hung in the center as a clapper. New

Ireland.
Length, 4K inches. Width, 2 inches.

1654 RATTLE. A bunch of small brown shells, or fruit-pits

with pointed ends and highly polished, cut and strung on a
cord.
Length of shell, 2 inches. Diameter, }4 inch.

1400 KULEPA GANEZ. A solid block of wood with three

openings cut through the center 2}4 inches apart. These
holes, 2}^ inches at their base, taper to 1^ inch at the
surface, where they are cut through, forming four divisions
on the narrow side of the block, resembling broad, flat slabs
cf wood. New Ireland.

Length, i foot 4 inches. Height, 10 inches. Width, 5
inches.

In using this instrument the performer moistens his
hands with the juice of the bread fruit palm, and by
rubbing the surface of the wood can produce three dis-
tinct tones. It is sometimes called "the rubbing instru-
ment" and is peculiar to New Ireland. In the northern
part of the island it is called lunid. Like certain instru-
ments found among the North American Indians, it is
shrouded in mystery, women and boys being prohibited
from participating in ceremonies where it is used. Ratzel,
History, vol. i, pp. 221, 222.

I. Bismarck Archipelago (?).

738

7 97

795 1840 3625 767

NOSE FLUTES, BULL-ROARERS, AND TIME MARKER, OCEANICA
PP. 29, 30, 40, 41, 45

MELANESIA, BISMARCK ARCHIPELAGO 45

2673 DRUM. Cut from a log of wood, hollowed out, with

a narrow opening along the top and a small block projection
at each end. The surface red, decorated with bands of
geometric ornament carved in low relief stained in black
and white. Admiralty Islands.
Length, i foot \i}4 inches. Diameter, j}^ inches.

1402 JEWS' HARP. A slip of bamboo rounded at one end Division 2

and tapering to a point. A vibrating tongue cut in the ^'^^^'^
center. New Ireland. Length, 7 inches.

AUSTRALIA

CLASS IV SONOROUS SUBSTANCES'

1840 BULL-ROARER or WHIRR. Turdun or Bribbun. Division!

A thin strip of wood, pointed at both ends and notched ^^-^^"^^
around the edge. A hole in one end and a string.
Length, i foot 2}4 inches. Width, 2}{ inches.

The string is tied to the end of a long stick which is held
in the hand. When this is twirled about the head, a
whirring sound is produced. It is used to warn persons
from the ceremonials in which none but the initiated are
allowed to participate. Wallaschek. Primitive Music,
p. 124.

738 BULL- ROARER or WHIRR. IVilmurra. Similar

to No. 1840. Made from a wood called gidya, peculiar to
Central Australia and found nowhere on the coast watershed.
Algamurra Tribe, North Australia.
Length, i foot i inch. Diameter, 2 inches.

"At Morton Bay the IVilmurra is known as ' IVobbilcong.'
Each tribe uses two kinds, one about 6 inches in length
and the other double that size. These instruments are
used only during the ceremony when the young men are
initiated in the rites and mysteries of the tribe, have the
class marks cut on the right shoulder, receive their names
as warriors, and their weapons, and become entitled to
marry. During the whole of this ceremony one of the
old men walks around the Bora circle whirling the IVil-
murra and barking like a dog. The string attached is
made of human hair. By holding it three or four feet
1. Classes I, II, III not represented.

46 MUSICAL INSTRUMENTS, OCEANICA

Class IV
Sonorous
Substancea
Division i
Struck

from the IVilmurra and twirling it very slowly at first, it
will begin to burr, the volume of sound increasing with
the velocity. An experienced native ends the twirling
with a spasmodic jerk, causing a loud unearthly shriek
which I have heard on a calm night at a distance of two
miles." W. I. Weatherill, Collector. Brisbane, Queens-
land.

Spencer' gives an interesting account of the history of
the bull-roarer or churinga in Australia and describes
the various totemic symbols with which they are often
decorated. These symbols can be deciphered only by a
member of the totem to which the emblem belongs.
Mr. Balfour^ gives the Malay name for the whizzing-stick
or bull-roarer as herhaling {hahaling or hehaling). In
the Malay States it is now almost obsolete. Formerly it
was used for scaring elephants from plantations. In a
further reference to this instrument, the same author
also mentions three bamboo trumpets from the Northern
Territory, South Australia, and describes them as both
straight and curved, with ends cut square. A straight
example from Port Essington is called ehero; this is in the
British Museum. One from the gulf of Carpentaria,
oolomba. Three in the Pitt Rivers Museum, Oxford,
more or less curved, are called mam-ma-lie.^
Bourke^ states that it is also used in the initiatory rites
of the bora, and gives as its native name terricoty.

1 836-1 837 TIME MARKERS. Miramhura. Two round
sticks of polished red wood, pointed at each end. A hole
bored through the smaller end of each.
Length, 2 feet 5 inches. Diameter, 2 inches.

Krauss describes a similar instrument from Jaluit Island
of the Marshall group, used by the women to accompany
the song. The performers sit on the ground in two rows
facing each other, and each strikes the stick or club of
her vis-a-vis. The native name is dimuggemuck, but,
like the atidir of New Britain, which is almost identical,
this instrument is now almost extinct.

1. Spencer and Gillen. Across Australia, pi. 84.

2. Fasciculi Malayenses, p. 11.

3. Man, pp. 33, 34.

4. Bur. of Ethnol. 9th An. Rep. 1887-1888. p. 479.

5. Di alcuni Strumenti Musicali, p. 2.

Wash. 1892.

INSTRliMENTS OF THE SANDWICH ISLANDS
PP. 24, 26. 47-50

POLYNESIA

SANDWICH ISLANDS

CLASS I STRINGED INSTRUMENTS

727 GUITAR. Ukulele. European model. A shallow body It^ck^^i^

of light wood, with soundboard having a single open hole. Strings
On the finger-board, twelve metal frets. A flat head with
four pegs inserted from behind. Four gut strings fastened to
a bridge on the soundboard. Hawaii.
Length, i foot 8K inches. Width, 5^^ inches.
This is not a Hawaiian instrument, but was introduced
by the Portuguese about 1877, by whom it is made and
sold. It is very popular with the modern natives, who
give a peculiar swaying motion to the hand and wrist as
the fingers sweep over the strings. It is sometimes called
the "taro-patch fiddle," and the smallest size is desig-
nated by the natives as "the flea."

2136 GUITAR. Ukulele. Similar to No. 727. Hawaii.

Length, 2 feet 2)4 inches. Width, 8j4 inches.

741 MUSICAL BOW. Ukeke. A flat strip of wood with IfcUonB

'• ... ,, , '^._ struck strings

two mcisions at one end and a spur at the opposite end. i wo

gut strings and a small wooden bridge. Hawaii.

Length, i foot gH inches. Width, i^ inches.
When played, the bow is held between the teeth and
struck with the fingers or a wisp of straw. The name is
derived from the verb u-ke, to strike, used also to express
the ticking of a watch. This instrument sometimes has
three strings, and usually a bridge at each end; in this
specimen one bridge is missing. It resembles closely the
kalove of the Florida Islands, cf. Balfour. Musical
47

48 MUSICAL INSTRUMENTS, OCEANICA

Bow, pp. 81-83. Mahillon. Catalogue, vol. 3, p. 346,
No. 1908. Alexander. History, p. 91.
Mahillon^ describes the ukeke laau, a musical bow with
three gut strings, which he states is popular with lovers
who place the ends of the bow between their teeth and
pluck its strings with their fingers.

CLASS II WIND INSTRUMENTS

Section A
Whistles
I. Vertical
Flutes

735 WHISTLE. Hano or Kio Kio. A small, pear-shaped

gourd pierced with three holes. It is sounded either by the
nostril or the mouth. Hawaii.
Dimensions, 2 x 2K inches.
The Tugeri of Melanesia have a similar whistle, used for
signaling, and made from a small cocoanut. Ratzel.
History, vol. i, p. 222. A number of these whistles will
be found illustrated and described in the Annual Report
of the Smithsonian Institution (1900), U. S. National
Museum, Washington, D. C, pp. 428-433. cf. also pre-
historic whistles, the/ooM of the Chinese, No. 2324; also
the pottery whistles of Mexico and Costa Rica. Balfour^
gives the Malay name for clay whistles as pulik. The
hano is described by Alexander.^

The a-wuvu, a similar whistle, made from a gourd, is found
in New Britain (Neu Pommern), where it is used only
by women. Kraus. Di alcuni Strumenti Musicali, p. 5.

2 Transverse
Flutes

742 NOSE FLUTE. Ohe Hano. A tube of bamboo closed

at one end with four holes. Hawaii.
Length, i foot 5 inches. Diameter, 1 34 inches,
cf. Mahillon. Catalogue, vol. 3, 1900, p. 313, No. 1831.

CLASS III VIBRATING MEMBRANES

753 DRUM. Puniu. A small, bowl-shaped drum made

from a cocoanut shell, the opening covered with fish skin.
The beater a rope of twisted fibre. Hawaii.
Dimensions, 4>< x 4>^ inches.

1. Mahillon. Catalogue Descriptif et Analytique du Musee Instrumental
du Conservatoire Royal de Bruxelies.

2. Fasciculi Malayenses, p. 9.

3. History, p. 91.

\ ^^^

in l.A UANChR MAKKINC. IIMI W 1 1 H IHh I 1.1 LLI, HAWAII

NO. 7SI, P. 41)
TROM A I'HoroGKM'H

POLYNESIA, SANDWICH ISLANDS 49

Alexander^ states that this drum is always used with the
pahu (No. 805). It is tied to the right knee of the per-
former and beaten with a knotted cord or rope.

805 HULA DRUM. Pahu or Kaekeeke. A cylindrical

shell of cocoanut wood rudely carved in an open design
around the base. The top covered with shark's skin. Hawaii.
Height, I foot 6 inches. Diameter, 1 1 inches.
A rare specimen, cf. Alexander. History, p. 91.

Class III

Vibrating

Membranes

Division i

Struck

Section A

Drums

I. With one

head

CLASS IV SONOROUS SUBSTANCES

751 RATTLE. Uli Uli. A bottle gourd with a circular

top edged with a fringe of red and white feathers and filled

with Indian shot seeds (Canna).

Height, 10 inches. Diameter of gourd, 4^^ inches; of top,

1 1 inches.
This rattle, or time marker, is used by the instructor of
the Hula to mark the time in dancing and to accompany
his chant. The Hulahula is a native dance described by
Alexander.^ Mahillon^ also refers to the use of the uliuli
in erotic chants called mele.

Division I
Struck

748-749 RATTLES or TIME MARKERS. Pu Hi. Two

tubes of bamboo each with one end split into fine strips like
a fringe. Hawaii.

Length, i foot 8H inches. Diameter, i ^ inches.
Used in the Hula. The dancers hold them in their hands
and keep time as they strike their shoulders with the
fringed end of the instrument, cf. Ratzel. History, vol.
I, p. 456, Sakalava instrument, Madagascar. Mahillon.
Catalogue, vol. 3, 1900, p. 248, Nos. 171 5, 1716.

739-740 HULA STICKS. Hula Ka Laau. Two sticks

of dark red wood tapering at each end.

Lengths, (739) 2 feet 8j^ inches, (740) 8>^ inches.

Used for marking time in a dance of the same name. The
longer stick is held in a horizontal position and struck by
the shorter stick held in the right hand.

1. History, p. 91.

2. History, p. 92.

3. Catalogue, vol. 3, 1900, p. 249, No. 1717

Class IV
Sonorous
Substances
Division i
Struck

50 MUSICAL INSTRUMENTS, OCEANICA

754 DRUM. Pa Ipu or Hokeo. A large gourd with a

smaller one fastened on top of it. Beaten with one hand
while the other holds the loop of cloth fastened at one side
to steady the drum.
Height, 2 feet 6 inches. Diameter, 12 inches.

Used in the hula. The drums are principally used to
mark the time, and as an accompaniment to dancing or
chanting. Alexander. History, p. 92.

Section A
Whistles
I. Vertical
Flutes

NEW ZEALAND

CLASS II WIND INSTRUMENTS'

1754 FLUTE. Putorino. Two pieces of hard wood, broad

at the center and hollowed out; the ends tapering. These
are bound together, leaving an opening at one end. On one
side, at the center, a grotesque face carved in the wood, the
mouth widely open. At each end a carved ornament.
Length, i foot 10 inches.

"It has been suggested that these instruments are blown
in the same way as the trumpet or horn, but the native
name and all descriptions of the instrument point to its
being a vertical flute, though it is difficult for us to sound
the larger specimens in this way. Whether the putorino
was used as a nose flute is an open question: the native
name for the nose flute appears to be nguru.
"Hamilton (Art Workmanship of the Maoris) calls this
instrument a flageolet and says the larger end is placed
to the mouth and the sound is modulated by closing the
fingers over the opening in the center." F. W. Galpin.

1 561 FLUTE. Putorino. Similar to No. 1754.

Length, i foot 6 inches. Diameter, 2 inches.

1829 FLUTE. A cylindrical tube of wood, badly broken

at one end. The surface elaborately carved; three finger-
holes near the opposite end, which is open.
Length, i foot.

2636 FLUTE. A short tube of hard wood, carved in lines

and circles characteristic of New Zealand work. A slight

I. Classes I and ill not represented.

POLYNESIA, NEW ZEALAND

elevation on one side pierced with a single hole. Two holes

near one end of the tube and one at the opposite end; both

ends open.

Length, 5 K inches.
With all the holes and one end closed, this sounds C; with
only the end closed, B.

Wallascheki states that the New Zealanders have a nose
flute and as well a pipe {he koauan) with two holes, made
of a whale's tooth. They also make flutes from the bones
of slain enemies.

CLASS IV SONOROUS SUBSTANCES

2605 HAND DRUM. A conical shell of wood, the surface I'^^^'^ion i

polished and ornamented with a band of carved ornament
around the base. The sides flat and projecting like the iron
bells of West Africa. A small circular handle at the top
with a cord of twisted fibre.
Height, 10 inches. Diameter, 4J4 inches.
Wallaschek,^ quoting Wood, states that the New Zeal-
anders do not possess a drum. This instrument is prob-
ably used more as a time marker. The Maoris have a
bell (pahu) which is used for the purpose of war.^

744 JEWS' HARP. A slip of bamboo, with a vibrating ^i^^ft*
tongue cut in the center, to which a shell is attached by a

cord.

Length, 9 inches. Diameter, i X inches.

745 JEWS' HARP. Similar to 744, but without the shell.
Length, 1 1 inches. Diameter, i yi inches.

747 JEWS' HARP. Similar to No. 745.

Length, 7^ inches. Diameter, i>i inches.

1. Primitive Music, pp.93, 94.

2. idem, p. 109.

3. Angas. Savage Life, p. 152.

MICRONESIA

CLASS III VIBRATING MEMBRANES'

Division I
Struck
Section A
Drums
, I With one
head

807 DRUM. Cut from a log of wood in the shape of an

hour glass. A single head of membrane fastened by a cord
in a groove.
Height, 2 feet lyL inches. Diameter, 9 inches.

I. Classes 1, 11 and IV not represented.

s %

AMERICA

PA-YATAMU, ZUNI GOD OF MUSIC

NORTH AMERICA

INDIAN TRIBES NORTH OF MEXICO
THE NORTHWEST COAST

CLASS I STRINGED INSTRUMENTS ^
566 A shallow circular body cut from a block of wood. Section A

, . . Plucked

A straight, long neck finished in a scroll, and a wooden strings
sound-board pierced with a group of small holes. The
back flat, the sides decorated with burnt lines. Four
pegs inserted beneath the scroll; strings of sinew,
movable wooden bridge. Tribe: Yakutat. Family: Kolu-
schan or Tlingit. Locality: Yakutat near Mt. St. Elias,
Alaska.

Length, 2 feet 3 inches. Width, 10 inches.
Brown. Musical Instruments, note, p. 304.

This instrument resembles the German cittern, cf. Nos.

983, loii, 1016, European Section.

cf. also U. S. Nat. Museum Coll., No. 20,792.

The Yakutat are a Koluschan or Tlingit tribe centering

around Yakutat Bay; they extend northward to Copper

River and southward to Dry Bay, Alaska.

1. The classification of the European instruments (see p. 249), which di-
vides them into four groups —

Class 1 Stringed Instruments

" I! Wind Instruments

" III Vibrating Membranes

" IV Sonorous Substances
has, as lar as possible, been followed in the different sections of the catalogue.
In the present instance, however, while the general grouping has been
adhered to, many sub-sections are vacant, i.e., Class I, Section A — Plucked
strings being represented only by the lute type, while Class 11 has been
enlarged to cover the variety of types found among the wind instruments
of the Northwest Coast. For the complete classification of wind instru-
ments of the Northwest Coast see page 58.
So far as is known, the stringed instruments found in America, with the

56 MUSICAL INSTRUMENTS. AMERICA

Class I 564 Similar to No. 566. A shallow circular body of wood

instJuments with a long ncck finished in a scroll. Open peg-box, one

Hucked^ P^S' ^"'^ ^ string of twisted sinew. The sound-box deco-

strings rated with a symbolic design of the eagle or Got in red and

black. Tribe: Yakutat. Family: Koluschan or Tlingit.

Locality: Yakutat near Mt. St. Elias, Alaska.

Length, 2 feet. Width, 6^ inches.

Brown. Musical Instruments, No. 2, pi. "Alaska," also
p. 304.
The Koluschan or Tlingit, the Chimmesyan, and the
Skittagetan or Haida groups seem to show greater adapt-
ability to civilization and to display less religious con-
servatism than the tribes farther south. Of these the
Haida were the best carvers, painters, and canoe and house
builders, and they still earn considerable money selling
carved objects of wood and slate to traders and tourists.
The tribe is divided into two clans, the Raven (HooyehY
and the Eagle (Got), each of which has numerous sub-
divisions. The symbols of these groups form the family
crest or totem and surmount the carved poles placed in
front of the dwellings; they also ornament the household
utensils and, among the Haida where tattooing is a fine
art, each member of a clan bears on his body as means of
identification, the totem or symbol of the phratry or clan
to which he belongs.^

The Eagle or Thunder-bird^ shown in the decoration of
No. 564, occupies an important place in the mythology
of the North American Indians. On the Northwest Coast
the myth surrounding it deals with a gigantic bird that
takes whales in its claws and devours them, the flapping

probable exception of the musical bow, may be traced to the more recent
European and African settlers. On the northwest coast, in a few instances,
Asiatic and Oceanic influences are apparent. The only native names
found in this locality for stringed instruments are ki-gu-i-lu-li-ag-i-ag-ok
(U S. Nat. Museum Coil. No. 90,201), an Eskimauan fiddle with two
strings of twisted sinew; and tshan-jak (U. S. Nat. Museum Coll. No.
72,553), a modified form of the Russian balalaika.

1. cf. Boas. The Decorative Art of the Indians of the North Pacific Coast.
Amer. Museum of Nat. Hist. Bui. 9, 1897, p. 123. Mallery. Picture
Writing of the American Indians. Bur. of Ethnol. loth An. Rept. 1888-
1889, p. 397 ff. p. 428 flf. p. 477 ff. Wash. 1893.

Kroeber. ' The Decorative Symbolism of the Arapaho. Amer. Anthrop.
New Ser. vol. 3, p. 308, 1901.

2. cf. Bur. of Amer. Ethnol. Bui. 30, pt. i, p. 520. Wash. 1907.

3. Dall. Masks, Labrets and Certain Aboriginal Customs. Bur. of Ethnol.

INDIANS, NORTHWEST COAST 57

of whose wings produces thunder, and who launches a
supernatural fish (Hippocampus) which appears to mortals
as Hghtning.

The Dakota (Siouan) have a similar myth in regard to a
storm bird that dwells in the upper air, beyond the range
of human vision, carrying on its beak a lake of fresh water;
when it winks its eyes there is lightning; when it flaps its
wings we hear the thunder; and when it shakes out its
plumage the rain descends.

567 A pear-shaped body of wood with a flat front and back,

the neck and body of uniform depth. Neither peg-box nor
scroll. A single peg at the top in front, and one string of
twisted sinew. Four wooden frets on the neck. The sound-
box fastened with brass tacks. One crescent-shaped sound-
hole. Entire surface colored blue. Tribe: Yakutat. Fam-
ily: Koluschan or Tlingit. Locality: Yakutat near Mt. St.
Elias, Alaska.
Length, i foot 8)4 inches.
Brown. Musical Instruments, note p. 304.
The Eskimo of Ungava Bay, Labrador, have a similar
instrument which they name ki-gu-i-lu-li-ag-i-ag-ok. U.
S. Nat. Museum Coll. No. 90,201. of. also U. S. Nat.
Museum Coll. No. 45,971.

The bright blues and yellows found in some of the modern
Indian work are dyes obtained from traders. The blue
used in this instance may be pulverized phosphate of lime
derived from decayed fossil bones, or carbonate of copper,
or a certain soft mineral, nahital, found in the caves on the
coast, which when pulverized produces a greenish-blue
color; the oxide of iron produces ochre, and ordinary soot
or pulverized charcoal is used for black. 1

3123 GUITAR. European model. Made from the copper

sheathing of a vessel. Fifteen frets on the neck. One cir-

3d An. Rept. 1881-1882, p.119 ff. Wash., 1884. Mallery. Picture Writ-
ing of the American Indians. Bur. of Hthnol. lothAn. Rept. pp. 208, 483.
Chamberlain. The Thunder-bird amongst the Aigonkins. Amer. Anthrop.
vol. 3, p. 51, 1890.

Eels. The Thunder-bird. Idem, vol. 2, p. 329, 1889.
Boas. The Social Organization and the Secret Societies of the Kwakiutl
Indians. Smith. Inst. An. Rept. 1895, p. 638. Wash. 1897.
I. Mallery. Picture Writing of the American Indians. Bur. of Ethnol.
loth An. Rept. 1888-1889, P- 219. Wash., 1893.

Boas. The Kwakiutl of Vancouver Island. Amer. Museum of Nat. Hist.
Mem. 5, pt. 2, p. 402. 1905.

58 MUSICAL INSTRUMENTS, AMERICA

cular sound-hole. Head pierced for twelve pegs (all miss-
ing). One wire string. Tribe: probably Yakutat. Family:
Koluschan or Tlingit. Locality: Alaska.
Length, 2 feet 2 inches. Diameter, 10 inches.
The tribes of the Northwest Coast have always been skilful
metal workers; formerly copper was obtained from the
valley of the Copper River and elsewhere, but the greater
part of it is now imported. It is largely used for utensils,
for whistles, rattles,' and masks; also shield-like "cop-
pers" portraying the various totemic emblems are highly
esteemed as symbolic of wealth. The origin of these
coppers has never yet been determined, but many inter-
esting specimens have been found in Indian mounds of
the Middle and Southern States.^

CLASS II WIND INSTRUMENTS
The large variety of wind instruments found among these
tribes has made it necessary to amplify the specified classification.
Through the courtesy of the Rev. F. W. Galpin, who has made a
special study of these types, the classification availed of in cata-
loguing this part of the collection is that designated in his valuable
paper on The Whistles and Reed Instruments of the American
Indians of the Northwest Coast, and is as follows:'

GROUP A. WHISTLES
Class 1. Without Finger-holes
Division a. Mouth-blown
Section i. Stopped Pipes. (As well as the simple form, there are
twin, triple, quadruple, quintuple, and sextuple whistles.)
Section 2. Half-stopped Pipes.
Section 3. Open Pipes.

1. A unique rattle, No. 64,028, in the Peabody Museum, Cambridge, is a
mask of copper edged with a fringe of stiff hair, the open mouth showing
teeth of abalone shell. The forehead bears the eyes of the owl, commemo-
rating the myth of the Indian maiden decoyed in a wood by an owl whom
she married.

2. See article on copper in Bur. Amer. Ethnol. Bui. 30, pt. i,p. 343. Wash.,
1907-1910. Also Wilson. Prehistoric Art. Smith. Inst. An. Rept. 1896,
p. 499 ff. Wash. 1898.

3. This classification was compiled by Mr. Galpin from personal examination
of numerous specimens, some in his private collection, others in the U. S.
Nat. Museum, the Metrop. Museum of Art and the Amer. Museum of Nat.
History, the British Museum, the Pitt-Rivers Museum, Oxford, and the
Ethnographical Museum, Cambridge; also from detailed and illustrated
descriptions of collections at Victoria, B. C, and Berlin, and from observa-
tions of Dawson, Swan, Niblack, and Boas.

INDIANS, NORTHWEST COAST 59

Division b. Mechanically Blown
Section i. Stopped Pipes, (As well as the simple form of whistle

a double form mechanically blown is also found.)
Section 2. Half-stopped Pipes.

Section 3. Open Pipes. (No example of this at present observed.)
Class II. With Finger-holes
Division a. Mouth-blown
Section i. Stopped Pipes.
Section 2. Half-stopped Pipes.

Section 3. Open Pipes. (Generally of slate and after European
models.)

Division b. Mechanically Blown
(No examples with finger-holes at present observed.)

GROUP B. REED INSTRUMENTS
Class I. Without Finger-holes
Division a. Mouth-blown
Section i. Double-beating Reeds:
i. Lipped.

ii. Covered. (As well as the simple form, there are
twin, triple, and quadruple covered reeds.)
Section 2. Single-beating Reeds:

i. Lipped. (Also a twin form.)
ii. Covered. (Also a "double-action" form.)
Section 3. Retreating Reeds:

i. Terminal. (Also a twin form.)
ii. Lateral. (Also a twin form.)
Section 4. Ribbon Reeds. (As well as the simple, there is also a
multiple form.)

Division b. Mechanically blown
Section i. Double-beating Reeds.

Section 2. Single-beating Reeds. (No example at present observed.)
Section 3. Retreating Reeds. (No example at present observed.)
Section 4. Ribbon Reeds.

Class II. With Finger-holes
Division a. Mouth-blown
Section i. Double-beating Reeds,
i. Lipped,
ii. Covered.
(No examples of Single-beating, Retreating, and Ribbon Reeds
with finger-holes at present observed.)
Division b. Mechanically Blown
(No examples with finger-holes at present observed.)

60 MUSICAL INSTRUMENTS, AMERICA

The environment which gave birth to this primitive culture,
a culture that evolved the same principles as those demonstrated
in the woodwinds of the modern orchestra, is graphically portrayed
by Mr. Galpin, ^ who describes the region in which these types orig-
inated as follows:

"The Pacific seaboard which bounds the territory of British
Columbia on its west side is marked by frequent inlets backed by
high mountain ranges and fringed with numerous islands, whose
rocky heights, crowned with spruce and cedar, testify to their
having at one time formed part of the mainland itself. Scattered
along this coast in a territory about a thousand miles long by one
hundred and fifty miles wide and separated from the inhabitants of
the interior by natural barriers of hill and forest, are certain Indian
tribes of a peculiar and distinct character. Not only are their
complexions surprisingly light colored,— in some instances almost
as fair as those of Europeans and in no way due to recent inter-
mixture with white races, — but in customs and laws, in art and
handicrafts, they show themselves superior to all other existing
Indian tribes. . . . Their technical skill is shown more particularly
in weaving/ and carving, and specimens of their work in our
museums testify to their remarkable ability. But while ample
justice has been done by writers and explorers to these branches
of industry, an equally remarkable development has been either
overlooked or dismissed in a few short and unscientific comments.

"I refer to the use amongst these tribes of certain wooden whis-
tles and reed instruments which cannot but astonish musicians by
their constructive excellence and striking originality. It may be that,
in the words of Lieut. Niblack, 'some of their devices of this kind
are essentially for the purpose of making a hideous noise,' but the
musical antiquarian will regard principles as well as effects; and
among these distant tribes of the Northwest Coast are to be found
not only the principles of sound production employed in our modern
organs and orchestral instruments, but also new ideas which will
perhaps suggest musical possibilities at present unknown to us."

Regarding the source from which these types are derived and
comparing them with those of other existing North American tribes,
Mr. Galpin further states:

"Amongst some tribes the simple vertical tube blown on the
upper edge, as in the Arabian nei or the Japanese shakuhachi, is still

1. Galpin, F. W. The Whistles and Reed Instruments of the American
Indians of the Northwest Coast. Proceed, of the Musical Assn. 29th Ses-
sion, Lond. 1902-1903, pp. 1 1 5-1 16, 133-136.

2. cf. Mallery. Chilcat Ceremonial Garb. Bur. of Ethnol. loth An. Rept.
1888-1889, P- 428 ff. Wash. 1893. Also Bur. Amer. Ethnol. Bui. 30, pt. 2,
p. 928. Wash. 1910.

INDIANS, NORTHWEST COAST 6l

used. Amongst others, the popular whistle is a small bone with a
notch or vent-hole cut in one side and the end plugged with asphal-
tum or gum, except where a narrow wind-way is left to direct the air
upon the lower edge of the hole (No. 2760, p. 1 13). Even in the
chotonka (No. 3371, p. 126) or 'courting flute' of the Kiowa, Dakota,
and other Indians, with its six finger-holes and evidently European
improvements, the whistle is far more rudimentary than in the
specimens from the Northwest Coast; while as regards reed instru-
ments, I am not aware that any like those described are in use,
unless recently introduced from other continents. ^

"We can hardly suppose, however, that, clever and ingenious
as the Northwest Coast Indians are, the principles of sound-produc-
tion used by them are wholly original.

" I am strongly of (the late) Professor Mason's opinion, ex-
pressed in the Smithsonian Report, 1886, that 'it is an important
principle which archaeologists sometimes overlook, that arts may
survive and obey the laws of technical evolution, even though the
men through whose instrumentality they live and have their being
have no immediate blood relationship.' If then we can find a people
using the constructive peculiarities here described, without neces-
sarily asserting a blood relationship, we may suppose that com-
munication of some sort must have at one time existed between
them.

"The question therefore is not only what peoples are likely to
have come in contact with these Indians, but also how far are the
sound-producing principles common to both. I do not propose to
enter into the history of the discovery by Europeans of the North-
west Coast ■ — for traces of European influence, chiefly French
and British, on the musical instruments during the past 120 years
have been already alluded to, and in the case, for instance, of the
simple single-beating reed are fairly evident.

"At the close, however, of the eighteenth century there was a
constant trade between this coast and China, and 'it has-been sug-
gested that the advanced skill and technical power of these Indians
is due to some such — perhaps still earlier — communication with the
Asiatic Continent. But it is not borne out by the musical instru-
ments, at any rate; for the employment of the whistle was unknown
to the Eastern Asiatics until a comparatively recent period, their
flutes being blown either vertically on the upper edge or transversely.

1. In the U. S. National Museum collection (No. 165,926), there is a
moose call with a single-beating metal reed from the Cheyenne (Algonquian),
similar to No. 617, p. 128.

2. cf. Dawson. Report of Progress. Geolog. Survey of Canada, 1878-
1879. 8B ff.

62 MUSICAL INSTRUMENTS, AMERICA

Again, the especial form of vibrator peculiar to these Eastern people
— the free reed — is entirely absent, though it would have been quite
easy to construct the reed of wood as is done by the Malays. 1 do
not think that the trade with China or the arrival of any Japanese
voyagers can have given to these Indians such musical principles as
they have.

"Were it, on the other hand, Russian influence coming from
the north, I do not imagine we should find the tribes most exposed
to that influence (in what was once known as Russian America, now
part of Alaska) contenting themselves with a drum and a rude
rattle of claws and beaks and altogether ignorant of these instru-
ments.

"It appears to me that we must look to Central America —
Mexico and the home of the Aztecs — for the main source of inspira-
tion. The whistle-head was exceedingly well known to this highly-
civilized nation. The ruins of their temples and sepulchres have
produced large numbers of specimens — some simple whistles, others
double, others with finger-holes. But how did the communication
between the two peoples take place? It may be, as Professor Mason
has kindly suggested to me, that the Aztec tribes came in contact
with the Northwest Coast tribes overland, for the Shoshoni Indians
— an Aztec tribe — pushed as far north as the 49th parallel, prac-
tically touching the Coast Indians at their southern limit. Or the
knowledge of the whistle-head may have reached them by sea — by
coasting canoes,^ or through the traffic which we know was main-
tained, after the fall of the Aztec power, all along the Northwest
Coast by the Spaniards.

"Had the Spaniaids, however, introduced it through European
channels alone, and not as the conquerors of Mexico, we should, I
believe, have found a more general use not only of instruments with
finger-holes, but of instruments with six finger-holes instead of the
four or fewer holes characteristic of the primitive Indian flutes and
Aztec whistles. From the same source came probably the double-
beating reed, though owing to the perishable nature of the wooden
vibrators (for they could not be constructed of pottery or stone
like the whistles) we have no Aztec specimens extant. The shape
of the reed tapering to a point instead of widening out from a
narrow base is distinctly peculiar and unlike the European and
Asiatic reeds.^

1. The Tsimshians, who are coast dwellers settled at the mouth of the great
Skeena River, are known to have communicated to the Haida Indians of
Queen Charlotte Islands the knowledge of the mystic rites with which the
whistles are associated.

2. it is interesting to note in connection with the description given above of

INDIANS, NORTHWEST COAST 63

"In the religious ceremonies of the Aztecs, which were human
sacrifices, music too played an important part, and a flute (so-called)
was broken by the chosen victim before he met his death.

"Linguistic^ and other affinities also tend to confirm this theory
that at some time and in some way a contact was formed between
these coast dwellers and the tribes whose civilization was centered
in Mexico.

"Whether the Aztecs or their predecessors the Toltecs orig-
inated the whistle-head we cannot say, or whether they brought it
direct from some ancient Siberian home. Perhaps after all the
myth of the white man who came across the Atlantic in a boat and
taught them the arts and gave them the brighter and better side of
their religion^ may have been a fact, and that Europeans had visited
the land of Anahuac before Cortes and his destroying horde closed
the history of a highly cultured nation, and so successfully — alas, so
unfortunately! — obliterated their past."

It seems fitting that the origin of these interesting types should
remain shrouded in mystery when one considers the important place
they hold in the religious ceremonies of a people who live and breathe
in an atmosphere laden with mysticism.

Superstition still abounds in all this region; and while the
younger generation have to a certain extent abandoned many of the
ancient rites, even the more enlightened native still retains his love
for ceremonial and at times returns to the old customs.

Among these people the belief is held that two classes of beings
inhabit the earth; one human, the other superhuman. The land
was created for the former, while the latter dwells in the ocean, the
rivers, lakes, and forests. The most important man in the tribe is
the shaman or medicine man, who may also occupy the position of
chief. This office usually passes from uncle to nephew, who inherits

the hour-glass form of instrument containing a concealed beating reed, that
in the mounds of Tennessee, Georgia, and the neighboring states certain
stone tubes of hour-glass form have been found and are generally supposed
to be trumpets. Owing, however, to the large diameter of the upper end
it is difficult, perhaps impossible, to sound them by the vibration of the lips,
though the sound has been described by writers as terrific. And such would
be the case if a wooden reed were inserted at the waist as in the common
form of concealed reed found amongst the Northwest Coast tribes, cf.
Wilson. Prehistoric Art. Smith. Inst. An. Rept. 1896, p. 581. Wash. 1898.
Amongst the ruins of Mexico have been found specimens of the Chayna:
if this was identical with the Jaina of some existing Indian tribes of Peru,
it was played with a double-beating reed. The Aztec acocotl was also
played with a reed. cf. Engel. History of Musical Instruments, p. 73.

1. In the Koluschan (Tlingit) family remote analogies to the Mexican tongue
are in several of the northern tribes more marked than in any other (Gallatin).

2. In this golden age, we are told, the air was filled with the sweet melody of
birds. Were these the newly-formed whistles? Native song birds are rare.

64 MUSICAL INSTRUMENTS, AMERICA

not only the honorary degree, but as well the paraphernalia of office,
which consists of head-dresses, masks, ceremonial blankets, whistles,
rattles, and drums used to accompany the incantations. Disease is
usually attributed to one of three causes, — the temporary absence
of the soul, v.'u'ch the shaman has the power to locate by means of
incantations, the machination of some enemy, or the possession by
the evil spirit. The shaman receives his power from some one of the
supernatural beings, by whom he is chosen as a medium through
which to n-.ake his existence felt in the world of man; and while so
possessed the shaman's own identity is practically abolished, — he
must dress and speak as directed by the spirit, although it may be
in a language with which he is not familiar when in his normal con-
dition. His services are retained by gifts, which, however, must
be returned if his efforts prove futile, an offence sometimes pun-
ished by the forfeit of his own life. In other cases where the office
is not obtained by inheritance, the candidate qualifies for the posi-
tion by an exhaustive fasting process, at which time, if found worthy,
the spirit enters and takes possession of the body, endowing the
recipient with supernatural powers. In all of the ceremonials that
attend the office of these priests the whistle and rattle hold a
prominent place. The whistles, the general name for which is
sk-a'na, represent the voice of the supernatural "power" speak-
ing through the shaman; they are made in a simple but clever
manner described by Mr. Galpin: "A piece of straight-grained
wood, preferably red cedar,i is procured and shaped outwardly by
means of a knife to the required form. This is sometimes pear-
shaped, but generally resembles an oval or cylindrical tube. Often-
times it is square with one flat face and a rounded back, — more
rarely a flattened, truncated cone. The wood is then split length-
wise along the grain, — the lower half is hollowed out with great
neatness until the sides are quite thin, a small block being left at
the lower end and a large block at the upper. The other half is
treated in the same way, but the hollow is not so deep, and an open-
ing is cut through the sides, — the wood being cut away on the
outside to form a lip. The upper blocks of both halves are then
slightly grooved to form a shallow channel which, when the two
pieces are fitted together again, allows free passage for the air over
the languid or whistle embouchure. So deftly is the wood split
that no glue is required to render the joined pieces air-tight, but
the whole is bound in two or three places with split spruce root or

I. Besides red cedar (Thuja gigantea), spruce (Picea menziesii) and cypress
(Chamaecyparis nutkaensis) are used. The wood was originally worked
with flint, bone, or jade knives, and rubbed down with shark's skin. Iron
was introduced by the Russians about 130 years ago, 1760.

INDIANS, NORTHWEST COAST 65

shredded cedar bark, — more rarely with animal sinew, — and either
left the natural color or painted with appropriate devices. In some
cases, especially with rude, ancient specimens, either the shrinkage
of age or the imperfect splitting of unsuitable wood has required
an outward application of dark resin along the joint, — an unsightly
but nevertheless eificient repair. The voicing of the whistles is
wonderfully good and would do credit to many a professional organ
builder."!

The coast tribes of the Koluschan or Tlingit,^ Skittagetan or
Haida,3 Chimmesyan and Wakashan^ families are so closely allied
and their social organizations so similar that there are few charac-
teristics by which the cerem.onial whistles and rattles of one tribe
can be distinguished from those of another. Among the Haida
there is more ornamental carving, and while split spruce root or
cedar is used as binding on the whistles of the inland tribes, those
of the coast frequently use strips of animal sinew. Among the
northern tribes the whistles are often made of walrus ivory.
The general name given by Franz Boas for whistles and reed pipes
in this locality is sk-a'na or sqa'na, a term of Haida origin. The
Tlingit nam.e is to-ux-siget, the Tsimshian nex-no, and the Kwakiutl
meises. A whistle used in the cannibal ceremonials, practised until
recently among the Kwakiutl and some of the other tribes, bears
the name tse'ko-ka-la, while another ceremonial whistle is called
7iau'alag.

E. H. Hawley of the U. S. Nat. Museum furnishes still other
names from the Nimkish and Awi ky'enoq villages of the Kwakiutl.

1. Galpin. The Whistles and Reed Instruments of the American Indians of
the Northwest Coast. Proceed, of the Musical Assn., 29th Sess., Lond.,
1902-1903, p. 1 18 ff.

2. See Linguistic Tribes, p. 251.

3. Haida. The native and popular name for the Indians of the Queen Char-
lotte Islands, B. C, and the south end of Prince of Wales Island, Alaska,
comprising the Skittagetan family. Bur. of Amer. Ethnoi. Bul. 30, pt. i,
p. 520. Wash., 1907-1910.

4. The two great divisions of the Wakashan linguistic stock are the
Kwakiutl and Nootka. The Kwakiutl center around Ft. Rupert, B. C; the
Nootka on the west coast of Vancouver Island and Cape Flattery, Wash.

5. Boas. The Social Organization and the Secret Societies of the Kwakiutl
Indians. Smith. Inst. An. Rept. 1895, p. 651 ff. Wash., 1897.
Swanton. Types of Tlingit and Haida Myths. Amer. Anthrop. New Ser.
vol. 7, p. 94. 1905.

Idem. Social Organizations of the American Tribes, p. 663.

Dubois. Religious Ceremonies and Myths of the Mission Indians. Idem,

p. 520.

Brit. Museum. Handbook of the Ethnog. Coll.. p. 273.

Ethnoi. Diet, of the Navaho Sociology, p. 422.

66 MUSICAL INSTRUMENTS, AMERICA

In the former village a wooden pipe with an enclosed double reed
is called is'e-kokyala, a whistle metses. In the Awi ky'enoq village
one used at the potlatch^ is named k'os; a dance whistle, te'qatsk,
and two others, k'oak'oinolaknla and huek'oa. The ts'etsaeqa is a
small sacred whistle used at the commencement of the winter cere-
monies, not to be seen by the uninitiated. The Eskimo have a
wooden whistle called ku-ku-mi-agach-shun.

Stopped Pipes. There appears to be every reason for suppos-
ing that the stopped pipe is the form earliest in use among these
tribes; it is the type most frequently met with and the oldest ex-
isting whistles are of this kind.^

jroup A
Whistles
2 lass I
Without
Finger-holes
Division a
Mouth-blown
Section i
Stopped Pipes

2683 STOPPED PIPE. Cylindrical model hollowed out

from a block of wood, bound together with cord. The tube
below the mouthpiece painted red.
Length, jyi inches. Diameter, 2 inches.

2598 STOPPED PIPE. Cut from two blocks of wood hol-

lowed out and the edges of the two sides cemented with
resin. A rounded back and flat front, broad at the
base and tapering to the mouthpiece, a protecting spur on
each side.
Length, 7>< inches. Width, 3 inches.

2685 STOPPED PIPE. Flat model with rounded back, the

two sections cemented with resin.
Length, 4 inches. Width, 2J4 inches.

1745 STOPPED PIPE. Cylindrical model with flat front,

the two sections bound together with cord.
Length, 4 inches. Diameter, i ^ inches.

1. From the Nootka word patshati, giving or gift. One of the great winter
ceremonials at which a member of a tribe would call his neighbors together
and present them with gifts — blankets, horses, etc. — thus disposing of the
greater part of his property. As a result he was held in high esteem by his
fellow-townsmen, and when the next man "pot-latched", his gifts were
returned with interest. These ceremonials were usually held to celebrate
the erection of a family totem pole or the tattooing of a certain member of
the family. Bur. of Amer. Ethnol. Bui. 30, pt. 2, p. 293. Also Boas.
Smith. Inst. An. Rept. 1895, p. 341 ff. Wash., 1897.

2. Galpin. The Whistles and Reed Instruments of the American Indiansof
the Northwest Coast. Proceed, of the Musical Assn. 29th Sess., Lond.
1902-1903, p. 1 18.

INDIANS. NORTHWEST COAST 67

2249 STOPPED PIPE. Cylindrical model, the two sections

originally bound together with split bark, the lower binding
missing.
Length, 4^ inches. Diameter, J< inch.

2246 STOPPED PIPE. Cylindrical model, the two sections

bound together with split bark.
Length, 3 inches. Diameter, % inch.

2243 STOPPED PIPE. Cylindrical model, the front carved

to represent a face with open mouth. The two sections orig-
inally bound with a strip of sinew, upper binding missing.
Length, 2^, inches. Diameter, ^ inch.

2242 STOPPED PIPE. A small bone whistle, one end

closed with resin; a hole on one side midway between the
two ends.
Length, 2^ inches.

2240 STOPPED PIPE. A small bone whistle, the lower end

closed with a pointed wooden plug, the outside wound with

dried roots or tendrils.

Length, 2 inches.

Bancroft,! writing of the Nootka Indians (Wakashan),

states that all dances, as well as other ceremonies, are

accompanied by continual music, instrumental and vocal.

The instruments of the Nootka consist of rattles made of

dried sealskin in the form of a fish, containing pebbles,

which with whistles of deer bone about an inch long with

one hole, can only be used by the chiefs; mussel shells

(cf. No. 624, p. 101) strung on a cord, used as rattles;

boxes and benches, and planks hollowed out on the

under side, beaten with sticks, used to mark the rhythm of

the dance.

691 STOPPED PIPE. A rounded block of wood tapering

at one end, split in half, the sides hollowed out and bound
together with cord, the edges cemented with resin and cov-
ered with a strip of cloth.
Length, i foot 11 inches. Width, 2J< inches.

I. Bancroft. The Native Races of the Pacific States of America, vol. i,
p. 200. 1872.

68 MUSICAL INSTRUMENTS, AMERICA

Group A

Whistles

Class 1

Without

Finger-holes

Division a

Mouth-blown

Section i

Stopped

Pipes

2250 STOPPED PIPE. Flat model, with rounded back of

wood, the front of bone, the sides cemented and bound
together with cord and strips of animal sinew. Family:
Skittagetan (Haida). Locality: Queen Charlotte Islands.
Length, 6]A inches. Width, i }i inches.

1977 STOPPED PIPE. Flat model, the back of wood, the

front of walrus ivory, the two sides cemented with resin and
bound together with cord.
Length, 8 inches. Width, i^ inches.

2244 STOPPED PIPE. Carved in the form of a fish, the

two sides cemented with resin and bound together with
strips of animal sinew.
Length, 8 inches. Diameter, 2}4 inches.

2679 STOPPED PIPE. Quadrangular model, with flat sides

tapering to the mouthpiece. Three bindings of split bark.
Length, io>^ inches. Diameter, i K inches.

2777 STOPPED PIPE. Carved in the form of a fish

(whale?). The two pieces cemented with resin and bound
together with strips of animal sinew.
Length, 11 inches. Diameter, 2}i inches.

1506 STOPPED PIPE. Cylindrical tube cut from a solid

piece of wood, split in half and hollowed out, the two sides
bound together with a cord of twisted sinew. Family: Skit-
tagetan (Haida). Locality: Queen Charlotte Islands, B. C.
Length, i foot 5 inches. Diameter, i J4, inches.

2252 STOPPED PIPE. Flat model, bound with split bark.

Family: Skittagetan (Haida). Locality: British Columbia.
Reproduction of No. 8g,o66, U. S. Nat. Museum Coll.
Length, i foot i K inches. Width, 3 inches,
cf. Smith. Inst. An. Kept. 1888, pi. LXII, No. 333.
Wash. 1890.

2596 STOPPED PIPE. Flat model, with rounded back,

bound with split bark. Family: Skittagetan (Haida).
Locality: British Columbia.
Length, 11 ^4 inches. Width, 2 inches.

cf. Smith. Inst. An. Rept. 1888, pi. LXII, No. 331.

Wash. i8qo.

2780

2260

3778

t^ '^

3266

2599

2678

2682

622

WHISTLES. INDIANS OF THE NORTHWEST COAST
I'l'. 68, 69, 71-73

INDIANS, NORTHWEST COAST

2778

STOPPED PIPE. Cylindrical model, tapering to the
mouthpiece, the sides cemented with resin, the front carved.
The carving on the whistle represents the bear, a totemic
emblem of the Haida. Family: Skittagetan (Haida). Lo-
cality: Queen Charlotte Islands, B. C.
Length, 12 inches. Diameter, 2 inches.
The Haida version of the origin of the bear totem is as
follows: "A number of Indian squaws were in the woods
gathering berries when one of them, the daughter of a
chief, spoke in terms of ridicule of the whole bear species.
The bear descended on them and killed all but the chief's
daughter, whom the king of bears took to wife. She bore
him a child half human and half bear. One day a party
of Indian bear hunters discovered her in a tree and were
about to kill her thinking her a bear, but she made them
understand that she was human. They took her home
and she afterwards became the progenitor of all Indians
belonging to the bear totem. They believe that bears are
men transformed for the time being. "^
Dawson states that a single system of totems (Haida,
Kwalla) extends throughout the different tribes of the
Haida, Kaigani, Tsimshian, and neighboring peoples.
. . . The totems found among these peoples are desig-
nated as the eagle, wolf, black bear, and fin-whale or
killer.^

STOPPED PIPE. (Double.) Quadrangular model,
with back slightly rounded, the front fiat. The tube divided
in the center, a whistle at each end.
Length, 1 3 >^ inches. Diameter, i >^ inches.

"The placing of two whistles simultaneously in the mouth
probably suggested the twin or double whistle. . . .
The next improvement was to construct the two instru-
ments in the same block of wood either side by side or
back to back. ... In this case the wood is split twice,
the middle section being hollowed out on either side, leav-
ing a thin partition between the two tubes. In the Royal

1. Mallery. Bur. of Ethnol. loth An. Rept. 1888-1889, p. 478. Wash.
1893.

Deans. Jour. Amer. Folk-lore. vol. 2, p. 255. 1889.

2. cf. Boas. Kwakiutl Indians. Smith. Inst. An. Rept. 1895, p. 414.
Wash. 1897.

Hewitt. Totem. Bur. Amer. Ethnol. Bui. 30, pt. 2, p. 787 ff. Wash.
1910. Brit. Museum. Handbook of the Ethnog. Coll. p. 260

2506

Group A
Whistles
Class I
Without
Finger-holes
Division a
Mouth-blown
Section i
Stopped Pipes

Group A

Whistles

Class I

Without

Finger-holes

Division a

Mouth-blown

Section I

Stopped

Pipes

70 MUSICAL INSTRUMENTS, AMERICA

Ethnographical Museum, Berlin, there is shown a curious
arrangement of the two whistles, which are placed one
above the other with their embouchures on the same side
of the block. A channel passing behind the upper whistle
conveys the air to the lower." '

2595 STOPPED PIPE. (Double.) Model in three pieces,

the middle section hollowed out on both sides, forming a
partition between the two tubes. The three pieces bound
together with split bark.
Length, i foot i inch. Diameter, 2>< inches.

1 94 1 STOPPED PIPE. (Double.) Quadrangular model,

made in three pieces, similar to No. 2595, but held together
with wooden pegs.
Length, 1 1 yi inches. Diameter, i yi inches.

2681 STOPPED PIPE. (Double.) Similar to No. 1941.

The three sections cemented with resin and bound with fish-
line.
Length, 9>^ inches. Diameter, 2^ inches.

A similar specimen (No. 65,471) in the Peabody Museum,

Harvard University, Cambridge, Mass.

3261 STOPPED PIPE. (Double.) Two quadrangular

tubes, tapering to the mouthpiece, a whistle in each. The
surface blackened, the sides originally cemented with resin,
now bound with fish-line. The two tubes meet at the
mouthpiece, where they are bound together. At the ends
they are one inch apart.
Length, io>^ inches. Diameter, i yi inches.

2783 STOPPED PIPE. (Double.) Two cylindrical tubes,

the mouthpieces bound together back to back, the ends of
the pipes spreading two inches apart at the closed ends.
The section of the tubes cemented with resin and bound
with split bark. Family: Skittagetan (Haida). Locality:
Masset, Queen Charlotte Islands.
Length, ioJ< inches. Diameter, i X inches.

A similar specimen (No. 65,469) in the Peabody Museum,

I. Galpin, F. W. The Whistles and Reed Instruments of the American
Indians of the Northwest Coast. Proceed, of the Musical Assn. 29th
Sess., Lond. 1902-1903, p. 119.

INDIANS, NORTHWEST COAST 7I

Harvard University, Cambridge, Mass. cf. also Kraus.
Appunti sulla musica dei popoli nordica in Arch, per
I'antro. e la Etn., vol. 37. p. 47. pi. I. No. 6, and
Smith. Inst. An. Rept. 1888, pi. LXI, No. 325. Wash.
1890.

3267 STOPPED PIPE. (Double.) Conical model. Two

separate whistles with flat backs and rounded fronts, taper-
ing to the mouthpiece, a spur on each of the lower ends.
The whistles are placed back to back, and bound together
with animal sinew. At the ends they are one inch apart.
Length, 10 inches. Diameter, 2K inches.

2251 STOPPED PIPE. (Double.) Flat model with rounded

back. A single block hollowed out in two grooves, a thin
partition in the center.
Length, 8 >^ inches. Diameter, i>i inches.

2600 STOPPED PIPE. (Double.) A cylindrical tube of

wood, split lengthwise and grooved for an air passage, is
divided into two sections by a small block in the center,
which leaves a small opening for the air to pass to the whistle
in the lower part of the tube.
Length, 8)4 inches. Diameter, J4 inch.

2780 STOPPED PIPE. (Double.) Two small tusks of

walrus ivory squared at the ends and plugged with wood.
A whistle in each, the two placed side by side and bound
together with cord.
Length, 3H inches. Diameter, iM inches.

2599 STOPPED PIPE. (Double.) Similar to No. 2783.

Two conical wooden whistles, placed back to back, and
bound together with split bark.
Length, 6yi inches. Diameter, i ^ inches.

3266 STOPPED PIPE. (Triple.) Three slightly conical

tubes of wood, tapering to the mouthpiece where they are
bound together with cord.
Length, 1 1 f^s inches. Diameter, 1 }^ inches.

2684 STOPPED PIPE. (Triple.) Flat model, made in

three sections, the central block having on one side a single
groove and on the other side two. The pieces cemented

Group A

Whistles

Class I

Without

FiiiKer-holes

Division a

Mouth-blown

Section I

Stopped

Pipes

72 MUSICAL INSTRUMENTS, AMERICA

together and bound with cord, a strip of muslin pasted

around the edges.

Length, 5^^ inches. Width, 2K inches.

2597 STOPPED PIPE. (Quadruple.) Quadrangular model

with rounded edges. Made in five sections, the central block
grooved on four sides. The outside pieces cemented together;
originally bound around the center with split bark (now
missing). Surface color red.
Length, ^yi inches. Diameter, \y% inches.

2678 STOPPED PIPE. (Quadruple.) Similar in construc-

tion to No. 2684.
Length, 1 1 >< inches. Width, i flinches.

2682 STOPPED PIPE. (Sextuple.) A central block of

wood, conical form, grooved on six sides; to this central
piece the six outside pieces are cemented with resin and the
whole bound with cord. The whistles, arranged in pairs,
are placed back to back, the openings being respectively two,
three, and four inches from the mouthpiece.
Length, 9K inches. Diameter, 3fi inches.

The Berlin collection' has a quintuple whistle similar to
the above, but in the form of a cylindrical roller.
"In these compound whistles, the notes can be sounded
separately if desired. In the Oxford Museum there is a
triple whistle from Albert Bay, formed of three separate
instruments bound together with twisted cord, a small
whistle being placed on either side of the tapering mouth-
piece of a larger one. ... In these whistles the block of
wood is split first of all on two opposite faces and then on
the other two. On these narrower faces the two smaller
whistles are placed. In the Berlin collection there is a
quadruple whistle with rounded base terminated by a
short handle. It is of KwakiutI make." ^

Half-stopped Pipes. In whistles of this form the bottom block
of the stopped pipe is pierced with a cylindrical hole by means of
which the character of the tone is obtained.

1. cf. Boas. KwakiutI Indians. Smith. Inst. An. Rept. 1895, p. 445, fig. 71.
Wash. 1897.

2. Galpin. The Whistles and Reed Instruments of the American Indians of
the Northwest Coast. Proceed, of the Musical Assn. 29th Sess., Lond.
1 902- 1 903, p. 120.

INDIANS, NORTHWEST COAST

It is interesting to find that the charm of the half-stopped
pipe, — the Rohr flute of the organ, — has not been lost on the
Indians, for in this is found the principle which for three centuries
and a half has occupied a place in European instruments. Whether
the single hole was intended to be stopped by the finger in order to
vary the note, it is hard to say. It seems probable that it arose
from the natural ingenuity of the Indian whistle-makers, and may
have suggested the whistles with true finger-holes.'

622 HALF-STOPPED PIPE. Pear-shaped with a single Sections

hole pierced on one side of the lower end which terminates pipes^^°^^^
in a small knob. Family: Skittagetan (Haida). Locality:
Queen Charlotte Islands.

Length, i foot 1 3< inches. Diameter, 4^^ inches,
cf. Smith. Inst. An. Rept. 1888, pi. LXII., No. 330.
Wash. 1890.

Open Pipes. The open pipe is of the same construction as the Sections
stopped pipe except that the end block is cut away. It does not p^"p'p^^
seem to have been so generally used, and this type is only repre-
sented in the Crosby Brown Collection under Class II, see p. 77.

Whistles Mechanically Blown. "The sounding of thewhistle
by means of a compressible bag is undoubtedly of great antiquity, and
led up to the more recent use of the bellows for the same purpose."

Commander Dawson^ describes a whistle of the type found by
him among the Haida Indians of Queen Charlotte Islands, as
follows: "A peculiar and very ingenious speaking doll was obtained
at Skidegate. This did not seem to be a mere toy, but was looked
upon as a thing of worth, and had previously been used, in all
probability, as an impressive mystery. It consisted of a small
wooden head three and a half inches long by two and a half inches
wide and two inches deep from back to front, composed of two
pieces of wood hollowed out till quite thin, and the front one carved
to represent a grotesque face with a large, round, open mouth with
projecting lips. The two pieces had then been neatly joined, a
narrow slit only remaining within the neck and serving for the
passage of air, which then, impinging on a sharp edge at the back
of the cavity representing the mouth, makes a hollow whistling
sound. To the neck is tied the orifice of a bladder, which is filled

1. cf. Galpin. The Whistles and Reed Instruments of the American Indians
of the Northwest Coast. Proceed, of the Musical Assn. 29th Sess., Lond.
1902-1903, p. 120 ff.

2. Geol. Survey of Canada, Report of Progress, 1878-79, p. 140-B.

Group A
Whistles
Class I
Without
Finger-holes
Division b
Mechanically
blown

74 MUSICAL INSTRUMENTS, AMERICA

Group A with some loose elastic substance, probably coarse grass or bark.

Class I On squeezing the bladder sharply in the hand a note is produced,

Finge°r"hoies ^"^ °" relaxing the pressure the air runs back silently, enabling

Division b the sound to be made as frequently as desired."

blown According to Dr. Boas, these whistles are all carved or painted

to represent a corpse either with hollow orbits or closed eyes; some

of them are attached to bellows. They are carried under the arm,

hidden by the blanket and are thus sounded without being visible

to the spectators.

itopped' 2884 STOPPED PIPE. Sapakwilla or Oolalla, Mountain

Pipes* Demon's Call. Wood, carved in the form of a head, the

block split in half and the two sections hollowed out and
neatly joined. On one side a human face, an opening in
place of the nose, a hole in the forehead. The bladder by
which the whistle is sounded is missing. Reproduction of
No. 89,062 from the Skittagetan (Haida) Indians, Queen
Charlotte Islands, U. S. Nat. Museum Coll.
Length, 9 inches. Diameter, i foot 2 inches.

The hole in the forehead of the original is roughly made
and appears to be either an accidental breakage or cut
for the purpose of varying the note. With the hole
closed the whistle sounds B flat below tenor C; when
open, a sharp E flat above tenor C.
The British Museum has a similar whistle in the Troup
Collection in which the sound issues from the mouth of
the figure instead of the nostrils.

cf. Galpin. Whistles and Reed Instruments, pi. 11, 8A.
Boas. The Social Organization and Secret Societies of
the Kwakiutl Indians. Smith. Inst. An. Rept. 1895, p.
654. Wash. 1897. Also Smith. Inst. An. Rept. 1888.
pi. LXII. Wash. 1890.

2891 STOPPED PIPE, with bellows. A slightly conical

tube of wood split and hollowed out with a whistle in
one side sounded by a bellows attached to the whistle end.
The tube is bound with eel grass and the surface decorated
with totemic emblems in red and black. Family: Skit-
tagetan (Haida). Locality: Queen Charlotte Islands.
Length of whistle, i foot. Diameter, 3>^ inches.
Length of bellows, io3< inches.. Diameter of bellows, 6 X
inches.

I. Sections 2 and 3 not represented.

INDIANS, NORTHWEST COAST 75

Facsimile of a whistle used by the Haida Chief Yea-da-
horthy, made by a Haida Indian, Queen Charlotte Islands,
1902.

1 40 1 STOPPED PIPE, with bellows. Wooden whistle

made in two sections, the back rounded, the front flat,
slightly pear-shaped, with bindings of eel-grass and cord
of twisted sinew. The wooden bellows are of oblong shape,
covered with buckskin.

Length of bellows, 6 inches. Width, 3 inches.
Length of whistle, 5K inches. Width, 3 inches.

1435 STOPPED PIPE, with bladder attachment. A cylin-
drical tube of wood, split and hollowed out, a whistle in one
side, the two sections bound together with animal sinew.
A knob at the lower end, at the whistle end a pig's bladder.
Tribe: Hamatsa (Kwakiutl). Family: Wakashan. Locality:
British Columbia.

Length of tube, 7 inches. Length of bladder, 6 inches.
When in use, the bladder is stuffed with moss, or preferably
coarse hair, which causes it to expand when pressure is
removed.
A similar specimen in the U. S. Nat. Museum, No. 89,069.

1436 STOPPED PIPE (Double), with bellows. Dance
whistle. Cut from a small block of wood split and one side
hollowed out in two grooves side by side. The two pieces
then bound together with fish-line. To the whistle end a
wooden bellows is attached. Family: Skittagetan (Haida).
Locality: Queen Charlotte Islands.

Length, io>^ inches. Width, 434 inches.
A similar specimen in the U. S. Nat. Museum, No. 89,064.
cf. Smith. Inst. An. Rept. 1888. pi. LXII, No. 329.
Wash. 1890.

2779 STOPPED PIPE (Double), with bellows. Two oblong

pieces of wood with rounded ends joined by a strip of leather
fastened to the edge of each with tacks. On one board two
leather straps; on the other, two whistles formed by a groove
cut in its surface over which is cemented a narrow strip of
wood with an opening at each end.
Length, j}4 inches. Width, 3 inches.

Whistles with Finger-Holes. The introduction of finger-holes
in these primitive whistles is doubtless of recent origin, the Indian

Group A

Whistles

Class II

With

Finger-holes

Division a

Mouth-blown

Section i

Stopped

Pipes

Section 2

Half-stopped

Pipes

76 MUSICAL INSTRUMENTS, AMERICA

having little or no idea of instrumental music. Two examples in
the British Museum, considered to be genuinely Indian, were re-
ceived in 1892 from Queen Charlotte Islands. These pipes are of
the same general form as No. 3258, there being only a slight dif-
ference in the length.

3258 STOPPED PIPE. Cylindrical tube of wood with flat

front and rounded back. Bound with spruce root. Two
finger-holes.
Length, 8;^ inches. Diameter, i K inches.

cf. Galpin. Whistles and Reed Instruments, pi. II,9A.

Also Handbook of the Brit. Museum Ethnog. Coll. p. 266,

fig. 247.

3263 STOPPED PIPE. Wood. A flat, narrow model with
a projecting knob on the lower end, the two sides bound to-
gether with spruce root and strips of sinew. One finger-hole.
Length, i foot. Width, 2K inches.

3264 STOPPED PIPE. A cylindrical tube of wood with a
flat front. Three finger-holes. The two sides bound to-
gether with fish-line.

Length, 1 2 >^ inches. Width, i ^ inches.

3268 STOPPED PIPE. Similar to No. 3264. Bound with

spruce root. Four finger-holes.
Length, i foot, 2 inches. Width, 2yi inches.

♦2680 STOPPED PIPE. Slightly conical tube of wood,
with bindings of spruce root. Family: Skittagetan (Haida.)
Locality: Queen Charlotte Islands.
Length, iqi^ inches.

3262 HALF-STOPPED PIPE. Wood, in the form ot a flat-

tened cone, split lengthwise, the two sides bound together
with spruce root. One finger-hole.
Length, 9K inches. Diameter, 2 inches.

1942 HALF-STOPPED PIPE. (Triple.) An octagonal

piece of wood resembling a turtle shell, the center hollowed
out leaving a block at each end in which there are three

*This instrument has been placed with Class II of the kindred instruments
of the Historical Groups.

3263

3262

3264

3268

WHISTLES. INDIANS OF THE NORTHWEST COAST
I'P. 74-76

INDIANS, NORTHWEST COAST

grooves. Over this is placed a thin sheet of iron pierced

with three holes near one end.

Length, 5^ inches. Width, 4 >< inches.

2235 OPEN PIPE. A cylindrical tube of slate inlaid Sections

-'■'.,. , , ,., . ,, , Open Pipes

With ivory, the surface carved with totemic emblems and

three figures in high relief; below the mouthpiece a raven

and two grotesque figures. There are six finger-holes. Family:

probably Skittagetan. Locality: Queen Charlotte Islands.

Length, i foot 10^ inches. Diameter, i^ inches.

Group B

Reed

Instruments
Class I
Without
Finger-holes
Division a
Mouth-blown
Section i
Double-
beating Reeds

Double-beating Reeds. The double-beating reed type is
placed first, " not only because this principle appears to have been
longer in use than the others, but because it forms the starting-
point of two of the three other sections of this group."

"The Indian double-reed is not formed of natural reed or cane
as among the people of other continents, but of wood, generally red
cedar or spruce. The wood is split in half lengthwise, the lower
part of each half is hollowed out, the hollow gradually diminishing
in depth and size towards the upper end of the block. The two
halves are then bound together with spruce roots, and the upper
part is thinned down on either side until a flat tongue-shaped end
is left, split in half by the previous cleavage of the wood. The two
thin pieces, which stand slightly apart, vibrate and beat upon each
other when the air is impelled through them. The outline of the
reed varies from the parallel sides and rounded top which we are
accustomed to see in the modern clarinet reed to an elongated form
with tapering sides and a blunt point, the exact reverse in fact of
the ordinary double-beating reed as used for the bassoon."

Lipped Form. This is the simplest form of the double reed. Section i
"so-called because the reed can be controlled by the lips of the per- Reeds^ ^^ "^
former," as in No. 1939. "In probably the more ancient specimens
the reed is made in one piece with the tube and is inseparable from
it. Sometimes, however, the reed is inserted into a cylindrical or
slightly conical tube made in the same way as the whistle tubes and
bound with roots or bark," as in No. 681.

1939 REED PIPE. Cut from a block of wood split length-

wise and hollowed out in the form of a flattened cone, the
two pieces bound together with spruce root, the edges
originally sealed with resin.
Length, i foot 5K inches. Width, 3K inches.

cf. Smith. Inst. An. Rept. 1888, pi. LXI, No. 324.

Wash. 1890.

Lipped

Group B
Reed

Instruments
Class I
Without
Finger-holes
Division a
Mouth-blown
Section i
Double-
beating Reeds
i. Lipped

78 MUSICAL INSTRUMENTS, AMERICA

3299 REED PIPE. Similar to No. 1939. The two sides

tapering to the mouthpiece are left free to vibrate and
operate as a double-beating reed.
Length, i foot 3 inches. Width, i ^ inches.

681 REED PIPE. A slightly conical tube formed of two

pieces of wood hollowed out and bound together. Original
binding missing. A double reed of wood inserted in the
mouthpiece.
Length, i foot. Diameter, 2 inches.

2245 REED PIPE. Similar to No. 3299, but in miniature.

Length, 3^" inches. Width, iK inches.

2237 REED PIPE. Similar to No. 2245.

Length, i inch. Width, ^ inch.
As stated by Dawson' these small forms are held in the
mouth of the performer and produce a peculiar noise
supposed to indicate a species of possession in an excited
dancer.

694 REED PIPE. Similar to No. 681, but conical. Fam-

ily: probably Skittagetan. Locality: Queen Charlotte
Islands.
Length, i foot 7 inches. Diameter, 2 inches.

♦1424 REED PIPE. Similar to No. 694.
Length, 7 inches. Diameter, 2 inches.

Section I Covered Form. In these "the vibrating tongues are placed

Double-beating within the tube out of reach of the lips, sometimes just inside the
ii.*^ Covered upper end, more often in the middle or at the lower end. The
instrument is then sounded by a strong blast blown by the per-
former through the tube. When the reed is placed in the middle
of the instrument, the outline often resembles that of an hour-glass,
the vibrator being inserted at the waist and kept in place with

I. cf. Dawson. Geo!. Survey of Canada. Rept. of Progress, 1878-1879,
p. 139B.

Boas. The Social Organization and the Secret Societies of the KwakiutI
Indians. Smith. Inst. An. Rept. 1895, p. 446. Wash. 1897.

* This instrument has been placed with Class 1 1 of the kindred instruments
of the Historical Groups.

1940

2254

1943

REED INSTRUMENTS. INDIANS OF THE NORTHWEST COAST
I'P. 78-81, 83-83

INDIANS, NORTHWEST COAST 79

asphaltum or resin," as in No. 2256. No. 2254 "in section shows ^"""HP ^
the position and shape of a covered reed used by the Tsimshian instruments
Indians of Fort Simpson, British Columbia. The mention of a without
covered reed instrument reminds us of the medieval krummhorn and Fmger-hoies
the present bagpipe chanter reed, but the cover of the reed is not Mouth-biown
removable. As may be imagined, the tone of the wooden reed is Doubie-beating
marked by a roughness and power which partake more of the timbre ^e^^s
of the metal vibrators of the foghorn than the delicacy of the true
orchestral reed.

"The same desire for a concord or discord of sound which led
the Indians to produce the double, triple, quadruple, quintuple, and
even sextuple whistles, also suggested the association of two, three,
or four double-beating reeds in one air chamber. The reeds are
usually small and placed at the lower end, which is flattened for the
purpose, while the upper part of the tube is tapered for the con-
venience of blowing" as in No. 1943, which is probably of Skitta-
getan origin.'

2256 REED PIPE. Wood, carved in the form of an hour-

glass, the upper part tapering to the mouthpiece. The block
is split lengthwise, hollowed out, and the vibrating wooden
reed placed in the center or "waist" of the two sections
which enclose it. The bindings are of spruce root.
Length, i foot 7 inches. Diameter, 3H inches,
cf. Kraus. Appunti sulla musica dei popoli nordica, in
Arch, per I'antro. e la Etn., vol. 37, p. 47, pi. I, No. 7.
1907.

2594 REED PIPE. Similar to No. 2256. Two holes in

each side of the bell near the lower edge.
Length, i foot 5 inches. Diameter, 4 inches.

1940 REED PIPE. Similar to No. 2256. Family: probably

Skittagetan. Locality: Queen Charlotte Islands.
Length, i foot 2H inches. Diameter, ^yi inches.

2254 REED PIPE. Similar to No. 2256. The surface deco-

rated with totemic emblems in black.
Length, i foot. Diameter, 2K inches.
Open to show enclosed reed. cf. Smith. Inst. An. Rept.
1888. pi. LXI, No. 327. Wash. 1890.

I. Galpin. The Whistles and Reed Instruments of the American Indians
of the Northwest Coast. Proceed, of the Musical Assn. 29th Sess., Load.,
1902-1903, p. 124 ff.

80 MUSICAL INSTRUMENTS, AMERICA

Group B

Reed

Instruments

Class 1

Without

Finger-holes

Division a

Mouth-blown

Section i

Double-beating

Reeds

ii. Covered

2255 REED PIPE. Similar to No. 2253, but slightly con-

ical.
Length, i foot 4 inches. Diameter, 2>^ inches.

2253 REED PIPE. A cylindrical tube formed of two pieces

of wood hollowed out and bound together with spruce root.
A double wooden reed within the mouthpiece.
Length, 12^ inches. Diameter, i>^ inches.

2239 REED PIPE. Two small flat pieces of wood hollowed

out and bound together, enclosing a double reed. Family:
probably Skittagetan. Locality: Queen Charlotte Islands.
Length, i >^ inches. Width, i K inches.

1943 REED PIPE. (Quadruple.) Two pieces of wood in

the form of a flattened cone hollowed out and split length-
wise; in four grooves at the lower edge are fastened four
double reeds. Family: probably Skittagetan. Locality:
Queen Charlotte Islands.
Length, 'jyi inches. Width, 2 inches.
Opened to show enclosed reeds.

679 REED PIPE. (Triple.) Similar to No. 1943, enclosing

three double reeds. Family: Skittagetan. Locality: Queen
Charlotte Islands.
Length, 6K inches. Width, 2% inches.

Group B
Reed

Instruments
Class I
Without
Finger-holes
Division a
Mouth-blown
Section 2
Single-
beating Reeds

Single-beating Reeds. Doubtless the simple form of the single-
beating reed is "only a late arrival amongst the Indians of the
Northwest Coast. It consists of a small hollow bone, — an eagle
bone, — with its end cut down on one side to form a 'lay' as
in the modern clarinet mouthpiece, and a slip of wood bound on
with spruce root or sinew to form the reed which is controlled by
the lips," as in No. 2241. "In other forms the reeds are of metal.
Although the Indians have known the use of copper for centuries
and have found it easily reduced to thin plates by hammering, the
reeds of these instruments are of a metal introduced by Europeans.
It may be that an older form exists with both body and reed of wood,
but of this primitive form no specimens have as yet appeared." '

I. Galpin, F. W. The Whistles and Reed Instruments of the American
Indians of the Northwest Coast. Proceed, of the Musical Assn. 29th Sess.,
Lend. 1902-1903, p. 125.

INDIANS, NORTHWEST COAST 8l

2241 REED PIPE.' Made from a small hollow bone, one Sections

end cut off at an angle, and a slip of wood forming a beating beating Reeds

reed bound on with a narrow strip of split bark. Tribe: '• Lipped

Makah or Aht. Family: Wakashan (Nootka). Locality:

Vancouver Island.

Length, ^yi inches. Diameter, ]4 inch. Reproduction.

Original in the National Museum, Washington, D. C.

3260 REED PIPE. Twin single-beating reed. A cylin-

drical tube of wood, made from a block split and hollowed
out. At one end of each half the wood is cut down to a
narrow, flat tongue, which rests against a central partition
^ of an inch thick; this partition extends only the length
of the reed mouthpiece, below which it is cut away to the
thickness of the tube forming a narrow strip between the
edges of the two sides. On one side of the tube a large
opening; the whole bound together with spruce root.
Family: probably Skittagetan. Locality: Queen Charlotte
Islands.
Length, io>^ inches. Width, i finches.

2247 REED PIPE. Twin single-beating reed. Two thin

slips of wood bound at the thicker end against a central
partition. Similar to mouthpiece of No. 3260. Family:
probably Skittagetan. Locality: Queen Charlotte Islands.
Length, 2K inches. Width, i K inches.

2686 REED PIPE. A narrow block of wood and one of 1?^*^',°"^

horn hollowed out and bound together with cord. A small beating Reeds
metal reed placed within the mouthpiece. Family: prob- "-Covered
ably Skittagetan. Locality: Queen Charlotte Islands.
Length, 4 inches. Width, i inch.

Retreating Reeds. ^ Mr. Galpin is of the opinion that "the vi- ^"""Hp^

brating principle in this section has apparently been derived, at instruments

least in one form, from the double reeds and seems best described by wfthout

the term 'retreating' reed, a name also applied by Mr. Hope Jones Finger-holes

to certain forms of organ reeds or diaphones invented by him. . . . Mouth-biown

It is the reverse, so to speak, of the ordinary beating reed, in which Reu-'eating

1. A duplicate of this reproduction (No. 2963) has been placed with the reed
group of kindred instruments.

2. Mr. E. H. Hawley, of the U. S. Nat. Museum, was the first to classify this
form of "whistle" as a reed pipe, and it was called by him the inverted double
reed.

Reeds

82 MUSICAL INSTRUMENTS. AMERICA

Group B
Reed

Instruments
Class I
Without
Finger-holes
Division a
Mouth-blown
Section 3
Retreating"
Reeds

the norma! position of the vibrator is at a little distance from the
lay or other half of the reed, so that when the breath is forced
through the reed the aperture is alternately closed and opened. The
retreating reed, however, is in its normal condition closed, the two
halves being in contact. When the air is forced through the reed
(from the opposite end to that used in the ordinary beating reed)the
halves open and close alternately. The primary action of the ordi-
nary reed is beating or closing; the primary action of the closed reed
is retreating or opening. This principle assumes two general forms,
terminal and lateral." ^

Terminal Retreating Reeds. In No. 695 the affinity with the
ordinary double-beating reed is very evident. Mr. E. H. Hawley
describes a specimen from the Bellabella (Salishan) Indians in
the National Museum, Washington, as follows: " It is a bit of cedar
shaped like an elongated Indian club flattened at the thick end.
The wood has been split and the larger part or outer ends excavated
to form two spoon-shaped sections. The smaller or inner ends have
only a little channel cut in them for an air passage; the two halves
are then lashed together with split spruce root at the inner end at
the point where the widening out begins; the other ends are left
free. Where the breath is forced in at the mouthpiece it causes the
free ends both to open and close producing a harsh sound."

In the U. S. Nat. Museum, Washington, there are also examples
of this form from the Skidegate Indians of Queen Charlotte Islands.
In the Pitt-Rivers Museum (Oxford) there is a very perfect Tlingit
specimen, about ten inches long, from the Stickeen River, the out-
side of the vibrating portion in this example being broadly octagonal
instead of oval. Passing to other continents, an example of this
terminal retreating reed appears from Fez, in Morocco, where it is
called the lira.^ This is a piece of reed, one end being open, the
other closed by the natural knot. This, however, has been split
longitudinally, and by blowing into the open end the two halves vi-
brate as the reeds before mentioned. English country boys construct
a similar terminal reed out of the hollow stem of the meadow rush,
one end, closed by the natural knot, being split as in the African
specimen.

695 REED PIPE. K'oak'omolakula. A stick of cedar cut

in the form of a small club, split and the larger ends hollowed

1. Gaipin, F. W. The Whistles and Reed Instruments of the American
Indians of the Northwest Coast. Proceed, of the Musical Assn. 29th Sess.,
Lond. 1902-1903, p. 127 ff.

2. cf. (Africa) No. 2651.

INDIANS, NORTHWEST COAST 83

out in spoon-shaped grooves which narrow to a small air-
channel at the mouthpiece. The two pieces fit closely
together and are bound at the small end and near the center
with cord, the larger ends being left free to vibrate. Family:
Athapascan. Locality: Fort Simpson, British Columbia.
Length, i foot 3 inches.

Collected by James G. Swan, U. S. Nat. Museum.
Mr. E. Hawley of the U. S. Nat. Museum in experimenting
with a similar pipe (U. S. N. M. Coll. No. 88,873) found
that four or five tones could be produced by compressing
the sides of the pipe at different points between the bind-
ings, the pitch being varied as the vibrating length dimin-
ished,
cf. Amer. Anthrop. New Ser. vol. i, p. 587. 1889.

621 REED PIPE with Whistle. Two tubes, one a stopped

pipe, the other a retreating reed, bound together at the
mouthpiece with fibre, the lower ends spreading two inches
apart. Family: probably Koluschan. Locality: northwest
coast of British Columbia.
Length, 1 2 >^ inches. Diameter, i K inches.

618 REED PIPE. A block of wood cut in the form of a

bulb with a long straight handle, split in half and the interior
hollowed out. The mouthpiece end bound with spruce root;
at the lower, bulbous part, the two sides are left free to
vibrate as a reed. Family: probably Koluschan. Locality:
northwest coast of British Columbia.
Length, i foot i inch. Diameter, 4 inches.

3259 REED PIPE. A stick of wood in the form of a small

club with a rounded end, split through the center and bound
with spruce root below the mouthpiece; the lower ends left
free to vibrate.
Length, lo^ inches.

3257 REED PIPE. A stick of cedar shaped like a small

wing. Similar to No. 3259.
Length, 6^ inches. Width, >^ inch.

Twin Terminal Retreating Reeds. As with other reeds, so
with these, the I ndians have endeavored to produce an accord, and in
No. 2619 we have the twin terminal retreating reed as constructed by
the Skidegate Indians. The mouthpiece or blow-hole is in the mid-

84 MUSICAL INSTRUMENTS, AMERICA

Group B

Reed

Instruments

Class I

Without

Finger-holes

Division a

Mouth-blown

Section 3

Retreating

Reeds

i. a. Twin

terminal

form

die or waist, and as the hole is cut right through, it is necessary to
close the opposite opening with the finger; then when the air is
forced in, the two ends "retreat" and form the twin vibrators.'

2593 REED PIPE. A block of wood broader at the center

than at the ends, split in half and hollowed out, the two sec-
tions bound together at the ends with spruce root. In the
center of one side where the two pieces join is the breath-hole.
At each end is a double wooden reed set in vibration when
the breath enters the interior chamber from the hole on the
side. Family : probably Skittagetan. Locality : Queen Char-
lotte Islands.
Length, 12^ inches. Width, 2% inches.

2619 REED PIPE. A block of wood cut in the form of a

dumb-bell with elongated instead of round ends, split and
hollowed out, the two sides bound together near the center,
the ends left free to vibrate. The breath-hole at the center.
Family: Skittagetan. Locality: Queen Charlotte Islands.
Length, 10 inches. Width, i finches.

Reproduction of No. 89,057, U. S. Nat. JVluseum Coll.

cf. Smith. Inst. An. Rept. 1888, pi. LVII, No. 299.

Wash. i8qo.

ii. Lateral
form

Lateral Retreating Reeds. This is "either an attempted im-
provement on the terminal form or has come from the simple tube
which is made up, as before mentioned, of two excavated halves bound
together. If the lower end of one of these tubes be stopped and the
air forced into the open end, the two sides, if not too thick, will fly
apart at the split and produce the lateral retreating reed." In No.
693, which represents the form used by the Skidegates of Queen
Charlotte Islands, "the walls are very thin and vibrate for the
greater part of their length. By pressing the body of the instrument
between the forefinger and thumb the vibrating length can be short-
ened and a note of higher pitch obtained.

"The lateral retreating reed is probably more widely distributed
than the terminal form. Mr. Balfour of the Pitt-Rivers Museum
states that a very similar sound-producer is made by the boys in
Oxfordshire, England, and most likely in many other parts of Eng-
land. The pliant, hollow stem of a river reed is cut off just below
the knot and again a few inches above to form an open end. An

I . When applied to modern wind instruments, such as the oboe, clarinet, and
ophecleide, this reed fails to produce a musical note. — P. W. Gaipin.

INDIANS, NORTHWEST COAST

incision is then made with a knife in the side of the tube, and when
the breath is blown into the open end the edges of the incision vibrate
as in the lateral reed.

"The Ainos of Japan also have a similar vibrator in their
ippaki-ni or deer call, which consists of a piece of skin stretched
across a flat piece of wood and fastened to it on three sides by sinew.
A hole is bored in the wood through a short mouthpiece on one side,
and opens out beneath the skin. When the air is forced through the
hole the skin rises and falls, or 'retreats' and 'beats' at its free edge
on the flat surface.

"As with the terminal reed, so with this, the Indians have con-
structed twin vibrators, a form used by the Massets and made out of
one block of wood split in half, hollowed out and bound together
again." ^

2257 REED PIPE. Two thin pieces of wood hollowed out Sections

and bound together at the ends with split fibre, the tube open ReedT '"^
at both ends. Family: probably Skittagetan. Locality
Queen Charlotte Islands.
Length, i foot 1 1 J4 inches. Width, i yi inches.

!i. Lateral
form*

692 REED PIPE. A flattened and slightly conical tube
made from two pieces of wood hollowed out and bound
together at the ends with spruce root. The ends open.
Family: probably Skittagetan. Locality: Queen Charlotte
Islands.

Length, i foot 1 1 inches.
A similar specimen in the U. S. Nat. Museum, No. 89,067.

693 REED PIPE. Similar to No. 692.
Length, i foot 5 finches. Width, i ^ inches.

Collected by J. G. Swan, U. S. Nat. Museum.

2602 REED PIPE. A tube of wood formed from two pieces

hollowed out and bound together. The mouthpiece end of
the tube is round, the lower part quadrangular. Family:
probably Skittagetan. Locality: Queen Charlotte Islands.
Length, 9K inches. Diameter, }i inch.

1. Galpin, F. W. The Whistles and Reed Instruments of the American
Indians of the Northwest Coast. Proceed, of the Musical Assn. 29th Sess.,
Lend. 1 902- 1 903, p. 129.

2. Twin lateral form: no example shown.

86 MUSICAL INSTRUMENTS, AMERICA

Group B

Reed

Instruments

Class I

Without

Finger-holes

Division a

Mouth-blown

Section 3

Retreating

Reeds

ii. Lateral

form

680 REED PIPE. Two strips of wood hollowed out and

bound together with strips of bark forming a flat tube with
the lower end closed. Family: probably Skittagetan.
Locality: Queen Charlotte Islands.
Length, 8 inches. Width, J/i inch.

572 REED PIPE. A cylindrical tube formed from two

pieces of wood hollowed out and bound together. The lower
end closed. Tribe: Masset. Family: Skittagetan. Local-
ity: Queen Charlotte Islands.
Length, 8>^ inches. Diameter, ^i inch.
Collected by J. G. Swan of the U. S. Nat, Museum.

Section 4
Ribbon Reeds

1. Simple
form

Ribbon Reeds. "This principle is well known from its use
in toy instruments. ... A strip of thin membrane — in the case
of Indian specimens an inner layer of bark from the red cedar — is
tightly fixed at each end and stretched across a narrow air passage.
On blowing through the air passage the edge of the thin membrane
vibrates in the same way as children will extract noise from a blade
of grass or lime leaf held between the middle and lower joints of the
thumb. . . ."

In the United States National Museum, Washington, "an
elaborate Tsimshian form occurs, oddly enough described in the
report as a trumpet. It is made in six pieces, and when they are
bound together they form five narrow air-passages. A continuous
piece of thin fabric is stretched across each passage, the whole
instrument thus containing five vibrators. Unfortunately the
musical effect is not equal to the ability and ingenuity of construc-
tion."*

In the eagle chant of the Navaho, a bone whistle (beet'sos or
atsa'iol), fitted with a ribbon reed, is used to imitate the cry of an
eagle. It is made of the leg bone of a jack-rabbit killed by an
eagle. This is split and the marrow removed ; a piece of the inner
ear of the jack-rabbit is laid between the two pieces of bone, which
are then bound together with sinew.^

2248 REED PIPE.3 Two small square pieces of wood, one

perforated, the two bound together. On the inside a strip
of bark stretched across the air passage. Reproduction.

1. Galpin. Whistles and Reed Instruments, p. 129 ff.

2. cf. Ethnol. Diet, of the Navaho Language, p. 511, 1910.

3. A duplicate of this reproduction (No. 2964) has been placed with the reed
group of kindred instruments.

INDIANS, NORTHWEST COAST

2238

Original in the U. S. Nat. Museum Coll. No. 20,687. Tribe:
Kwakiutl (Bellabella). Family: Wakashan. Locality:
Fort Simpson, Canada.
Length, 3 inches. Diameter, i >^ inches.

REED PIPE. Similar to No. 2236.
Length, i y^ inches. Diameter, yi inches.
A similar specimen in the U. S. Nat. Museum, No. 2149,
is made of walrus ivory.

2236

REED PIPE.

Length, yi inches.

Similar to No. 3396.
Diameter, yi inches.

Reed Instruments Mechanically Blown. "The sounding of
the reed instruments by mechanical means naturally followed the
application of the same idea to the whistles. . . . Owing to the
strong nature of the wooden reed, the ordinary compressible bladder
filled with grass . . . would fail to give the necessary wind
pressure. Therefore, examples of mechanically blown reeds are
rare."i This type is represented in the Crosby Brown Collection
by a single example. In the U. S. Nat. Museum, Washington, there
is a similar specimen fitted with a double reed, the bellows painted
with totemic designs; but, like No. 3396, it is of modern con-
struction.

3396 REED PIPE. A small block of wood, split and hol-

lowed out, a thin strip of bark placed between the two sides,
which are bound together with spruce root. To this is at-
tached a large bellows decorated with a totemic emblem
(the wolf?) in color. Family: probably Skittagetan.
Locality: Queen Charlotte Islands.
Length, 3^ inches. Width, xyi inches.

Group B

Reed

Instruments

Class I

Without

Finger-holes

Division b

Mechanically

blown

Section 4

Ribbon Reeds

CLASS III VIBRATING MEMBRANES

The most primitive form of drum found among the Indian
tribes of the Northwest is that described by Sproat,=' a bear skin

1. Galpin. The Whistles and Reed Instruments of the American Indians
of the Northwest Coast. Proceed, of the Musical Assn. 29th Sess., Lond.
1902-1903, p 130.

2. of. Sproat. Scenes and Studies of Native Life, p. 170. The rawhide
drum is also found among the tribes of the United States (see note to No.

88 MUSICAL INSTRUMENTS. AMERICA

Class III Stretched over the ground upon which the native marked the rhythm
Membranes of the dancc or beat an accompaniment to the incantations of the
sorcerer. Another primitive form is the makkortaa employed by
the Angakok in his medicine rites. This is described by Thalbitzer'
as "A round flat piece of skin from 5 to 5>^ cm. in diameter, which
is held tightly in the hollow of the hand while it is struck or rapped
on with a carved wooden stick with the other hand. By the aid of
this little instrument the Angakok produces a loud rhythmic knock-
ing as a preliminary to his meeting with the spirits below the
ground." The drum in most common use is the tambourine type,
that of the Eskimo being obovate or fan-shaped with a short bone
handle; the frame is of willow, a flat strip about an inch wide bent
until the two ends meet, fastened to a strip of walrus ivory on the
inside of the hoop and secured to the frame by neat stitches of
black whale-bone. In some examples this crude handicraft has
given way to modern methods, the whale-bone stitching being re-
placed by ordinary tacks and twine. The membrane used in the
older specimens of the coast tribes is usually the peritoneum of a
seal or the skin of a whale's liver,^ and sometimes thin untanned
deerskin. It is stretched over the outer edge and is fastened in a
groove of the frame with a cord of sinew or twine.

In other countries the tambourine type of drum, or what is
termed "hand drum" is struck with the hand; here, however, the
native employs a baton of walrus ivory or a long slender wand of
wood, and holding the membrane away from him, strikes alternately
on the sides of the wooden rim as he rotates the drum to meet the
stroke. The note thus produced is resonant and more or less musi-
cal, but its pitch depends entirely upon accident, as there appears

2675, p. 131) and as well in Australia, from which point a correspondent
writes that the monotonous chant of the natives is accompanied by the nulla
nulla, two clubs which the men strike together to mark the time, while the
women "beat a possum rug with the palms of their hands."
James Mooney while investigating the Ghost Dance among the Kiowa, one
of the linguistic families of the southwest, saw one of these primitive drums
which he states was formerly used as an accompaniment to a tribal dance
held prior to the departure of a war party. He describes it as a large raw-
hide, held about waist high by as many performers, chiefly women, as could
grasp the edge of it with one hand, while they beat it with a stick held in
the other. While thus drumming, they circled slowly around, rawhide and
all, keeping up one of those weird, high-pitched dance songs, without mean-
ing, so common among the prairie tribes. The occasion was a grand night
gathering of Kiowa, Comanche, and Apache. Am. Anth., vol. 5, p. 282. 1892.

1. cf. Thalbitzer. The Heathen Priests of East Greenland (Angatut), in
Congres Internat. des Americanistes, Wien, 1908, p. 458.

2. The intestines of the white whale (Beluga) are also used by the Eskimo.
E. H. Hawley. U. S. Nat. Museum.

INDIANS, NORTHWEST COAST 89

to be no system of tuning. This is also the case with the native
singing, as each performer selects a pitch that suits his fancy, usually
in a minor key. The Eskimo have regular festivals at which the
drum is used in accompanying the voices and it is their custom to
meet in a singing-house where their monotonous chants do honor
to the supernatural being in whose abode the gathering is held.i
One of these gatherings is described by Franz Boas in his paper on
the Central Eskimo in the neighborhood of Cumberland Sound and
Davis Strait, as follows: "The Eskimo have some very interesting
feasts, most of which are closely connected with their religious
notions. In summer feasts are celebrated in the open air, but in
winter a house called qaggi or, as we call it, singing-house, is built
for that purpose. The house which is used by the eastern tribes
is built of snow in the shape of a large dome about fifteen feet in
height and twenty feet in diameter, without any lining. In the
center there is a snow pillar, five feet high, on which the lamps
stand. When the inhabitants of a village assemble in this building
for singing and dancing the married women stand in a row next the
wall. The unmarried women form a circle inside the former, while
the men sit in the innermost row. The children stand in two
groups, one at each side of the door. When the feast begins, a man
takes up the drum (kilaut), . . . steps into the open space next the
door, and begins singing and dancing." ^

With these people the drum is used not only as a musical instru-
ment, but, as in Africa, it is employed on every possible occasion;
it expresses joy and sorrow, success in war or in the chase, and if
death removes a member from a community the drum is beaten
to prevent the spirit from returning to torment the living. The
same author quoting Hall gives the construction of one of these
drums in detail : " The drum is made from the skin of the deer (or seal)
which is stretched over a hoop of wood, or of bone from the fin of a
whale, by the use of a strong, braided cord of sinew passed around a
groove on the outside. The hoop is about 2 K inches wide, i }4 inches
thick, and 3 feet in diameter, the whole instrument weighing about
4 pounds. The wooden drumstick, 10 inches in length and 3 inches
in diameter, is called a kentun. . . . The deerskin which is to be the
head of the instrument is kept frozen when in use. It is then thor-
oughly saturated with water, drawn over the hoop, and temporarily
fastened in its place by a piece of sinew. A line of heavy, twisted

1. cf. Boas. Chinook Songs. Jour. Amer. Folk-lore, vol. i, p. 220, 1888;
Boas and Rink. Eskimo Tales and Songs. Jour. Amer. Folk-lore, vol. 2,
p. 123, 1889.

2. Boas. The Centra! Eskimo. Bur. Ethnol. 6th An. Rept. 1884-1885,
p. 6ooflF. Wash. 1888.

90 MUSICAL INSTRUMENTS, AMERICA

Class III sinew, about 50 feet long, is now wound tightly on the groove on
Membranes the outside of the hoop, binding down the skin. This cord is fas-
tened to the handle of the kilaut (drum), which is made to turn
by the force of several men (while its other end is held firmly) and
the line eased out as required. To do this a man sits on the bed-
platform 'having one or two turns of the line about his body, which
is encased in furred deerskins, and empaled by four upright pieces
of wood.' Tension is secured by using a round stick of wood as a
lever on the edge of the skin, drawing it from beneath the cord.
When any whirring sound is heard little wisps of reindeer hair are
tucked in between the skin and the hoop, until the head is as tight
as a drum.

"When the drum is played the drum handle is held in the left
hand of the performer, who strikes the edge of the rim opposite that
over which the skin is stretched. He holds the drum in different
positions, but keeps it in a constant fan-like motion by his hand and
by the blows of the kentun struck alternately on the opposite sides
of the edge. Skillfully keeping the drum vibrating on the handle,
he accompanies this with grotesque motions of the body, and at
intervals with a song, while the women keep up their own Inuit
songs, one after another, through the whole performance. ..."
Boas also states, "The drum is sometimes played with the wrist
of the right hand instead of the beater." ^

Various names for these hoop drums are found in different
localities. The Eskimo of Angmagsalik, Greenland, have one called
krila'H.^ The Iwilik Eskimo of North Hudson Bay have a hoop
drum made of drift wood and reindeer skin called hilowty. The
Koluschan or Tlingit Indians of Sitka, Alaska, have one called gau.^
Among the Skittagetan of Vancouver Island it is called ga-udjau; and
the Kwakiutl (Wakashan) of the same locality call a similar drum
menatse. The poo-ma-ka of the Salishan Indians, Washington, is a
hoop drum, while the poo-min of the same tribe is made from a
cedar log. The Makah (Wakashan) have a hoop drum two feet in
diameter called kut-hoi-yeh, of which there is a fine specimen in the
Museum of the University of Pennsylvania, Phila. The Makah are
located around Neah Bay, Washington.

595 DRUM. A circular frame of wood with membrane

stretched over one side fastened to the rim with tacks. The
exterior surface stained yellow, the interior decorated with

1. The Central Eskimo. Bur. Ethnol. 6th An. Rept. 1884-1885, p. 601.

2. Cat. Musikhistorisk Museum, Copenhagen, 1909. No. 520, K82, p. 113.

3. U. S. Nat. Museum Coll. Nos. 20,731; 60,222.

DRUMS. AMERICAN INDIANS
PI' 90-92, 131, 152. 141. 142

one head

INDIANS, NORTHWEST COAST 9I

a totemic design of the raven in black. Tribe: Chilkat. y!?^.^-^^
Family: Koluschan, Locality: Nushagak Bay, Alaska. Membranes
Diameter, 1 1 K inches. Depth, lyi inches. stmck" ^

While this drum was acquired from Nushagak Bay, Alaska, Section A
the decoration is of marked Chilkat origin, a Tlingit tribe 1. vvith_
located farther south about the Lynn Canal.

2781 DRUM. Chau-i-yuk. A large circular frame of wood

with skin stretched over one side, decorated with a totemic
design resembling the wasko (wolf)' in red and black.
Family: Skittagetan. Locality: Victoria, B. C.
Diameter, 24 inches. Depth, 3 inches.

A similar specimen in the U. S. Nat. Museum Coll. (No.

38,877) from Cape Vancouver bears the name chau-i-yuk.

In another (No. 73,020) from the Commander Islands,

Siberia, the name is cha-yakh{r). The stick of this drum

is called tum-ga-$hikh{r),

627 DRUM. Similar to No. 561. The edge of the mem-

brane decorated with bands of red and blue and four arrow-
heads. Carved wooden beater. Tribe: probably Tinne.
Family: Athapascan. Locality: Coast of Alaska.
Diameter, \6j4 inches. Depth, 2 inches.
Collected by E. W. Nelson, U. S. Nat. Museum.

3442 DRUM. A strip of wood bent in a hoop with skin
stretched over one side and fastened with twine in a groove.
The carved bone handle, in the form of a fish, is notched for
the fingers. Family: Eskimauan. Locality: Cape Espen-
berg, Alaska.
Diameter, i foot 3 inches. Handle, 4yi inches.

3444 DRUM. Similar to No. 3442. The handle of wood.

Wooden wand beater. Family: Salishan. Locality: Chil-
coten (Fraser River), British Columbia.
Diameter, i foot 3>^ inches. Handle, 5 inches.

3443 DRUM. Similar to No. 3444. The wooden rim is
fastened with nails and the skin held in place by twine.

I. Wasko is a mythological being of the wolf species, similar to the chu-chu-
hmexl of the Makah Indians, an antediluvian demon supposed to live in the
mountains. Mallery. Bur. Ethnol. loth An. Rept., 1888-1889, P- 404.
Wash. 1893.

92 MUSICAL INSTRUMENTS, AMERICA

Class III
Vibrating
Membranes
Division I
Struck
Section A
Drums
1. With
one bead

A bone handle. Wooden wand beater. Family: Salishan.
Locality: Chilcoten (Fraser River), British Columbia.
Diameter, i foot. Handle, 3 inches.

2890 DRUM. Kelyaut. A circular frame of wood with a

short, straight bone handle, which terminates in a carved
head. The skin stretched across the hoop is fastened with
a cord of sennet or three-ply braid of sinew. Family: Eski-
mauan. Locality: Point Barrow, Alaska.
Diameter, i foot 4K inches. Handle, 5 inches.
A similar specimen in the Peabody Museum (No. 13,084),
Salem, Mass., is decorated with crude paintings of animals
in black.

667 DRUM. Kelyaut. A small, irregular hoop of whale-

bone with skin stretched across it. A short bone handle.
Family: Eskimauan. Locality: Greenland.
Diameter, 8X inches. Handle, 2 inches.
Collected by Lieutenant Peary.

Kroeber' quoting Lieut. Peary illustrates and describes a
similar drum made from seal intestine and beaten with the
rib of a walrus.

In an article on the Ammassalik Eskimo of East Green-
land, Thalbitzer^ describes certain "drum or malice songs "
indulged in by these people. These he states "are the
guise which justice assumes in these small communities.
Two opponents meet before an assembly during the light
summer nights and hurl satiric songs at each other in the
hearing of all.

"These songs are extemporized to suit the particular
occasion, and are performed drum in hand; each of the
opponents takes the lead in turn, dancing, singing, and
making wry faces at his adversary and at certain inter-
vals even butting him in the face with his chin. These
proceedings are so many scenes or stages in a suit, which
will be protracted for years and will probably embrace
the greater part of the two men's lives."

561 DRUM. Kelyaut. A circular frame of wood with a

short, straight handle of whale-bone; carved head on the

1. cf. Kroeber. The Eskimo of Smith Sound. Amer. Museum of Nat.
Hist. Bui. XII, p. 302. 1899.

2. Thalbitzer. The Heathen Priests of East Greenland (Angakut). Con-
gres Internal, des Americanistes 16, Wien, 1908, p. 447 ff.

INDIANS, NORTHWEST COAST 93

end attached to the rim. The skin stretched across this hoop
and fastened with a cord of sennet or three-ply braid of
sinew. Family: Eskimauan. Locality: Point Barrow,
Alaska.

Diameter, i foot ^yi inches. Handle, 5 inches.
Murdoch! in describing the musical instruments of the
Point Barrow Eskimo writes as follows: "The only musi-
cal instrument in use among these people is the universal
drum or tambourine (kelyaut), consisting of a membrane
stretched over a hoop with a handle on one side, and used
from Greenland to Siberia. It is always accompanied
by the voice singing and chanting. The player holds the
handle in his left hand with the membrane away from
him, and strikes alternately on each side of the rim with
a short heavy piece of ivory, or a long slender wand,
rotating the drum slightly at the same time, to meet the
stroke. This produces a round, resonant, and somewhat
musical note. There appears, however, to be no system
of tuning these drums, the pitch of the note depending
entirely on accident." The frame is usually a flat strip
of willow about an inch wide bent until the two ends
meet, which are fastened together by a strip of walrus
ivory on the inside of the hoop and secured to the frame
by neat stitches of black whale-bone.
The membrane appears to be the peritoneum of a seal.
In old specimens the handle is usually of walrus ivory with
a carved head on the drum end and grooves cut for the
fingers, although the horn of an antler is sometimes used.
The beater varies in form; often a short, thick stick of
ivory, or again a slender, elastic wand.

592 DRUM. Similar to No. 2890. A circular frame of

wood with a carved ivory tusk handle. Family: Eskimauan.
Locality: Norton Sound, Alaska.
Diameter, i foot. Handle, 4 inches.
Collected by E. W. Nelson, U. S. Nat. Museum.

587 DRUM. A circular frame made of a narrow strip

of wood, with a straight handle. Similar to No. 561. Tribe:
Nushagagmiut(?) Family: Eskimauan. Locality: Nusha-
gak Bay, Alaska.
Diameter, i foot 6 inches. Handle, i foot.

I. Murdoch. Bur.of Ethnol. 9th An. Rept., i887-i888,p.385. Wash., 1892.

Division I
Struck
Section B
With two
heads

94 MUSICAL INSTRUMENTS. AMERICA

626 DRUM. Circular frame of wood covered on both sides

with skin, the surface stained dark green, the edges brown.
Family: Eskimauan. Locality: Alaska.
Diameter, i foot 4 inches. Depth, 41^ inches.
A drum with two heads from the Indians of Yukon River
district collected by E. W. Nelson of the U. S. Nat.
Museum (No. 33,140), bears the name chau-i-ya-jung-uk.
The Little Whale Indians (Hudson Bay Eskimo) have a
drum with a cylindrical shell of wood and heads of un-
tanned deerskin.

CLASS IV SONOROUS SUBSTANCES

Perhaps the most important instrument of this region is the
rattle; it is regarded as sacred and figures in all religious feasts and
shamanistic ceremonials. While there are many varieties, some of
which are found in other localities, still there are certain types
peculiar to these northern tribes that have a character all their
own. This is especially true of the Haida or Skittagetan and Chim-
mesyan groups, whose handicraft shows a degree of artistic excel-
lence attained by no other tribes. The symbolism with which the
region abounds, and that manifests itself in the elaborate carving
of the totem poles, is evidenced as well, though on a smaller scale,
in the rattles; and the remarkable skill with which the emblems
of the different gens are evolved, tends but to accentuate the mystery
surrounding the ceremonial. A popular form employed by the
sorcerers is described as a "clapper," among the Eskimos called
a-ga-shak. This is usually carved in the shape of a grotesque
animal head with movable jaws that are worked by a hidden
string, which, in the hands of the sorcerer clothed in his cere-
monial garb, his features hidden by a hideous mask of carved
wood embellished by cedar bark trimmings, is most effective
in reducing his followers to the state of frenzy necessary for the
working of his magic art. Among the Haida this form of rattle is
called htagano. The bird form of rattle so popular with this tribe,
is called sisa or shi-sha, and when this form has a human figure
carved on the back the name is skaga shi-sha. Among the Tlingit,
rattles of different forms are known as cecoq or djin-kaxeia, the wand
rattle with pendant puffin beaks being named djckayne'ta or djin
kaqneta. The Salish Indians of the Tulalip Reservation, Washing-
ton, have a pecten-shell rattle which they name sohe-de-dan. The
Kwakiutl' name for any kind of a rattle is iaten, while dance rattles

I . Indian names for rattles were received from Franz Boas and E. H. Hawley
of the U. S. Nat. Museum.

CEREMONIAL RATILES. INDIANS OF THE NORTHWEST COAST
IMV 93-97

INDIANS, NORTHWEST COAST

are called kua quaten. This tribe also designates various kinds of
drums as menatse, this name applying as well to the kelyau of the
Eskimo, a pine plank laid on the ground and beaten, or the box-
like drum, the ga-udjau of the Skidegate. The Eskimo name for
rattle in the Lekwiltok, Nimkish, Tlatlasikoala, and Haeltzuk villages
is the same as that of the Kwakiutl, — iaten. The Nimkish also
employ the Kwakiutl term — kua quaten. In the Gyit'amat village
a gong is called tnenatse, the Kwakiutl word for drum.

With the rattles as with the other instruments from the North-
west Coast, it has been impossible except in occasional instances, to
more than suggest the probable provenance of the various speci-
mens.

nces
Division I
Struck

646 RATTLE. Bird form of carved wood. The bird has a Class iv

long neck and beak, painted red; the breast is black and the lubsta"^
wings and back are decorated with a totemic emblem in
black. Locality: Vancouver Island.
Length, 1 1}4 inches. Width, 3>^ inches.
Vancouver Island is occupied by the two great divisions
of the Wakashan linguistic stock — the Kwakiutl and the
Nootka.

2263 RATTLE. Bird form of rudely carved wood, deco-

rated with totemic emblems in purple stain. Locality:
Vancouver Island.
Length, 12 inches. Width, 3 inches.

2262 RATTLE. Bird form resembling a duck, similar to No.

2263. Tribe: probably Nootka. Family: Wakashan. Lo-
cality: Vancouver Island.
Length, 11 inches. Width, 3X inches.

2259 RATTLE. Bird form of rudely carved wood, decorated

in red and blue. Tribe: probably Nootka. Family: Waka-
shan. Locality: Vancouver Island.
Length, 9 inches. Width, 2 inches,
cf. Boas. The Social Organization and Secret Societies
of the Kwakiutl Indians. Smith. Inst. An. Rept. 1895.
pi. 50. Wash. 1897.

647 RATTLE. Similar to No. 646. Carved in the form

of a crow. The head and breast painted in red and black.

g6 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division i
Struclc

the folded wings decorated with a totemic emblem, in red,
black, and green. Locality: Vancouver Island.
Length, g}4 inches. Width, 2^ inches.
Collected by James G. Swan, U. S. Nat. Museum. A simi-
lar specimen in the U. S. Nat. Museum Coll., No. 88,727.

2623 RATTLE. Wood carved in the form of a sparrow

hawk. On the back a frog with a spotted serpent pro-
truding from its mouth. The head of the serpent rests on
the top of the bird's head. The decoration is in black and
red, the breast bearing the totemic emblem of the hawk with
a curved beak. Tribe: probably Nootka. Locality: Van-
couver Island.

Length, 13 inches. Width, ^J4 inches.
Collected by James G. Swan, U. S. Nat. Museum. A
similar specimen in the U. S. Nat. Museum Coll., No.
10,309.

61 1 RATTLE. Bird form carved from a block of wood

split lengthwise, the two edges neatly joined. The breast of
the bird is ornamented with a totemic emblem and on the
back are the two carved figures peculiar to these rattles.
One represents the shaman, and the other the kingfisher,
often supplemented by the frog, the two figures being
united by a continuous tongue which extends from the
mouth of one to the other. The kingfisher and frog are sup-
posed to supply the shaman with his necessary magic. The
prevailing colors are red, blue, and black.
Length, 12 inches. Width, 4 inches.
This is a true type of ceremonial rattle of the Tsimshian
(the skaga-shi-sha of the Haida), who are located along
the northern coast adjacent to Queen Charlotte Islands.
The symbolism of this rattle is described by Niblack,
Smith. Inst. An. Rept. (year ending June 30, 1888), pi.
LI 1 1, fig. 286, Wash. 1890. U. S. Nat. Museum Coll.
No. 89,085.

615 RATTLE. Bird form similar to No. 611, emblematic
of the crow gens. Tribe: probably Tsimshian. Family:
Chimmesyan. Locality : Skidegate, Queen Charlotte Islands.
Length, 13 inches. Width, 4^ inches.

616 RATTLE. Carved wood in the form of an animal's
head with open mouth showing the teeth. This is sur-

RATTLES. INDIANS OF THE NORTHWEST COAST
\'l'. 96-98

INDIANS. NORTHWEST COAST 97

mounted by a reclining figure, the head of which appears Class iv
between the ears of the animal. The surface painted red, substances
black, and blue. Family: probably Skittagetan or Haida. suuck " '
Locality: Queen Charlotte Islands.
Length, 8 inches. Width, 3 inches.

2 161 RATTLE. Bird form similar to No. 615, emblematic

of the crow gens. Tribe: probably Tsimshian. Family:
Chimmesyan. Locality: Skidegate, Queen Charlotte Islands.
Length, \2}4 inches. Width, 35^ inches.
Collected by James G. Swan, U. S. Nat. Museum.

614 RATTLE. Wood, carved in the form of a double-

headed eagle, the body and wings decorated with a totemic
design in blue and black. Locality: Sitka, Alaska.
Length, 10 inches. Width, 4^ inches.

Collected by James G. Swan, U. S. Nat. Museum.

This form was probably suggested by the double eagle of

the Russian standard.

610 RATTLE. Cecoq. Bird form, similar to No. 614.

Locality: Sitka, Alaska.
Length, gyi inches. Width, 3X inches.

Collected by James G. Swan, U. S. Nat. Museum.

cf. Niblack. Smith. Inst. An. Rept. 1888. pi. LVIII, fig.

307. Wash. 1890. U. S. Nat. Museum Coll. No. 20,762.

2264 RATTLE. A block of wood in the form of a flattened

bulb with a straight handle, split lengthwise, the two sides
hollowed out and fastened together with twisted sinew.
Each side carved in the form of a human face with open
mouth showing the teeth. Tribe: probably Nootka. Family:
Wakashan. Locality: Vancouver Island.
Length, 12 inches. Width, 6>^ inches.
See note to No. 3123, p. 57.

581 RATTLE. K'el-hiiaga'ngo. Wood. A bulbed head

with a face carved on two sides, the eyes, eyebrows, and hair
painted blue. Locality: Alaska.
Length, 10 inches. Width, 4}^ inches.
Collected by Dr. J. B. White, U. S. A.

1963 RATTLE. Wood. Globular form carved to represent

a head on a straight handle. On one side a totemic em-

98 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division I
Struck

blem carved in low relief, on the opposite side a face with
a beaked nose that extends over the open mouth and two
rowsof teeth. Tribe: Haida or Tsimshian. Locality: North-
ern coast adjacent to Queen Charlotte Islands.
Length, 1 1 inches. Width, 7 inches.

An interesting specimen of one of the earlier forms of rattle.
The carving represents the hawk, one of the eight totemic
symbols described by Franz Boas in his book. The Decora-
tive Art of the Indians of the Pacific Coast, p. 136.' cf.
Smith. Inst. An. Kept. 1888, pi. LIX, fig. 309. Wash.
1893. U. S. Nat. Museum Coll., No. 88,796.

2025 RATTLE. Carved from a block of wood in the form

of a bulbed head with a straight handle. The two sides are
hollowed out, the edges neatly joined and the handle wound
with a thong of animal sinew. The surface is carved with a
human face in low relief on each side and the prevailing
colors are red, blue, and black. Family: probably Haida
or Tsimshian. Locality: Northern coast adjacent to Queen
Charlotte Islands.
Length, 12 inches. Diameter of head, 6>^ inches.

An interesting rattle of this type, now in the British
Museum, was collected by Captain Vancouver during
his voyage (1790-1795). It is illustrated and described
by Dalton.2 The head of the rattle is carved with a
totemic face and the dark brown handle finished with a
bird's head is fastened to the head with a thong of birch
bark. The rattle measures 35 cm.

612

RATTLE. K'el-hitagango. Carved from a block of
wood, the head a flattened bulb with a straight handle, the
two sides hollowed out, and the edges neatly joined. The
head is encircled by a band of red and a line of blue; each
side has a painted face with round black eyes and heavy
brows, the nose and lips in red. Family: probably Haida
or Tsimshian. Locality: Northern coast adjacent to Queen
Charlotte Islands.

Length, 8>^ inches. Diameter of bulb, 3>^ inches.
Collected by James G. Swan, U. S. Nat. Museum.

1. Amer. Museum of Nat. Hist. Bui. 9, 1897.

2. Dalton. Notes on the Ethnological Collection from the West Coast of
North America, etc. Inter. Archiv. fiir Ethnog. vol. 10, p. 225, fig. 19,
pi. XV, 1897.

INDIANS, NORTHWEST COAST 99

2621 RATTLE. Carved from a block of wood in the form

of a flattened bulb with a straight handle, split lengthwise,
and the edges tied together at four points by thongs of
twisted animal sinew and cedar bark. The carved surface
has a grotesque face on one side and on the reverse a totemic
emblem. The colors are red, green, and black. Tribe: prob-
ably Kwakiutl. Family: Wakashan. Locality: Vancouver
Island and adjacent coast.
Length, 8H inches. Diameter of bulb, 5>^ inches.

2265 RATTLE. Similar to No. 2264. In this specimen the

two sides are tied together with leather thongs. The smooth
surface, originally painted red, is decorated with a band of
incised lines around the edge of the bulb, and in the center
on each side is a circle with radiating lines symbolic of the
sun. Family: probably Koluschan or Tlingit. Locality:
Northwest Coast.

Length, 1 1 inches. Diameter of head, 7 inches.
This is a true type of the shaman's rattle found among
the Tsimshian and Tlingit. Smith. Inst. An. Rept. pi.
LIX, fig. 311, U. S. Nat. Museum Coll., No. 74,333.

2258 RATTLE, Wood. Egg-shaped, with a straight han-

dle. No decoration. Family: probably Koluschan or
Tlingit. Locality: Northwest Coast.
Length, 8K inches. Diameter, 2 inches.

3406 RATTLE. Wood. A round flat head with a straight

handle. A disc of red in the center of each side and a band
of the same color around the edge. Family: probably Kolu-
schan or Tlingit. Locality: Northwest Coast.
Length, 8 inches. Diameter of head, 3>^ inches.

1 965 RATTLE. A ring of wood with a short straight handle

closed at the end with a wooden plug. The surface is painted
red and black and ornamented with lines and grotesque
figures.
Length, 8 inches. Diameter of ring, 5 inches.

Used in shamanistic ceremonies. In examining this rattle
Lieutenant Emmons stated that while he had never seen
a rattle of this kind in Alaska the decoration was of the
type found among the Eskimo at the mouth of the Kuskok-
wim River north of Bristol Bay, Alaska.

lOO MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division i
Struck

2260 RATTLE. Carved from a block of wood in the form

of a pecten shell, with a straight handle. The surface is
colored pink and the handle wound with red and white
cotton cord. Locality: Southern coast of Alaska.
Length, 9K inches. Width, 4 inches.

613 RATTLE. Wood, carved in the form of a dumb-bell

with cylindrical heads. The surface stained a dull pink and
blue. Tribe: probably Nootka. Family: Wakashan. Lo-
cality: Vancouver Island and Cape Flattery.
Length, 12 K inches. Diameter of head, 2 inches.
Used in shamanistic ceremonies.

565 RATTLE. Wood. An oblong box, the four sides

bound together with strips of bark and leather, attached
to the center of a long stick. Tribe: Chnagmiut (?), of the
Eskimauan family, located in and around Razboinski, on
the Yukon River, Alaska.

Length of stick, ^\j4 inches. Length of box, \\}4 inches.
Diameter, 2}4 inches.
Brown. Musical Instruments, pi. Miscellaneous, No. 2.

1456 RATTLE. A quadrangular box of wood, the edge fol-

lowing the outline of a totemic emblem (Killer-whale ?).i
A handle on one side connecting with a bellows on the inside
of the box which operates a whistle. Family : probably Kolu-
schan or Tlingit. Locality: Northwest Coast.
Length, 1 1 inches. Width, 9 inches. Depth, 3 inches.

2732 RATTLE. Two hoops of wood, one smaller than the

other, covered with red flannel and fastened on a cross-bar.

The rattle consists of dew-claws hung loosely on the rings.

Family: probably Koluschan. Locality: Northwest Coast.

Diameter of larger hoop, 7>^ inches.

Rattles made from the hoofs and dew-claws of ruminant
animals are found among many tribes and are scattered
over a wide area. The types recorded are as follows: i.
Those in which the hoofs are pierced and strung on fibre
cord or thongs of buckskin and bunched together. (Mis-
sion Indians, California; U. S. Nat. Museum Coll. Nos.
21,328; 213,567. Jamamamadi Indians, Brazil; U. S.
Nat. Museum Coll. No. 210,004, in which the rattles are

I. Boas. The Decorative Art of the Indians of the Pacific Coast. Amer.
Museum of Nat. Hist. Bui. 9. 1897.

INDIANS, NORTHWEST COAST lOI

of bird bones and tapir hoofs. Paraguay; U. S. Nat.
Museum Coll. No. 210,563. Keresan Indians, New Mex-
ico; U. S. Nat. Museum Coll. Nos. 134,372; 134,492,
made of goat toes and called ko-ta.) 2. The belt rattle,
made of leather or cloth fringed with pendant hoofs
similar to No. 571, p. 171, such as is worn by the Tara-
humara Indians of Mexico. 3. The leg rattle in which
the hoofs dangle from the edge of a turtle shell, the yung-
uh-sho-na of the Hopi (No. 620, p. 1 58; the Hupa Indians,
California, U. S. Nat. Museum Coll. No. 77,190, also No.
22,884.) 4. The wand form with the hoofs suspended from
a leather-covered stick (No. 726, p. 173; also the Yankton
Sioux, U. S. Nat. Museum Coll. No, 153,727; Arapaho,
U. S. Nat. Museum Coll. Nos. 165,760; 200,571; 165,760;
and Amer. Museum of Nat. Hist. Coll. (cf. plate facing
p. 174.) With the Nez Perces, the native name for this
form is lakat, U. S. Nat. Museum Coll. No. 23,859; and
Navaho, U.S. Nat. Museum Coll. No. 74,730, native name,
najojh). 5. The ring form of the Eskimo, the shaman
rattle, kol-chai-ak, is made of two concentric wooden hoops
lashed to cross-bars; to the hoops are hung pendant feath-
ers and bears' claws, hoofs, pecten shells, or puffin beaks
{alca arctica), as in No. 2732. Many examples of these
are shown in the ethnological collection of the U. S. Nat.
Museum, the Amer. Museum of Nat. History, the Pea-
body Museum, Harvard University, Cambridge, Mass.,
and the Peabody Museum, Salem, Mass. cf. Wilson. Pre-
historic Art, Smith. Inst. An. Rept. 1896, p. 563, Wash.
1898, fig. 202, and notes to No. 3343, p. 172, and No. 726,
p. 173.

3344 RATTLE. A small wooden wand wound with spruce

root. On one end three pendant dew-claws, on the opposite
end two. Family: probably Koluschan orTlingit. Local-
ity: Northwest Coast.
Length, 6X inches.

Four similar specimens (Nos. 1771-1773) in the Peabody
Museum, Harvard University, Cambridge, Mass. Prob-
ably used in pairs.

624 RATTLE. So-he-de-dan. Six pecten shells strung on

a cord. Locality: Alaska.
Diameter of shells, 6% inches.
Used by the Shamans.

Class IV
Sonorous
Substances
Division I
Struck

1 02 MUSICAL INSTRUMENTS, AMERICA

The Rev. Myron Eells^ describing the culture of the
Clallam Indians mentions a rattle made of deer hoofs,
also rattles made of the scallop-shells which are found
in their waters: "A hole is made near the hinge of
each shell, and a number of them are strung on a stick
about the size of a lead pencil, which is bent in a circular
form and serves for a handle. These are shaken edge
downwards. If shaken side downwards they are likely
to be broken, in which case the person holding them
will, according to their belief, die soon."
Wm. H. Holmes^ states that many tribes of the north-
west have rattles of pecten caurinus and peden hastatus
shells.

2782 BATON. A carved club of hard wood used for mark-

ing the time in ceremonial dances. Tribe: Kwakiutl. Fam-
ily: Wakashan. Locality: Vancouver Island.
Length, i foot 2 inches. Diameter, i ^< inches.
These batons, used in the winter ceremonial of the Kwa-
kiutl Indians, are described by Boas.^ The singers
are arranged in rows having in front of them long
planks on which they beat the rhythm with batons. The
ordinary batons are of split pine wood with one end
smoothed for a handle. The more elaborate ones used
by the singing masters are carved with totemic emblems.
The present specimen has a carving of a sea-lion around
the larger end. The planks are sometimes struck with
the end of the baton and sometimes with its side.

I 541 BOX DRUM. A quadrangular box with a totemic

painting in red and black on one of the larger sides. Tribe:
Kwakiutl (Musquiam). Family: Wakashan. Locality:
Cape Mudde at the mouth of the north arm of the Fraser
River, British Columbia.

Length, 2 feet 8 inches. Width, 2 feet 3 inches. Depth, i foot
4 inches.

This drum is used in the ceremonial of the Hamats'a

1. The Twana, Chimakum and Klallam Indians of Washington Territory.
Smith. Inst. An. Rept. 1887, pt. 1, p. 652. Wash. 1889.

2. Art in Shell of the Ancient Americans. Bur. of Ethnol. 2d An. Rept.
1880-1881, p. 190. Wash. 1883.

3. TheSocial Organization and the Secret Societies of the Kwakiutl Indians.
Smith. Inst. An. Rept. 1895, pp. 43 1,437, 508 ff. Wash. 1897.

INDIANS, NORTHWEST COAST IO3

described by Boas.^ When in use it is partially filled
with water and tilted a little to one side; it is struck by
the clenched right hand of the performer who is seated.
The Kwakiutl name for drum is menaise. The Skitta-
getan word for a box drum is ga-udjau.

I. cf. Boas. The Social Organization and the Secret Societies of the Kwa-
kiutl Indians. Smith. Inst. An. Rept. 1895, pi. 29, p. 446. Wash. 1897.
Idem. Decorative Art of the Indians of the North Pacific Coast. Amer.
Museum of Nat. Hist. Bui. 9. 1897.

INDIAN TRIBES OF THE UNITED STATES

CLASS I STRINGED INSTRUMENTS

luuck^' 3^50 MUSICAL BOW. Ha-hai-shim. A flat strip of ash

Strings. with a spur at each end, one side painted red and decorated

with arrow-heads in black and white. Two fibre strings.

Tribe: Yokaia (Porno). Family: Kulanapan. Locality:

Ukiah Valley, Northern California.

Length, 2 feet i J4 inches. Width, i J4 inches.

In playing this instrument the performer places the un-
painted side of the bow against his lips^ and strikes the
strings with a small piece of deer bone. The strings are
usually of two tones and the size of the buccal cavity
controls the pitch. Some of the tribes call this the "si-
lent music" as only the one playing the intrument can
hear the sound produced. The bone striker is called ga-
di-so-liu, which being translated means "bone music."
Like the Winnebago courting flute this instrument is pop-
ular with lovers. In this bow the strings lie close to the
wood, although originally they may have been raised from
the surface by slips of wood as in the ukeke^ of Hawaii,
with which form of bow it is identical. It also resem-

1. Section A. Plucked Strings not represented.

2. The mountain tribes of Formosa have a musical bow of split bamboo
with a wax-coated, twisted string of fibre. This is held in the left hand, the
end resting against the shoulder. The lower part of the string is "struck"
with the fingers, while the upper end is put in vibration by the lips of the
player. Among the Tsoo of Central Formosa this is called posoru; among
the Vonum, a tribe to the northwest of Tsoo, radyok; and on the southeast
coast among the Puzuma, ratok. H. ten Kate. The Musical Bow in
Formosa, in Amer. Anthrop. New Ser. vol. 5, p. 581. 1903.

3. Catalogueof the Crosby Brown Collection, Oceania, p. 51, 1907. Balfour.
Musical Bow, p. 81 ff.

104

INDIANS, UNITED STATES IO5

bles one in the Oxford Museum from the Mungeri dis-
trict, New Georgia, Solomon Islands, illustrated and de-
scribed by Balfour.i Like some of the African^ bows it
is held against the lips or teeth, the buccal cavity acting
as a resonator.

Mason ^ describes a musical bow, the mawahellis, of the
Tejon tribe of the Tule River Indians, California, as a
bow of tule reed with a longitudinal half section of the
upper joint removed and a hole made in the lower end
for a vertical tuning peg, which carries a string of gut.
U. S. Nat. Museum Coll. No. 19,87.
The Omaha* of North Dakota employed the musical bow
in its most primitive form in the Witcita Dance, described
by Dorsey as one of their ancient tribal ceremonies.
In this dance "each of the four singers has a gourd rattle,
a bow, and an arrow. He holds the bow, which is whit-
ened, in his left hand, and the rattle and arrow in his
right. He strikes the arrow against the bow strings as
he shakes the rattle." Among the Cora and Huichol of
Mexico and the Maidu of California the musical bow has
a gourd resonator,^ and in New Mexico the thlinthli-no-me
(U. S. Nat. .Museum Coll. No. 48,049) of the Pueblo
Indians has a tuning-peg. The presence of the musical
bow among the American Indians has been discussed by
numerous authorities, and while research has not yet
satisfactorily proved it indigenous, still its use among
widely separated tribes lends a certain weight to that
theory. Further notes on this subject will be found in
the Appendix.8

2842 FIDDLE. T^it-idoatlJ A cylindrical body formed Class i

from an agave flower stalk stained and decorated with instruments
arrow-heads and crosses in red and black. A single peg f^*^^^^
pierces the body from side to side and holds the two strings strings

1. Balfour. Musical Bow, p. 77.

2. cf. Balfour. Musical Bow, pp. 7, 9. Africa. No. 1739.

3. cf. Mason. Amer. Anthrop., vol. 10, p. 377, 1897.

4. Omaha, a tribe of the Siouan stock located in North and South Dakota
and in Nebraska. See also Dorsey, J. Owen. Omaha Sociology, in Bur.
of Ethnol. 3rd An. Rept. 1881-1882, p. 350. Wash. 1884.

5. See Appendix, p. 260.

6. Page 258.

7. Bourke translates t'lit-idoatl as " music wood." The Religion of the
.Apache Indians. Folk-lore, vol. 2, p. 450, 1891.

Io6 MUSICAL INSTRUMENTS, AMERICA

Class I

Stringed

Instruments

Section C

Bowed

Strings

of horsehair. Near the lower edge two string pegs. Sound-
holes in the front in the shape of arrow-heads. Tribe:
Apache. Family: Athapascan. Locality: White Mountain
Reservation. U. S. Nat. Museum Coll., 5,521.
Length, i foot 7>^ inches. Diameter, 4 inches. Bow, i
foot 8 inches.

"These fiddles are peculiar to the White Mountain Reser-
vation and San Carlos Apache of Arizona. They seem to
be of comparatively recent introduction and may have
been suggested by Mexican or even American fiddles." *
With the exception of the musical bow this is the only
form of stringed instrument found among the North
American Indians.

The Apache^ are a number of tribes forming the southerly
branch of the Athapascan family, located in New Mexico
and Arizona. They have always been a warlike tribe
noted for their hostility toward white and Indian settle-
ments alike. From a musical standpoint they are inter-
esting as having the only bowed instrument found among
the North American Indians, a rude form of fiddle made
of the flower stalk of the agave. In form and construction
it resembles the kodili,^ the musical bow of the Solomon
Islands; also the musical bow from New Guinea, described
by Balfour.4 Owing to the proximity of this tribe to the
Mexican border this type doubtless owes its origin to
Spanish influence. Among the Arapaho the Apache are
called Tha'kahine na, — "saw fiddle men." s The Apache
also use the notched-stick rattle which, according to
Hayden,^ is accountable for the tribal name That-a-i-nin,
— people who play on bone instruments, that is, a pair of
buffalo ribs, one notched, over which the other is rubbed.

2631 FIDDLE. T{it-idoatl. A cylindrical body of palm

wood stained with bands of yellow, and decorated with
designs of arrow-heads, circles, and dots in red and black.
The string of horsehair. Five diamond-shaped sound-

1. Mss. Walter Hough, U. S. Nat. Museum. Wash. 1912.

2. Bur. of Amer. Ethnol. Bui. 30, pt. i, p. 63. Wash. 1907.

3. Oceania, No. 1734.

4. cf. Balfour. History of the Musical Bow, p. 76 ff.

5. cf. Gatschet. Mss. Arapaho vocab. Nat. Museum.

6. Ethnography and Philology of the Missouri Valley, p. 326, 1862, quoted
in Bur. of Amer. Ethnol. Bui. 30, pt. i, p. 67. Wash. 1907.

" 'J 'l> "i ■*'

.W 'Irani r i^MWto.Mll^— i"'"' I I'l^ t ||-|W

APACHE FIDDLES
PP. 1 06, 107

INDIANS, UNITED STATES IO7

holes. Peg missing; near the edge a movable bridge. Class i
Tribe: Apache. instruments

Length, i foot ^yi inches. Diameter, 3^ inches. Bow, i lo'^^gj' ^

foot 4 inches. Strings

596 FIDDLE. Tiii-idoail. The surface varnished and dec-

orated with bands of arrow-heads, dots, and bits of metal
inlay. A knobbed peg carries a single gut string. Two
movable bridges. Tribe: Apache.

Length, i foot 5^ inches. Diameter, 2}^ inches. Bow, i
foot 8k^ inches.

Made by Choppo Geronimo, a Chiricahua Apache Indian,
while imprisoned at Mt. Vernon Barracks, Alabama.

600 FIDDLE. Tiit-idoail. Cylindrical body of wood

painted white and decorated in bright colors. In front a
narrow serpentine slit terminating in an open triangle. A
single peg pierces the body from side to side. The string
is of horsehair. Bridge missing. Tribe: Apache.
Length, i foot 3 inches. Diameter, 3 inches. Bow, i foot
3 inches.

Made by an Apache Indian at the Carlisle School for In-
dians, cf. Kraus: Appunti sulla musica etc. in Ar-
chivio per I'antropol. vol. 37, p. 47. pi. I.

604 FIDDLE. Tiii-idoail. Similar to No. 596. Cylindri-

cal body of palm-wood stained in bands of green, red, and
yellow, the yellow ornamented with a design of arrow-heads
and wavy lines in indigo. A single string of twisted sinew.
Three circular and two triangular holes. Tribe: Apache.
Length, i foot 2 inches. Diameter, i foot 5 inches.

2924 FIDDLE. Tiit-idoatl. A tube of natural palm wood

decorated in red and black with various symbolic em-
blems. Tribe: Apache.
Length, 12^ inches. Diameter, 2 inches. Bow, 12 inches.

'973 FIDDLE. Tiii-idoail. Similar to No. 2924. Surface

stained yellow and decorated in red and blue. A long string
peg. Tribe: Apache.
Length, 12 >^ inches. Diameter, 2 J^ inches. Bow, 10 inches.

2733 FIDDLE. Tiii-idoail. Similar to No. 2924. Stained

yellow and decorated with symbolic emblems in blue, red.

I08 MUSICAL INSTRUMENTS. AMERICA

Class I

Stringed

Instruments

Section C

Bowed

Strings

and black, and two Indian heads

Tribe: Apache.

Length, 1 3 >^ inches. Diameter, iJJ^ inches.

Peg and bridges missing.
Bow, 9 inches.

668 FIDDLE. Tiit-idoatl. Similar to No. 2924. Made

from an agave flower stalk stained yellow. A band of red
at the top and one of brown at the opposite end. A string
peg at each end. No bridges. Tribe: Apache.
Length, i2>^ inches. Diameter, i>^ inches. Bow, loinches.

2925 FIDDLE. Tiit-idoatl Similar to No. 2924. A tube

of agave flower stalk stained yellow and decorated with
various emblems. Three triangular sound-holes. Tribe:
Apache.
Length, 1 1 j4 inches. Diameter, i % inches. Bow, 1 1 inches.

3345 FIDDLE. T^it-idoatl. Similar to No. 2924. A cylin-

der, stained red and black; arrow-heads and the serpentine
lightning design scratched on the surface. Tribe: Apache.
Length, i foot 3 inches. Diameter, 7 inches.

1746

636

FIDDLE. Tiit-idoatl. A quadrangular, slightly taper-
ing sound-box of wood; the sound-board pierced with S
sound-holes, and one in the form of a triangle; decorated
with two stars in red and black. Two gut strings fastened
with iron tacks at the top and bottom. Two movable
bridges. Bow strung with horsehair. Tribe: Apache.
Length, i foot 7 inches. Base, 2 inches. Top, 3 inches.
Diameter, i ^2 inches.

FIDDLE. Tiit-idoatl. Similar to No. 1746. Sound-
box of varnished wood, pierced with circular sound-holes
and ornamented with serpentine lines, a dragonfly, and bands
of green. One string. Two movable bridges. Tribe:
Apache.

Length, i foot io>^ inches. Diameter, i>^ inches. Bow,
I foot gyz inches.
Made by Choppo Geronimo, a Chiricahua Apache Indian.
The bridges are simply pegs of wood slipped in to hold
the string and do not serve to alter the pitch.

*2734 FIDDLE. T^it-idoail. Body formed from a section
* Placed with Class I in the kindred instruments of the Historical Groups.

INDIANS. UNITED STATES lOQ

of the stalk of a yucca palm decorated with a geometric
design in color.

Length, 12^ inches. Diameter, i K inches. Length of bow,
1 1 K inches.

CLASS II WIND INSTRUMENTS

The wind instruments of the Indians of the United States diflfer
materially from those found along the Northwest Coast, and may
be grouped under three general heads: the bone whistle, the cane
flute, and the moose call. The use of the reed,^ an important feature
in the ceremonial instruments of the northwest, is rarely met with
among these tribes. The Algonquian, Muskhogean, and Iroquois
use a deer call (No. 617) fitted with a single-beating reed of metal
that is sounded through a cover as in the European krunimhorn,
the double-beating reed pipe of the sixteenth century (No. 2572,
European section). The northern Sioux also have a moose call
(No. 3521) fitted with a slip of birch-bark that acts as a beating
reed, and the Navaho have a whistle with a ribbon reed, re-
corded by the Franciscan Fathers.^ But so far as it has been
possible to ascertain, reed instruments appear to be confined chiefly
to the paraphernalia of the hunter.

The bone whistle, however, from the earliest times has
played an important part in the life of the Indian; specimens
found in the graves of the Mission Indians of Lower California
(No. 586) are of the same type as those found among Peruvian'
antiquities, and its use, described by the early writers, continues
to the present day. It has always been an important feature in
the ceremonies of the Arapaho and other Plains tribes and is
described by Catlin as made from the bone of a turkey leg, or the
bone of a deer. It was worn about the neck (PI. facing p. 1 74), sus-

1. The cup-mouthpiece type does not seem to be represented among the
Indian tribes of the U. S., except possibly in the "gourd trumpet" used
in the Soyalanna drama of the Walpi described by Fewkes. (A Theatrical
j-'urformance at Waipi. Wash. Acad, of Science vol. 2, p. 605. 1900.) In
S(juth America, however, many of the tribes employ trumpets made of wood,
gourds, and the horns of animals, and in occasional instances, pottery
trumpets.

2. Eth. Diet. p. 511.

3. While the use of the bone whistle covers a wide area, extending from the
tribes of the Northwest Coast to those resident in South America, it seems
u> be confined almost exclusively to this country, two exceptions being the
kani^ iung (No. 21563, Asiatic Section), the bone trumpet of Tibet, made from
the femur or thigh bone of a Llama priest, and themeijiwi^ (No. 446, Asiatic
Section), the reed pipe of Arabia and Northern Egypt, made of bone or cane.

no MUSICAL INSTRUMENTS, AMERICA

pended from a cord of buckskin sometimes wound with porcupine
quill, and was used for signaling on the battlefield; "it produced but
two notes, one more shrill than the other, the signal for the battle to
begin, the other, produced by blowing in the opposite end, sounded a
retreat." ^ Francis La Flesche^ also mentions the bone whistle in
his description of the BuflFalo medicine men of the Omaha, where,
"in the midst of the chorus of voices rose the shrill sound of the
bone whistle accompaniment imitating the call of an eagle." Among
the Hopi, it is employed in the Snake Dance ceremonies and is made
from the bone of an eagle. By this tribe it is called totoqpi or ta-
ioyk-pi.^

The Indian flute, used principally as an accompaniment to the
serenade, is the vertical type, and is found in various materials,
cane,— in the southwest the stock of the yucca is used, — wood,
metal, and in the northwest among the Sioux the flute is sometimes
made of pipe-stone (Catlinite). Catlin also describes one of deer-
skin.4 In the Zuni ceremonial a cane flute is employed that differs

1. Catlin. North American Indians, vol. i, p. 242 flF. Its use among the
Creeks and Cherokees is also described by Bartram, writing ini 79 1 . Travels,
p. 505.

2. Jour, of Amer, Folk-lore, vol. 3, p. 217. 1890.

3. On the seventh day of the Oraibi snake ceremony (see Appendix, p. 273)
a messenger bearing prayer offerings goes in search of water. Arriving
within a short distance of the spring he twirls the bull-roarer (u-muk-pi) and
blows the bone whistle {totoqpi) to announce to the water deities his presence;
this is repeated four times until the edge of the spring is reached, when after
depositing his offerings the following prayer is made: "Now, then, this here,
I have brought for you. With this I have come to fetch you. Hence being
arranged in this, thus rain on our crops! Then will these corn stalks be
growing up by that rain, when they mature, we shall be here in the light,
being nurtured, be happy." (Voth. The Oraibi Summer Snake Ceremony.
Nov. 1903. Field Columbian Museum, Pub. 83. Anthrop. Ser. vol. 3,
p. 262.) Dorsey. Idem. Pub. 55. Anthrop. Ser., vol. 3, .Mch. 1901, p. 31
also describes the use of the bone whistle in the Oraibi Soyal Ceremony in
the night ceremonies of the fifth day: "Suddenly a screeching sound was
heard outside of the kiva as that of the hawk, which was answered by the
same sound from within. This was produced by a small bone instrument
which was entirely concealed in the mouth." Among the tribes of the
Northwest Coast a small reed pipe is sometimes secreted in the mouth of
the shaman or of the sorcerer when he desires to produce the effect of one
possessed by an evil spirit, cf. note to No. 2237, p. 78.

4. Catlin describes the Winnebago courting flute (tsal-eet-quash-to) or deer-
skin flute, which has three, four, and six finger-holes producing the same
number of notes with their octaves. Vol. i, p. 243, pi. ioi>^. Bancroft
mentions a similar Siouan flute (pib-be-gwun) with five, six, or seven holes,
made of a split tube of cedar, glued together, sometimes held by rings of
pewter, and states that the Dakota made it from a single tube of wood
while the Chippewa frequently drew a snake's skin over the cedar tube.
Vol. 2, p. 5 14, pi. 75. The Sioux have another form of flute with six finger-

Flutes

INDIANS. UNITED STATES III

from the usual form; this terminates in a bell, made from the half
section of a gourd. The transverse t>pe of flute is represented by a
single example (No. 578), the provenance of which is uncertain.

1979 BONE WHISTLE. Made from the tibia of a deer. Class 11

A small hole just below the open end partially closed with instruments
pitch or asphaltum. Mission Indians. Family: Shoshonean ^^(3°°^
or Yuman. Locality: San Nicholas Islands, California. i^ Vertical

Length, 8}4 inches.
This and the following ten specimens were found in the
graves of Mission Indians. The Mission Indians are those
tribes of the Shoshonean and Yuman stocks that were
brought under the influence of Franciscan missionaries in
1796.' These whistles are similar to those shown among
the prehistoric instruments,^ illustrated and described
in the catalogue of that section. In nearly every
instance the bone is badly cracked and the edges crum-
bling. See Map of Linguistic Families, p. 334; also articles
on Shoshonean and Yuman Families. Bur. of Amer. Ethnol.
Bui. 30, pt. 2, pp. 556 and loii. Wash. 1910.

1978

1980

BONE WHISTLE. Similar to preceding. Locality:
San Miguel Island, California.
Length, 7 inches.

BONE WHISTLE. Made from the bone of a bird.
Open at both ends.
Length, 7^ inches.
This and the following eight specimens were found in

holes called co-ya-tanka, and a whistle, he-ha-kha-^0-^0. Among the Algon-
quian the carving represents the woodpecker, and a series of dots on the
under side of the instrument indicates the number of maidens serenaded
by the original owner. A detailed description of the Indian flageolet, fur-
nished by Mr. E. H. Hawley of the National Museum, Washington, will
be found in the Appendix, p. 268.

The "mystery flute" and the " Indian flageolet" are illustrated by Kraus in
Arch. I'Ant. Etn. vol. 37, p. 47. pi. I. figs. 3, 4. 1907.

1. Bur. of Amer. Ethnol. Bul. 30, pt. i, p. 873. 1907.

2. Historical Groups, p. 3 ff. 1903.

cf. also Engel. Musical Instruments in the South Kensington Museum,

p. 9. 1874.

Mead. Musical Instruments of the Incas, pi. 5. 1903.

Fetis. Histoire de la Musique, vol. i, p. 25.

Wilson. Prehistoric Art. Smith. Inst. An. Rept. 1896, p. 650 fT.

Wallaschek. Primitive Music, p. 90. 1903.

Brit. Museum. Handbook to the Ethnog. Coll. p. 285. 1910.

Abbott. Musical Instruments made of Bone. U. S. Geol. Survey. Rept.

VII, p. 234. 1879.

112 MUSICAL INSTRUMENTS, AMERICA

Class II graves on the Islands of San Nicholas, San Clementi, and

Instruments Santa Rosa, California.

Section A

^vertfcai iqS:^ BONE WHISTLE. Similar to No. 1980.

Flutes -^^ 1 .u • u

Length, 7 inches.

1984 BONE WHISTLE. Similar to No. 1980.
Length, 4^^ inches.

1981 BONE WHISTLE. Similar to No. 1984.
Length, 4^ inches.

1985 BONE WHISTLE. Similar to No. 1981. The lower
end closed with asphaltum.

Length, 3>^ inches.

1987 BONE WHISTLE. Similar to No. 1985.
Length, 3 % inches.

1982 BONE WHISTLE. Similar to No. 1981. Open at

both ends.
Length, 3 yi inches.

1986 BONE WHISTLE. Similar to No. 1982.
Length, 3 inches.

1988 BONE WHISTLE. Similar to No. 1986.
Length, i K inches.

♦586 DOUBLE WHISTLE. Made from the tibia of a deer.

Two bones, with a single hole in the smaller end of each,
forming a whistle. The bones darkened with age and
crumbling on the edges. Santa Catalina, Southern Cali-
fornia. Presented by the American Museum of Natural
History, New York.
Length, 9 inches.
This specimen is one of eight found in the ancient Indian
graves of Southern California. Numerous examples of
single whistles have been found, but the double ones are
much more rare. Further information in regard to the
above specimen will be found in Prof. F. W. Putnam's
Report upon the Archaeology of California, vol. 7, p.
* Placed with the prehistoric instruments of Historical Groups, p. 4, 1905.

202

2379 2380 19 87 1985 1983 1978

1979

BONE WHISTLHS AND FLUTES. NORTH AND SOUTH AMERICA
PP. I I 1-1 14, 1 16, 2 14; 227, 228, 235, 236

INDIANS, UNITED STATES II3

237, of the U. S. Geographical Surveys west of looth ^If^!^^
Meridian, under charge of Lieut. Wheeler, U. S. Army, instruments
Published by the Government, 1879. whiitrei^

I. Vertical
Flutes

1989 WHISTLE, Made from a bone, the surface worn by

age. No holes. Found in an ancient Indian grave at Santa
Barbara, California.
Length, 8X inches.

3666 BONE WHISTLE. Made from the wing bone of an

eagle. At the lower end a pendant breath feather. The
whistle is fastened to a necklace of beadwork. Family:
Shoshonean. Locality: Arizona and New Mexico.
Length, 834 inches.
Used in the ceremonies of the Sun Dance.

2059 BONE WHISTLE. A bird bone decorated with bright

feathers and bits of tin. Family: probably Siouan or Algon-
quian.
Length, 8^4 inches.

2760 BONE WHISTLE in G. Made from the wing bone of

an eagle. The lower end closed with resin. Tribe: Oglala.
Family: Siouan. Locality: Fort Yates, Standing Rock Res-
ervation, North Dakota.
Length, 7K inches.
The bone whistle is used to accompany the songs of the
Sun Dance of the Plains Indians. See Appendix, p. 271.
The Siouan group occupied a large area in the region of
the Mississippi and next to the Algonquian was the most
populous family north of Mexico. The name is taken
from the largest tribe, the Sioux or Dakota, and is inter-
preted "snake" or "enemy." See Map of Linguistic
Families, p. 334. Also Bur. of Amer. Ethnol. Bui. 30,
pt. 2, p. 577. 1910.

580 BONE WHISTLE in E flat. Similar to No. 2760.

Tribe: Oglala. Family: Siouan. Locality: Fort Yates,
Standing Rock Reservation, North Dakota.
Length, j^ inches.

2021 BONE WHISTLE. Lowest note, E flat. Made from

a bird bone and suspended from a necklace of buckskin

114 MUSICAL INSTRUMENTS, AMERICA

Class II

Wind

Instruments

Section A

Whistles

I. Vertical

Flutes

covered with red porcupine quill. The bone is wound with

spHt quill stained yellow. A fringe of buckskin on the end.

Tribe: Arapaho. Family: Algonquian. Locality: Indian

Territory.

Length, 7>^ inches.

Probably used in the Sun Dance.' Yellow symbolizes
sunlight, and fringed buckskin the rays. Bone whistles
are typical of the older tribal ceremonies of the Arapaho,
while wooden whistles are used in connection with the
Ghost and Crow Dances.

Similar specimens in the Amer. Museum of Nat. Hist.
Coll. Nos. 50-1044; 50-313. In the U. S. Nat. Museum
Coll. Nos. 153,056; 153,057; 165,762.
The Arapaho are closely allied with the Cheyenne Indians.
The modern habitat of both tribes is on the western edge
of the Great Plains, but early in the historic period both
tribes lived in the more or less forested regions of Minne-
sota and were agricultural rather than nomadic hunting
peoples. They are connected linguistically with the
Algonquian stock, but on entering the Plains adopted the
habits of the many tribes of the Siouan, Caddoan, and
Kiowan stocks. Being on the western frontier they have
been able to preserve some of the old customs of the
Plains. The Sun Dance was practised until recent times
as their most spectacular ceremony.
A whistle similar to No. 2021 is described by Domenech,'
who states: "The war-fife is shorter than the flute; it is
made of the bone of the deer or the wild turkey and
adorned with porcupine quills. The chiefs alone can use
it. They wear it suspended from the neck under their gar-
ments and never sound it except in combat. By blowing at
one end you draw from it a shrill note, which serves as the
attack signal; and by blowing the other extremity, the
instrument produces a softer sound, which indicates the
rallying or retreat."

The Arapaho name for the eagle-bone dance whistle is
hiqun guky.

2022 BONE WHISTLE. Lowest note, E. Similar to No.

2021. A bird bone covered with purple beadwork, edged

1. Dorsey. The Arapaho Sun Dance. Field Columbian Museum. Pub.
No. 75, Anthrop. Ser. vol. IV. 1903. Also Appendix, p. 271.

2. Domenech. Seven Years' Residence in the Great Deserts of North
America, p. 139.

INDIANS, UNITED STATES II5

with a band of fringed buckskin, to which a "breath-feather"
is attached. Tribe: Arapaho.
Length, 7>^ inches.

Kroeber' in his work on the Arapaho describes the whistles :
"Wooden whistles are made in connection with the Ghost
and Crow dances. The whistles typical of the older tribal
ceremonies are of bone, often ornamented with a partial
wrapping of blue beads, and usually they have no feathers
other than a single projecting plume attached to them.
The ghost-dance whistles are of wood, considerably larger,
painted, often carved in relief or outline, and ornamented
with pendant feathers at the end."
Referring to emblematic carving of the Arapaho, Kroeber
further states that a cross is symbolic of the morning star,
a vertical line from it representing its course as it rises.
A straight line issuing from the mouth of the thunder bird
represents rain; wavy lines, lightning. Of the colors used
red is the blood of humanity, blue the sky, and green the
earth. When black and white magpie feathers are attached
to a whistle they represent clouds, and the small plumes
dyed red and attached to these feathers, represent light-
ning. The feathers of the magpie refer to the thunder
bird on account of the swift flight of this bird. The use
of a primary wing-feather ot this bird further refers to
the flight of the thunder bird. The blowing of the whistle
when it is used represents thunder.
Clark Wissler^ states that the Dakota (Sioux) have ob-
served that when a storm is approaching the eagle gives
a peculiar shrill call not unlike the sound of the whistle.
This they interpret as speaking to the thunder; conse-
quently the feathers of this bird when attached to the
whistle are supposed to put the individual also in a posi-
tion to speak to the thunder. Thunder is an important
deity among all Indians of the plains and is usually asso-
ciated with military exploits.

The "breath feather," the bit of down or feather hung
from the end of the whistle, represents a variant of in-
cense where smoke carries the prayers of the people to the
deity. This is illustrated by a myth of the Zuni in which

1. Kroeber. The Arapaho. Amer. Museum of Nat. Hist. Bui. XVIII,
p. 35 Iff- 1907-

2. cf. Some Protective Designs of the Dakotas. Amer. Museum of Nat.
Hist. Anthrop. Papers, vol i, pt. 2, p. 47. 1908.

Il6 MUSICAL INSTRUMENTS, AMERICA

Class II

Wind

Instruments

Section A

Whistles

I. Vertical

Flutes

the milky way is supposed to be down from the feath-
ered prayer sticks offered by the people.
According to Merriam^ "the widespread belief in the origin
of people from feathers accounts for the reverence shown
feathers by some of the tribes. This feeling sometimes
manifests itself in a great fear or dread lest the failure to
show respect for feathers or to observe certain prescribed
acts in connection with the use of feather articles on cere-
monious occasions be followed by illness or disaster."

2023 BONE WHISTLE. Lowest note, D. Similar to No.

2021. A bird bone covered with blue and red beads. A
fringe and cord of buckskin. Four strings of buckskin wound
with split quill. Tribe: Arapaho.
Length, 'jyi inches.

2630 BONE WHISTLE. Lowest note, B flat. A bird bone

with a mouth or opening cut in the side three inches from
the mouthpiece end. At this point of the tube a wooden
plug is inserted which with a strip of sinew produces the
whistle. Two bands of buckskin painted in red and green
ornament the pipe. Tribe: Apache. Family: Athapascan.
Locality: Texas, Arizona, and Mexico.
Length, 7%^ inches.

3675 BONE WHISTLE. Similar to No. 2630. The surface

bound with split bark, the lower end closed with pitch, and
the plug forming the whistle, of the same material. Family:
probably Siouan or Algonquian.
Length, 6 inches.

3251 DOUBLE BONE WHISTLE. Li-hu. Lowest note,

A. Two small bones of an eagle placed side by side and
bound with cord; the surface decorated with etched arrow-
heads. Near the lower end, which is closed with resin, four
pieces of wampum and two bits of abalone (halistidce) shell
hung on a piece of cord. Family: Yukian. Locality: Round
Valley, Northern California.
Length, 3>^ inches.
The Yukian family comprised only the Yuki, divided into

I. Merriam. The Dawn of the World, p. 84 ff. 1910.

Also McGee. Ojibwa Feather Symbolism. Amer. Anthrop. vol. 2, p. 177.

1898.

cf. similar use of the feather in Egyptian Rites of Worship of the Sun.

Amer. Anthrop. vol. 7, p. 236 ff. 1894.

INDIANS, UNITED STATES II7

several tribes with different dialects. They occupied a
small area in Northern California and were more warlike
than most of the California tribes. In 1864 they with
other tribes were brought into the Round Valley Reserva-
tion where the few remaining (numbering in 1902 about
one hundred) still reside. Kroeber: Bur. of Amer, Ethnol.
Bui. 30, pt. 2, p. 1008. 19 10.

The Little Lake Indians of this Reservation have a double
whistle of wood used in the dance. U. S. Nat. Museum
Coll. No. 131,120.

The Wailaki (Athapascan) Indians of Northwest Cali-
fornia have a similar dance whistle. Peabody Museum
Coll. No. 65,538, Cambridge, Mass. Also the Concow
(Athapascan) Indians of Siletz Reservation, Oregon, have
one in bone. U. S. Nat. Museum Coll. No. 131,119, and
another in wood, No. 131,122.

The double bone whistle is also used by the Pomo, and as
well by shamans of the Shastan, a linguistic family located
in Northern California. These people do not use the
drum, but they have the hoof rattle, a flute, and the bone
whistle. Dixon. Amer. Museum of Nat. Hist. Bui. xvii,
pt. 5, p. 449 fT. 1907. cf. also Abbott. Musical Instru-
ments made of Bone, in U. S. Geol. Sur. Rept. VII, p. 234.
1879.

1975 WHISTLE. A straight stick with cylindrical bore

made by a hot iron. The upper end stained green, the lower
part red and cut in grooves. A charm of red and white
quill-work in the form of a beetle or spider. Tribe: Arapaho.
Family: Algonquian.
Length, 10 inches.
The Piegan Blackfeet call the spider the "underground
deer," ku'a wa kos, because of its celerity of movement;
it is held in high esteem for its supposed intelligence.
Among the Cheyenne and the Arapaho the same word
is used to denote the "spider" and "whiteman," and in
both languages this word appears to convey the idea of
high intelligence.'

2756 WHISTLE. A tube of wood stained yellow, attached

to a buckskin cord. At the upper end red bristles bound to
the tube with animal sinew. At the lower end a band of

I. Grinnell. The Butterfly and the Spider among the Blackfeet. Amer.
Anthrop. New Ser., vol. 1, p. 194. 1899.

Il8 MUSICAL INSTRUMENTS, AMERICA

Class IIj

Wind

Instruments

Section A

Whistles

I. Vertical

Flutes

buckskin and three rows of blue and white beads, also a
"breath feather." Family: probably Shoshonean.
Length, 8 inches.

The Shoshonean family was one of the most important
linguistic groups north of Mexico. It occupied a large
territory between the Siouan group and the Pacific slope
extending north into Montana, southeast into Texas, and
west into Southern California to the coast. See Map of
Linguistic Families, p. 334. Also Bur. of Amer. Ethnol.
Bui. 30, pt. 2, p. 555. Wash., 1910,

3297 WHISTLE. Ceremonial pipe of the Crane Dance. A

tube of wood stained green, the end carved in the form of a

bird's head. The whistle is formed by a piece of split quill

so placed over the opening in the side of the pipe that the

current of air impinges upon its sharp edge. The opening is

9K inches from the mouthpiece. The quill is bound to the

tube by narrow strips of animal sinew. Tribe: Oglala.'

Family: Siouan. Locality: South Dakota.

Length, 2 feet.

The Gros Ventre (Siouan) have a wooden whistle not

unlike this, which is used in the Dog Dance. It is painted

yellow and is two feet in length. Kroeber describes it as

follows: "The end farthest from the mouth is cut off

diagonally almost to a point. Here is hung an eagle

feather, its base covered with red cloth. Along the middle

portion of the whistle are laid two strips of red cloth, held

by two sinew bands and by a long doubly wound thong

wrapped with white porcupine-quills. These red strips

are not quite wide enough to entirely cover the whistle.

The two ends of both pieces hang free. Where the cloth

ends on the whistle, toward the mouthpiece, two magpie

feathers are laid along the wood, nearly to the end, their

bases being held by these wrappings." ^ cf. note to No.

2022, p. 114.

2058 WHISTLE. Similar to No. 3297. A tube of wood

carved at the lower end to represent a bird's head with open
beak. The opening in the side of the tube is 7 inches from

1. The Oglala, the largest division of the Teton-Sioux, participated under
the leadership of Sitting Bull, in the massacre of General Custer and his
men in 1876.

2. Kroeber. Ethnology of the Gros Ventre. Amer. Museum of Nat. Hist.
Anthrop. Papers, vol. i, pt. 4, p. 258. 1908.

ALTAR OF THE DRAB FLUTE SOCIETY. HOPI INDIANS

REPRODUCED BY COURTESY OF THE FIELD MUSEUM OF NATURM.

HISTORY, CHICAGO

INDIANS. UNITED STATES II9

the mouthpiece. The surface is bound with grass stained PJ?^^^^

red, the lower part ornamented with buckskin bands wound instruments

with porcupine quill and a fringe of tin cones and feathers, wh^stres^

A broad band of plaited sweet grass at the back. Family: i- Vertical
probably Siouan.
Length, 2 feet 2>2 inches.

281 I WHISTLE. Similar to No. 3297. A tube of wood

originally stained pink and bound in several places with
strips of sinew. On the lower end the skin of the head and
neck of a crane is drawn over the tube and to this is attached
a fetish made of a piece of calico tied with a cord of buckskin
enclosing some small pebbles and crumbling bits of wood.
The mouth or opening of the tube is 8^^ inches from the
mouthpiece. Family: probably Siouan.
Length, 2 feet 4 inches.
A similar specimen in the U. S. Nat. Museum Coll. No,
200,563.

576 WHISTLE. Similar to No. 3297. A tube of hard

wood, the lower end cut in two prongs suggesting the open

beak of a bird. A square opening cut in the side of the

tube 7 inches from the mouthpiece, has over its upper and

lower edges a slip of wood bound to the tube with sinew.

The pipe is wound with cigar ribbon with pendant thimbles

on a buckskin cord. Tribe: Winnebago. Family: Siouan.

Locality: Michigan.

Length, 2 feet 8>^ inches.

These pipes are also found among the Muskhogean,

Chocktaw, Seminole, and other tribes of the southwest.

cf. No. 53,095, Peabody Museum Coll. Cambridge, Mass.

Illustrated in Catlin, vol. 1, pi. 101 K. fig- F, by whom

it is described on p. 242 of the same volume, as the

"mystery whistle."

3521 WHISTLE. He-ha-kha-io-^o or hna-hna-^0-^0. Sim-

ilar to No. 3297. A tube of wood cut in prongs at the end
and decorated with incised serpentine lines 9K inches
from the mouthpiece, which is of red pipestone (cat-
linite)'; a slip of birch bark is bound over the opening

I. Catlinite — a red claystone found in southwestern Minnesota. When
freshly quarried, it is easily carved and has long been used by the Indians
in the manufacture of their sacred pipes. This stone was first brought to
the attention of mineralogists by George Catlin, the noted student and

120 MUSICAL INSTRUMENTS. AMERICA

Class II

Wind

Instruments

Section A

Whistles

I. Vertical

Flutes

in the side of the pipe. Tribe: Winnebago. Family: Siouan.
Locality: Canosia, Minnesota.
Length, 2 feet 10 inches.

I 735 WHISTLE. Bird call in black pottery in the form of

a small bird. A large hole in the back and two small ones
at one side probably used to hold a cord. From an Indian
grave in Southern California.
Length, 2 inches.

3122 WHISTLE. A small pear-shaped form in black pot-

tery.
Length, i yi inches.

3314 VERTICAL FLUTE. A simple tube made from the

wood of the yucca plant, the surface decorated with burnt
lines. Four finger-holes. Tribe: Porno. Family: Kulana-
pan. Locality: Southern California.
Length, 1 1 inches.
The Pomo Indians are of the linguistic stock technically
known as Kulanapan, living in parts of Sonoma, Lake
Mendocino, Colusa, and Glenn Co., California. Bur. of
Amer. Ethnol. Bui. 30, pt. 2, p. 276. Wash., 1910.

2757 VERTICAL FLUTE. Made from a tube of metal.

Seven-eighths of an inch at the lower end is cut away on one
side and the edge serrated. Surface ornamented with etched
lines. Tribe: Apache. Family: Athapascan. Locality:
Arizona and New Mexico.
Length, i foot 8 inches.
A similar specimen in the U. S. Nat. Museum Coll. No.
200,564. In some instances gun barrels have been em-
ployed for this purpose.

The traditional flute of the Navaho, from the same lo-
cality, the dihii or adidlol,^ was made from the stalk of
the sun-flower {Hclianthus annuus) and had four finger-
holes. In the old days the women grinding corn were
accompanied by the drum and flute. This tribe has two

painter of Indian life, whose name it bears. Bur. of Amer. Ethnol. Bui.
30, pt. I, p. 217. Wash., 1907.

Catlin. Manners, Customs and Conditions of the North American Indians,
vol. 2, p. 205. 1841.

I. Ethnog. Diet. p. 511. 1910.

5 °
- s.

r. s

z -

o "■

S UJ

aj I

Lil u.

U O

INDIANS, UNITED STATES 121

sacred flutes called shoh-k' on-ne and icha-he-he-lon-ne, the ^^^\ ^^
latter being described as a "warbling flute." ^ instruments

Another tribe, the Takelma (Takilman) of Southern wwstres^
Oregon, made a flute xdeit from the dry reed of the wild p|J;^|f '^^
parsnip {Peucedanum pastinaca sativum). This was used to
accompany love ditties and seems to have been the only
instrument used by these people, the drum, according to
Sapir,* being absolutely unknown to them.

3584 VERTICAL FLUTE. A tube of cane, the surface

etched with line decoration symbolic of the morning star
and lightning, interspersed with dots; near the mouthpiece
two American flags. There are four finger-holes placed mid-
way between the two ends of the pipe. Tribe: Papago.
Family: Piman. Locality: Arizona and Mexico.
Length, 2 feet.
The Piman family, while considered a distinct linguistic
stock, is a northern branch of the Aztec group. It was
formerly represented in the United States by three tribes:
the Piman, Sobaipuri, and Papago. The Sobaipuri are no
longer known and the two other tribes are located in
Mexico and Arizona. Bur. of Amer. Ethnol. Bui. 30,
pt. 2, p. 253. Wash. 1910. Powell. Bur. of Ethnol.
I2th An. Rept. p. 98. 1891-2.

3408 VERTICAL FLUTE. Lain-ah. A tube of wood

slightly conical made by boring through the center of a

stick with a hot iron. Five finger-holes. Tribe: Hopi.

Family: Shoshonean. Locality: Arizona. Reproduction.

Original in the U. S. Nat. Museum Coll.

Length, i foot ii>^ inches.

The Hopi, sometimes called Moki, are one of the tribes

comprising the Pueblo group of the Tanoan, Keresan

(Queres), Zunian, and Shoshonean linguistic families

located in New Mexico and Arizona. These tribes differ

from other North American Indians in their mode of life,

occupying permanent dwellings of stone or adobe instead

of the portable wigwam or tepee used by the nomadic

tribes. The houses are built in compact groups called by

the Spaniards pueblos, which name has also been applied

1. Stevenson. Bur. Ethnol. 3rd An. Rept. 1881-1882, p. 583. Wash. 1884.

2. Sapir. Notes on the Takelma Indians of Southern Oregon. Amer.
Anthrop. New Ser., vol. 9, p. 273. 1907.

122 MUSICAL INSTRUMENTS, AMERICA

Class II

Wind

Instruments

Section A

Whistles

I. Vertical

Flutes

to the inhabitants of these settlements. The Hopi occupy
the seven villages of Walpi, Sichomovi, Mishongnovi,
Shipaulovi, Shongopovi, Oraibi, and Hano in northeastern
Arizona. The Snake and Flute ceremonies of these
Indians are described in the Appendix, p. 273 ff.
The Hopi have a sacred warbling flute made of cane with
four small finger-holes and a flaring gourd bell called
lena-ka-chin-tihu; a similar flute with the Zuni is called
icha-he-he-lon-ne (U. S. Nat. Museum Coll. No. 69,312),
while another sacred flute from the same tribe, 26 inches
long, is called shoh-k'on-ne (U. S. Nat. Museum Coll. No.
69,467). These are probably the flutes mentioned by Ives
in his report on the Zuni of the Colorado River,' of which
he says : " I noticed among other things, a reed musical in-
strument with a bell-shaped end like a clarinet." In the
great snake drama performed at Walpi, ^ a form of "gourd
trumpet" is employed to simulate the "roar" of the
serpents.

In the Flute ceremony at Walpi a peculiar form of rattle,
the pa-a-ya, illustrated and described by Fewkes^ as a
"moisture rattle," is employed to accompany the flute
melodies. This is made of three slender wands bound
together at one end, one of which is crooked and car-
ries a bunch of pendant shells, a second has four gourd
discs, said to typify the four underworlds, placed at in-
tervals one above the other, while the third has eagle-
wing feathers and "hooks." This rattle is used by the
flute priests through the greater part of the ceremony.
A "shell rattle," the mo-si' li-li,'^ is also mentioned.
The bird-bone whistle, the hitci,^ of this ceremony is sound-
ed in a bowl of water, producing a bird-like effect, and a
flute, the pa-len-a,^ is employed with the whizzer or bull-

1. Ives. Report upon the Colorado River of the West, p. 121. Wash.
Gov. Print. Office, 1861.

2. cf. Fewkes. A Theatrical Performance at Walpi. Wash. Acad, of
Science, vol. 2, p. 605. 1900.

Also Amer. Anthrop. New Ser. vol. 1 1, p. 83. 1909.

3. cf. Fewkes. Flute Observances at Walpi. Jour. Amer. Folklore, vol. 7,
p. 265, pi. 2, fig. 3. 1894.

4. Idem. p. 286.

5. The Navaho have a whistle fitted with a ribbon reed called beetsos or
atsa'iol, the Zuni name for which is bitsi.

6. Idem. p. 286.

INDIANS, UNITED STATES 1 23

roarer, the u-nmk-pi,^ at the ceremony held at the spring
on the eighth day.

31 19 VERTICAL FLUTE. Mystery flute. Lowest note,
F sharp. A tube of cane, the surface decorated with circles
and dots and the zigzag lines emblematic of lightning. At
the central node of the tube two holes are cut one above the
other; over the upper one of these there is a binding of paper
held in place by vegetable fibre. Three finger-holes near the
lower end. Tribe: Papago. Family: Piman, Locality:
Southern Arizona.
Length, 2 feet 35^ inches.
Similar specimens in the U. S. Nat. Museum Coll. No?.
218,053; 218,054; 218,055.

cf. Cane flageolet of the San Carlos Apache, Arizona.
Amer. Anthrop., vol. 7, pi. XXXI. 1905.
In the Museum of the University of Pennsylvania may
be seen some very fine examples of old Indian flutes and
rattles that form part of the "sacred bundles" of the
Winnebago Indians of Nebraska and Wisconsin, the Iowa
Indians, and some of the tribes of Oklahoma. This col-
lection is rich in ceremonial objects.
The Papago have the flute, drum, the notched stick, and
rattle; the latter, the sah-we-goot, a gourd rattle, em-
ployed to mark the rhythm of the dance, is of the usual
gourd type carried in the hand, or the turtle shell and hoof
form worn below the knee. The flute is of cane, in
most cases decorated in pictograph, and accompanies the
drum. The drum is of peculiar construction. The shell
consists of the rim of a cheese box; the two heads are of
rawhide, each strung on a circular rim of mesquite wood;
these are stretched over the shell and a thong passed back
and forth over the mesquite rings and fastened. The
desired pitch for the drum is acquired by warming each
head separately over a small heap of coals until in harmony
with the flute, cf. U. S. Nat. Museum Catalogue.
The Papago are a Piman tribe located in Southern Ari-
zona. They are an agricultural people, the women being
expert basket makers. Their dwellings consist of a frame-
work of saplings thatched with grass or leafy shrubs.
Bur. of Amer. Ethnol. Bui. 30, pt. 2, p. 200. Wash. 1910.

3181 VERTICAL FLUTE. Mystery flute. Lowest note,
A. Similar to No. 3119. The surface decorated with etched
1. Idem. p. 269.

Class II

Wind

Instruments

Section A

Whistles

1. Vertical

Flutes

1 24 MUSICAL INSTRUMENTS. AMERICA

designs; arrow-heads, circles, three figures, a serpent, and an
eagle. Three finger-holes. Tribe: Papago. Locality: Salt
River Reservation, Maricopa County, Arizona.
Length, 2 feet \yi inches.

573

2889

575

1385

3598

3118

VERTICAL FLUTE. Mystery flute. Similar to No.
3119. Surface decorated with arrow-heads and stars. The
binding over the central hole missing. Three fmger-holes.
Tribe: Apache. Family: Athapascan. Locality: Arizona
and New Mexico.
Length, i foot 2}^ inches.

VERTICAL FLUTE. Mystery flute. Lowest note,
G sharp. Similar to No. 573. The binding over the central
hole, a strip of fringed buckskin. Three finger-holes.
Tribe: Apache.
Length, 1 foot 2% inches.

VERTICAL FLUTE. Lowest note, F sharp. A tube
of hard wood, the upper end whitened, the lower end stained
red. Below the mouthpiece end a narrow slit partially cov-
ered with a binding of buckskin. Six fmger-holes midway
between the two ends and an additional hole near the lower
end. Charm of abalone shell. Tribe: probably Apache.
Length, 2 feet lyi inches.

VERTICAL FLUTE. Lowest note, A. Similar to
No. 575. A tube of wood painted black, with six finger-
holes, the binding over the central hole a band of leather,
A metal band at the top. Tribe: probably Apache.
Length, 21 inches.

BONE FLUTE, with whistle head and two finger-holes.

An arrow below the finger-hole. Family: possibly Siouan.

Length, 'j}4 inches.
This specimen differs from the ordinary bone flute used
in the ceremonials in that it has a whistle head similar to
the Indian flageolet and also has two finger-holes.

WHISTLE FLUTE. Que-goot. A tube of cane in
three sections bound together with sinew. The upper end
beak-shaped and stopped with a wooden plug. Two finger-
holes and a thumb-hole in the third or lower section. Tribe:
Papago. Family: Piman. Locality: Gila Bend, Maricopa

FLUTES. INDIANS OF THE UNITED STATES
PP. 125, 126

INDIANS, UNITED STATES

125

County, Southern Arizona. Reproduction.
U. S. Nat. Museum Coll. No. 174,518.
Length, i foot 10 inches.

Original in the Class 11

° Wind

Instruments
Section A
Whistles
1. Vertical
Flutes

1 960 WHISTLE FLUTE. A tube of cane in sections. Sim-

ilar to No. 31 18. Tribe: Papago. Family: Piman. Local-
ity: Southern Arizona.
Length, i foot 5^^ inches.

579

VERTICAL FLUTE. Lowest note, A. A tube of
wood split and hollowed out, the sides cemented with resin
and bound together with a cord of buckskin. The lower
edge of the tube serrated. The whistle is produced by a
metal lip, a piece of tin placed over an opening in the tube
just below the mouthpiece; this is held in place by a carved
block fastened to the tube by a cord of buckskin. Six finger-
holes. The surface of the wood is stained red. A small
notched stick and a small medicine pouch in beadwork are
tied to the side of the tube. Tribe: Chippewa or Ojibwa.
Length, i foot 5 inches.

This is a typical Algonquian flageolet described by School-
craft^ as the pih-be-gwun. Variants of this spelling are
bib-e-gwon and pipigwon. Siouan flutes of this type were
usually made in one piece, not like those of the Algon-

1. Schoolcraft, writing of Indian music, songs, and poetry, refers to the
musical instruments of the North American tribes as follows: "Their
instruments of music are few and simple. The only wind instrument
existing among them is the pibbegwon, a kind of flute, resembling in sim-
plicity, the Arcadian pipe. It is commonly made of two semi-cylindrical
pieces of cedar, united with fish glue, and having a snake skin, in a wet state,
drawn tightly over it, to prevent its cracking. The holes are eight in
number, and are perforated by means of a bit of heated iron. It is blown
like the flageolet and has a similar orifice or mouthpiece.

"The taywaeyun (struck-sound instrument) is a tambourine, or one-
headed drum, and is made by adjusting a skin to one end of the section of
a moderate sized hollow tree. When a heavier sound is required, a tree
of larger circumference is chosen, and both ends closed with skins. The
latter is called mitligwukeek, i. e., wood-kettle drum, and is appropriately
used in religious ceremonies, but is not perhaps confined to this occasion.
"To these may be added a fourth instrument, called the sheshegwun, or
rattle, which is constructed in various ways, according to the purpose
or means of the maker. Sometimes it is made of animal bladder, from
which the name is derived, sometimes of a wild gourd; in others, by attach-
ing the dried hoofs of the deer to a stick. This instrument is employed
both to mark time, and to produce variety in sound." The American
Indians, pp. 222, 223. cf. also idem. History of the Indian Tribes, vol.

2. p. 514, pi. 75.

1 26 MUSICAL INSTRUMENTS. AMERICA

Class II

Wind

Instruments

Section A

Whistles

1. Vertical

Flutes

quian in which the tube was split lengthwise and hollowed
out as in the present specimen, cf. Note p. 268.
The Chippewa are one of the largest tribes north of Mexico
scattered over an area of a thousand miles, extending
from east to west along the shores of Lake Huron and
Lake Superior across Minnesota to Turtle Mountains,
North Dakota. The most powerful organization of the
tribe was the Medewiwin or grand Medicine Society.
James Mooney — Cyrus Thomas. Bur. Amer. Ethnol.
Bui. 30, pt. I, p. 277. Also Frances Densmore. Bur.
Amer. Ethnol. Bui. 45. Chippewa Music.

1976 VERTICAL FLUTE. Similar to No. 579, but made

from a stalk of the yucca plant stained yellow and pink.
The stick is hollowed out, the two parts bound together
with strips of buckskin. Tribe: Apache.
Length, i foot 5 inches.

3180 VERTICAL FLUTE. Similar to No. 579. Made from

the stalk of the yucca plant split longitudinally, the lower
edge serrated and the surface ornamented with burnt lines.
Six fmger-holes. Tribe: probably Apache.
Length, i foot 6 inches.

3541

VERTICAL FLUTE. Ya-ah-ga-da-wasta. Lowest
note, A. A stick of cedar wood split, the center scraped out
and the two halves neatly joined. Six fmger-holes. Tribe:
Seneca. Family: Iroquoian. Locality: Tonawanda, Erie
County, New York State.
Length, i foot ^yi inches.
This instrument was collected by Mr. M. R. Harrington,
who has lived among the Seneca, and who states that the
flute is rarely used by this tribe; he has found but three
and they were all old specimens. They were used for ser-
enading. There is a similar flute in the U. S. Nat.
Museum.

The Seneca (Oneida) were once a prominent and influen-
tial tribe of the Iroquois located in Central New York;
later the greater number migrated westward toward Lake
Erie and south into Pennsylvania.

3371 VERTICAL FLUTE. Similar in form to No. 3541, but

cut from a block of red pipestone (Catlinite). An ornamental

INDIANS, UNITED STATES 1 27

band of zinc work inlaid below the mouthpiece. Six finger-
holes. Family: probably Siouan.
Length, i foot 7K inches.

See note to No. 3521.

The Siouan name for this instrument is chotonka-chanta-

ki-yapi.

574 VERTICAL FLUTE. A tube of hard wood, the sur-

face stained dark red and ornamented with incised lines in
pink. There is the usual carved block that holds the metal
lip in position. Six finger-holes. Tribe: Cheyenne, or Ara-
paho of the Southern Plains.
Length, i foot 1 1 inches.
This and the following flutes, Nos. 577, 2629, 3298, have
the carved block and six finger-holes, but the construction
differs in that the tube is not split as in the case of No. 597,
but is bored with a hot iron. cf. Brown. Musical Instru-
ments of North America, pi. 3, fig. 14.

577 VERTICAL FLUTE. Chotonka-chanta-ki-yapi. Low-
est note, G. Similar to No. 574. Six finger-holes and
an additional hole near the lower end. Family: Siouan.
Length, i foot 1 1 }4 inches.

cf. Brown. Musical Instruments of North Amer. pi. 2, fig. 10.

2629 VERTICAL FLUTE. Lowest note, G. A tube of soft

wood stained pink and ornamented with feathers and in-
cised bands; the lower end carved in the form of a bird's
head, the beak darkened by burning, the eyes two brass
tacks. The mouthpiece a metal tube. Six finger-holes.
Tribe: Oglala. Family: Siouan. Locality: South Dakota.
Length, 2 feet.

3298 VERTICAL FLUTE. Lowest note, G. Similar to

No. 2629, but larger. The block in this specimen resembles
a rabbit. Tribe: Oglala.
Length, 2 feet 3 inches.

578 TRANSVERSE FLUTE. Cylindrical tube of wood 2. Transverse
split longitudinally and cemented at the sides. The surface
stained green. Five finger-holes. Tribe: probably Apache.
Family: Athapascan. Locality: Arizona and New Mexico.
Length, i foot 7 inches.

The side-blown flute, which rarely appears, is doubtless,
like the Apache fiddle, the result of external influence.

Flutes

128 MUSICAL INSTRUMENTS. AMERICA

Section B 617 REED PIPE. Moose call. A cone-shaped piece of

DMston I wood hollowed out and fitted with a single-beating reed of

Beating Reeds metal placed against a narrow wooden tongue inserted in

beating Reeds the top; this is enclosed within a conical cover open at the

small end through which the reed is sounded.
Length, 4>^ inches.
Similar specimens from the Alibamu, Sauks and Fox, and
Iroquois Indians are shown in the collections of the Museum
of the University of Pennsylvania, Philadelphia, Pa.

3668 REED PIPE. Moose Call. A cone-shaped piece of

wood hollowed out and fitted with a single beating reed
similar to No. 617. A conical cover, open at the smaller
end, through which the reed is sounded.
Length, 4)^ inches.
A variant of the beating reed is found in the Siouan
whistle (No. 3521) described on page 119, in which a
slip of bark, bound to the tube just above the vent, vi-
brates with the escaping air.

696 MOOSE CALL.i A conical form of birch bark. Tribe:

Micmac. Family: Algonquian. Locality : Restigouche,
New Brunswick, Canada.

Length, i foot 8 inches.
An important Algonquian tribe originally located along
the northeast coast of Nova Scotia, Cape Breton, and
Prince Edward Island. While the Indians of the North-
west Coast employ cedar bark in various ways for many
of their utensils, these people use birch bark, which abounds
in this region, ornamenting it with porcupine quill deco-
ration. For this reason they have sometimes been referred
to as "bark" and "porcupine" Indians. Bur. Amer.
Ethnol. Bui. 30, pt. I, p. 858. Wash. 1907.
There are several of these moose calls in the Indian col-
lection of the Museum of the Pennsylvania University,
Philadelphia. One (2/8184) from the Malecite (Micmac
"Malisit" of the Abnaki group Algonquian stock), another
(2/5853) from the Penobscot Indians, a tribe sometimes
included in the Malecite group.

1. Of the speaking trumpet type (Class V. Musical Accessories), but placed
here for convenience.

576

3521

57 5

2629 I960

2889

WHISTLES AND FLUTKS. INDIANS OF THE UNITED STATES
I'l'. 1 19, 124, 125, 127

INDIANS. UNITED STATES 1 29

CLASS III VIBRATING MEMBRANES
6^^ DRUM. A circular frame of wood with skin stretched Division i

■^ '' . ... Struck

over one side, the surface colored with bright pigment orna- Section a
mented in the center with a Maltese cross in yellow outlined i/wah
in red and green; the centers of the vertical arms are painted ^^ad
red, those of the horizontal, green. The four arms of the
cross branch out from a small central circle painted yellow.
Tribe: Probably Arapaho. Locality: White Mt. Reserva-
tion, Arizona.

Diameter, io>^ inches. Depth, 1 ^ inches.
This type of cross with serrated edges decorates an Apache
"mantle of invisibility" described by Mallery.^ This
charmed covering was supposed to enable the wearer to
pass in safety through the enemy's country. The symbol
is interpreted as the cross of the winds of the four cardinal
points, the central circle typifying the universe.
Among the Dakota the dragonfly forewarns the native of
the approach of danger, and its symbol, a cross, is a favorite
form of decoration. With the Blackfeet^ the butterfly or
moth brings sleep and dreams and when its symbol, the
Greek cross, appears, it indicates that the decorative
scheme employed was suggested to the owner in a dream.

562 DRUM. A deep circular frame of wood with a sheep-

skin head; the edge of the skin is stretched into thongs that
unite and fasten at the back. There is a red circle in the
center of the head and on the edge a yellow band. Family:
probably Shoshonean.

Diameter, i foot 2yi inches. Depth, 9^ inches.
Two kinds of drums (wi-towe) are in common use among
the Shoshonean of today. The small hand drum of the
Plains is about 35 cm. in diameter, covered on one side
with horse- or cow-hide, on the other side with intersecting
or netted thongs. Lowie, Robert H. The Northern Sho-
shonean. Amer. Museum Nat. Hist., Anthrop. Papers,
vol. 2. pt. 2, p. 216. 1909.

3326 DRUM. A shallow circular frame of wood with skin

stretched over one side. The head is divided into two sec-

1. Picture Writing of the American Indians. Bur. of Ethnol. loth An.
Rept. 1888-1889, P- 503, pl. XXXIII. Wash. 1893.

2. Grinnell. The Butterfly and the Spider among the Blackfeet. Amer.
Anthrop. New Ser. vol. i, p. 194. 1899.

one

130 MUSICAL INSTRUMENTS, AMERICA

Class III
Vibrating
Membranes
Division i
Struck
Section A
Drums
i. With
one head

tions, the smaller colored with yellow ochre, the larger with

blue; on the blue ground there is a yellow crescent. Siouan.

The drum bears the inscription: Made by Thunder Elk,

1904.

Diameter, i foot 2X inches. Depth, 4>^ inches.
Writing of Omaha (Siouan) music Miss Fletcher' states:
"The instruments used to accompany the voice are the
drum, the rattle, and the whistle. The drum is of varied
form and capacity, and is played in different ways accord-
ing to the character of the song.

"The small drum, about the size of, and similar in shape
to the tambourine, is used in the Mystery and Dream
songs. It is beaten in tremolo by the fingers or a small
reed.

"The large drum was formerly made from the section of
a tree, hollowed out, over the open end of which a skin is
stretched. The drum was tuned by partly filling it with
water kept sweet by charcoal, the skin being moistened,
stretched, and dried to the desired tone. Drums of this
kind are now almost unknown; a keg has been substi-
tuted for the hollowed section of a tree, and this sort of
drum is used in many of the religious ceremonies. Large
flat drums were constructed by stretching a calfskin over
a hoop of wythes; these drums supported by four sticks
driven into the ground were beaten with sticks muffled
with leather."

In some unpublished notes on Indian musical instruments
Robert Ormsby Sweeny^ mentions three different drums
used by the Sioux: the chan-changa-iuga, the war drum
made of a hollowed log, sometimes of a powder can, with
skin stretched over the open end and usually decorated
in black; the chan-changa-wipoya-s a, the ceremonial drum
used by the medicine men and conjurers, a drum with two
heads of skin stretched over a narrow circular frame of
wood and decorated with mythical figures; and the chan-
caa ga-okowan, the song drum of everyday use.
The usual type found among the Plains Indians is made by
stretching wet skin over a circular wooden frame; the
edges meeting in the back form a handle. The skin is
secured to the frame by wooden pegs; in shrinking during
the drying process it becomes so tight that it remains in

1. A Study of Omaha Music, p. 54.

2. Brown. Musical Instruments and their Homes, p. 305 ff.
Also Sweeny. Mss. Notes.

INDIANS, UNITED STATES I3I

tension for years. When the drum is in use, the tension
may be increased by heating the skin over a fire.
Siouan names for drums, furnished by Mr. E. H. Hawley
of the National Museum, Washington, D. C, are: koka
cancega and walega, drums with one head; waken-chan-
cha-gha and tah'ca, drums with two heads. Catlin^ men-
tions the name chon-che-a-ha. The same author gives the
following tribal names for drums and rattles: Drum:
Blackfoot, ogh-tum; Mandan, bereck hah; Tuskarora, ye
nuf hesse. Rattle: Mdindsin, eeh-na-de; Sioux, waga-moo;
Tuskarora, wuntits u runtha.

2675 DRUM. A wooden frame similar to preceding. The

single head is decorated with symbolic emblems in dull blue,
green, and pink. In the center a four-pointed star, the sign
of the four directions; between its points are four geometric
figures similar to those found in the sand paintings of the
Navaho. This group is surrounded by a circle with occa-
sional branching leaves and feathers, and at one side there is
a bird. Tribe: Apache.
Diameter, 12^ inches. Depth, 33^ inches.

Harrington,^ in his description of the Devil Dance of the
Apache at the Fort Sill reservation in Oklahoma, refers to
the use of the primitive cowhide drum in marking the
rhythm of the dance, the Indians squatting about it and
beating it with stout sticks, cf. Note 2, p. 134.

560 DRUM. Circular form with skin stretched over one

side of the wooden frame. The membrane is held in place
by wooden pegs inserted in the rim, its edges stretched and
drawn in thongs that meet at the back and serve as a handle
The head is decorated with the drawing of a buffalo, in black.-
Family: Siouan.
Diameter, i foot 3>^ inches. Depth, 3>^ inches.

588 DRUM. A circular frame of wood, with skin stretched

over one side and fastened around the edge with tacks. On
the inside a circle with radiating lines in red.
Diameter, i foot 4}^ inches. Depth, 2^4 inches.

1. Catlin. The Manners, Customs, and Conditions of the North American
Indians, vol. 2, p. 262.

2. Harrington, M. K. University of Pennsylvania. The Museum Journal,
vol. 3, No. I, p. 6, 1912.

132 MUSICAL INSTRUMENTS, AMERICA

Class III

Vibrating

Membranes

Division I

Struck

Section A

Drums

1. With one

head

2795

2628

DRUM. A circularframeof wood with skin stretched
over one side. The head is decorated with figures and birds
in red, two warriors, one holding a bird, and between them
two birds. In the center a small disc of red.
Diameter, 12 inches. Depth 2^2 inches.

BASKET DRUM. Tsa yanshtqi or Tsayasetqi. A
shallow circular basket of woven willow with a geometric
design worked in a darker shade. Tribe: Navaho. Locality:
New Mexico and Arizona.
Diameter, i foot 2)4 inches.
The ceremonial drumstick made of yucca palm leaves is
called tsa beyikhad. The Hopi name for the basket drum
is la-la-kanti.

Dr. Washington Matthews^ in an article on the basket
drum of the Navaho describes its use as follows: "The
most important use of the basket is as a drum. In none
of the ancient Navaho rites is a regular drum or tomtom
employed. The inverted basket serves the purpose of
one, and the way in which it is used for this simple object
is rendered devious and difficult by ceremonious observ-
ances. To illustrate, let me describe a few of these observ-
ances belonging to the ceremony of the night dance. This
ceremony lasts nine nights and nine days. During the
first four nights song is accompanied only by the rattle.
During the last five nights, noises are elicited from the
basket drum by means of the yucca drumstick. This
drum is beaten only on the western side of the lodge.^
For four of these five nights the following methods are
pursued: a small Navaho blanket is laid on the ground,
its longer dimensions extending east and west. An incom-
plete circle of meal, open in the east, of the diameter of
the basket, is traced on the blanket near its eastern end.
A cross in meal, its ends touching the circle near the car-
dinal points, is then described within the circle. In making
this cross the line is first drawn from the east to the west,
and then a line is drawn from south to north. Meal is
then applied to the rim of the upturned basket so as to
form an incomplete circle with its opening in the east. A
cross, similar to that on the blanket, is drawn in meal on
the concavity of the basket, the east and west line of which

1. Matthews. Amer. Anthrop. vol. 7, p. 202. 1894.

2. The enclosure, usually fenced in by boughs, in which the ceremonies
are held.

INDIANS, UNITED STATES 1 33

cross must pass directly through the hiatus in the orna-
mental band. The basket is then inverted on the blanket
in such a manner that the figures in the meal on the one
shall correspond in position to those on the other. The
western half of the blanket is then folded over the convex-
ity of the basket and the musicians are ready to begin;
but before they begin to beat time to a song they tip the
basket with the drumstick at the four cardinal points in
the order of east, south, west, and north. The Navahos
say: 'We turn down the basket' when they refer to the
commencement of songs in which the basket drum is
used, and 'we turn up the basket' when they refer to the
ending of the songs for the night. On the last night the
basket is turned down with much the same observances
as on the previous nights, but the openings in the orna-
mental bands and in the circles of the meal are turned to
the west instead of to the east, and the eastern half of
the blanket is folded over the convexity of the basket.
There are songs for turning up and for turning down the
basket, and there are certain words in these songs at which
the shaman prepares to turn up the basket by putting his
hand under its eastern rim, and other words at which he
does the turning. For four nights, when the basket is
turned down, the eastern part is laid on the outstretched
blanket first and it is inverted toward the west. On the
fifth night it is inverted in the opposite direction. When
it is turned up it is always lifted first at the eastern edge.
As it is raised, an imaginary something is blown toward
the east, in the direction of the smoke-hole of the lodge,
and when it is completely turned up hands are waved in
the same direction to drive out the evil influences which
the sacred songs have collected and imprisoned under
the basket The basket is given to the sha-
man when the rites are done. He must not keep it, but
must give it away, and he must be careful never to eat
out of it."

One of the sticks employed with this drum is of especial
interest, it being used only with the night dance. A fresh
one is made for each ceremony, after which it is destroyed
and the fragments deposited with prayer and ceremony in
the fork of a cedar tree or some other secure place; in this
way the soul of the drumstick is released and its substance
sacrificed to the gods, it is made from the leaves of yucca
haccata folded and wrapped with split leaves, which are

134 MUSICAL INSTRUMENTS, AMERICA

gathered with much ceremony as regards the points of
compass, and on the inside are grains of corn. The drum-
stick is buried in moist earth each day until it is needed
for the night ceremonials; this preserves it, as otherwise
it would soon become dry and shriveled.
The basket drum was also used by the Navaho in their
medicine dances, one of which is described by Frank
RusselU as follows: "An old buffalo hide was spread
upon the dry painting (sand painting or altar on which
the prayer meal was offered) and the sacred basket, white
ornamented with red butterflies, was inverted on this over
a hole in the center of the painted space. The hide was
then doubled over this and the edges held down by the
feet of the men sitting around it. Two notched sticks
were placed upon the basket drum,^ a black one on the
east and a white one on the west side. The sticks were
laid so that one was resting upon the drum and the other
on the ground. A tarsal bone of a deer was rubbed across
the notches, at the sound of which the young women began
to dance."

In the Pan-Neech, the harvest or corn festival of the Pima
and Maricopa Indiansdescribedby Brown.^threemusicians
"beat drums and three rasped with bones the bottoms of
upturned shallow baskets upon which had been spread
a layer of wax, an exudation from the mesquite." These
tribes also use cottonwood drums with heads of tanned
deerskin.

The Indians of the Rio de Sonora use the basket drum to
accompany the Deer Dance which is still held occasionally.
In this dance "there is but one performer, who wears a
deer mask with its antlers; he does the jumping and
high stepping called forth by the role he has to perform,
and he does it to the tune of a peculiar drum, consisting

1. cf. Russell. An Apache Medicine Dance. Amer. Anthrop. vol. ii,
p. 369 ff. 1898.

2. In the Museum of the University of Pennsylvania there is an interesting
drum (No. 21/087) used in the annual ceremony at the Big House of the
Delaware Indians of Canada and Oklahoma. This is made of deerskin
folded into a roll about twenty-seven inches in length wrapped about with
a thong of leather. Accompanying it are two flat wooden drumsticks, the
broader ends cut in prongs, each ornamented with a rudely carved head,
one representing the female and the other the male element, cf. also note
to No. 3540, p. 157.

3. Brown. A Pima-Maricopa Ceremony.
8, p. 688. 1906.

Amer. Anthrop. New Ser. vol.

INDIANS, UNITED STATES I35

of a 'Corita' or impermeable basket (such as are made by
the Papagos) filled with water, in which an earthen bowl
is placed upside down. The rapping of a stick on this
inverted bowl, floating as it were on the liquid, produces
the desired rhythmic noise." '

3142 DRUM. Asa'dad'estl'o. A jug of brown earthenware,

with a handle at one side, decorated with a rudely drawn

serpent.^ The membrane stretched over the open top, tied

down with a thong of buckskin. Tribe: Navaho.

Diameter, 7K inches. Depth, 11 inches.

The tribal name of the drumstick for this drum is asa

heltqaihi.^ Many early writers mention the use of earthen

vessels for drums. Parchment or buckskin was stretched

over the mouths of large pots, and this beaten with sticks,

furnished the music for dances and ceremonies and noise

for the gratification of savage taste. One of the earliest

references to these drums is found in the works of Captain

John Smith,'' who describes drums of "skin stretched over

an earthenware pot half full of water." This is quoted by

Beverley in writing of the Indians of Virginia in 1705s

and Brickell in a work on the Indians of North Carolina

(1737) describes the same drum with a head of deerskin

1. Bandelier. Papers of the Archaeological Institute of America. Amer.
Ser. vol. 3, pt. I, p. 239. 1890.

2. The snake is regarded among the Hop! and other Indian tribes as the
guardian of the springs. " Like the frog this animal has come to be an
emblem of water, and naturally is used as a symbol of the same in rain or
water ceremonials. The sinuous motions of this animal recall the lightning
which accompanies the rain, and a zigzag line is used to designate both.
The great plumed serpent, Kol-o-wis-si of the Zunians, lives in the water;
indeed, the idea of a serpent creating a sacred spring is so widely spread in
the mythology of primitive peoples that it may be looked upon as a funda-
mental principle in many mythological systems. To kill a snake means,
in the Hopi conception, to destroy a guardian of some water source or
spring. Conversely, to propitiate him is to bless with abundant water.
As the snake is a symbol of water, pictures of this animal necessarily find
appropriate place in rain or water ceremonials."

Fewkes. The Meaning of the Moki Snake Dance. In Journal of Amer.

Folk-Lore, vol. 4, p. 131, 1891.

Peet. Was the Serpent Symbol Aboriginal? In Amer. Antiquarian, vol.

16, p. 15, 1894.

Holmes. Ancient Pottery. Bur. of Ethnol. 4th An. Rept. 1882-1883,

p. 402. Wash. 1886.

3. Ethnologic Dictionary of the Navaho Language, pp. 289, 291.

4. Smith, Capt. John. His Works ed. by Edward Arber.

5. Beverley. The History of Virginia, book 3, p. 193.

136 MUSICAL INSTRUMENTS. AMERICA

Class III
Vibrating
Membranes
Division I
Struck
Section A
Drums
1. With
one head

which was beaten with one stick.* Lawson^ also men-
tions the fact that these Indians had a drum made of an
earthen porridge pot with a deerskin head, and Lafitau^
refers to their use among the Iroquois. Joutel,^ who wrote
of the funeral ceremonies of the southern Indians, is cred-
ited with the following statement: "Dancers tie cala-
bashes or gourds about their bodies with some Indian
wheat in them, to rattle and make a noise, and some of
them have a drum, made of a great earthen pot, on which
they extend a wild goat's skin, and beat thereon with one
stick, like our tabors."

And again Butel-Dumont,^ referring to the Louisiana
Indians, states: "The troop sets out on the march, having
at its head the cleverest among them, who carries the
calumet (pipe), and as they approach the village all begin
to sing and dance. One of them carries in the left hand
an earthen pot covered with a dressed deerskin stretched
tightly over it and fastened to it by a cord, and with a
single drumstick in his right hand, he beats the time on
this pot, which serves as a drum; all respond by cries,
which they utter in time; some carry chichicouas or empty
gourds, in which are placed glass beads or little pebbles
to make a noise and they shake them in time with the
rest."

Kroeber describes a similar earthenware drum used by the
Arapaho in the Peyote^ ceremony. He says: "Only the
drum and the rattle of today are used in the Peyote cere-
mony, which is comparatively brief. The participants
gather in a tent about a small fire, the equivalent of an
altar. Only one sings at a time, accompanying himself on
a rattle, the man next to him drumming for him. After
four songs the drum and rattle are passed on to the next
participants until the rounds are made,
"The drum consists of an ordinary small earthenware pot
over which is stretched a piece of buckskin, or sometimes
canvas, which is kept wet through the night by a little
water inside the jar. The skin is stretched by a rope. This

1. Brickell. The Natural History of North Carolina, p. 328.

2. Quoted by Holmes in Bur. of Ethnol. 20th An. Rept. 1898- 1899, p.
34 flf. Wash. 1903.

3. The Peyote cult is not tinged appreciably with Ghost Dance beliefs.
It contains many Christian ideas, but they are so incorporated that funda-
mentally the worship is not dependent upon Christianity, Amer, Museum
of Nat. Hist. Bui. XVI II, pt. 4, p. 398. 1907.

INDIANS, UNITED STATES 1 37

rope, however, does not pass through holes in the skin,
but is wound around seven glass marbles which have been
rolled up in the skin. This device prevents the stretching
of the skin, or the tearing out of the perforations in it when
the string is tightened. The seven marbles also play a
part in the symbolical rites the next morning. The drum
is made on the evening of the ceremony, and hours are
sometimes consumed in adjusting it. When at last the
right degree of tension is secured together with the proper
saturation of the skin, the effect is moderately loud and
deep, and very resonant. The drum is usually beaten
very rapidly so that the reverberation from the separate
blows fuse. Inside the drum are a small quantity of ashes
and three small billets of pine wood. The introduction
of these is purely for ceremonial reasons." 1 At sunrise
when the singing is finished the drum is taken apart and
each portion passed around to the worshipers, who
drink the water remaining in the jar, and press the seven
marbles to different parts of the body to prevent disease.*
The Zuni ^ make a similar drum from a water vase or
oUa {k' is-wih-na-k' ia-te-la) which is used in the songs of
the sacred orders only. The beater is a piece of wood
bent in a hoop and is called te-pe-ha te-se a-k' ia-na-kia-hi
k'on-ne.

The Lacandones, a tribe of the Maya, have a pottery
ceremonial drum described by Alfred M. Tozzer* as
follows: "This is made of an earthen jar with the mouth
covered with a piece of skin. The drum stands on a base
made of twisted vines. It is struck with the palms of
the hands. There are often two placed side by side in
the ceremonial hut and beaten at the same time. This
form of drum always has upon one side a head fashioned
in clay similar in all respects to that seen on the incense
burners. The drum is a god in itself and called Qaiyum
the singing god." The Mixes, who occupy villages in
the Districts of Yautepec, Villa Alta, and Tehuantepec
(Mexico), have a pottery drum illustrated and described
by Starrs as the mai-ya. Farther south the Chorotes

I. Idem. p. 400.

2. Idem. p. 404.

3. Stevenson. Bur.
1884.

Ethnoi.

3rd An.

Rept.

1881-1882, p. 582. Wash.

4. Tozzer. Comparative Study of the Mayas and the Lacandones, p. 74.

5. of. Starr. Notes, p. 62. 1900.

138 MUSICAL INSTRUMENTS, AMERICA

Class III
Vibrating
Membranes
Division I
Struck
Section A
Drums
i. With
one head

of Bolivia employ a magic drum made of an earthen pot
partly filled with water to give the desired tone.^ The
widespread area covered by the foregoing authorities
indicates that the pottery drum was a common type in
the early days and not peculiar to any one tribe. Today,
however, its use is confined to the Pueblo Indians and
to other tribes farther south. A kindred form is found
in the daraboukkeh of Arabia and Northern Africa.^

3177 KETTLE DRUM. An iron pail with skin stretched
over the top, and held in place by a cord, the ragged edges
hanging loosely below the cord. The head is decorated
in brown and yellow, with a circle enclosing a central cross;
diverging from the circle are the four cardinal points and
four zigzag lines emblematic of lightning. The beater is
made of a pliable stick, the end bent in a hoop. Tribe:
Apache.

Diameter, 11 inches. Depth, 8^ inches.

Bourke ' in writing of the Apache refers to their music in
the following words: "The instrumental music was fur-
nished by rattles and a drum, which latter was made in
this manner: An iron camp-kettle was partly filled with
water and covered tightly by a wet cloth well soaked.
The stick was a long willow switch, curved into a ring at
the end which struck the drum. No flutes were used
and no whistles, although the Apache make and play
them both. Neither did the performers introduce their
favorite t^it-idoatl (or music wood), the native fiddle,
formed of a section of the stalk of the century plant."
Musters^ describing a dance of the Tehuelche Indians of
Rio Chico, Venezuela, mentions a drum made from the
ordinary camp kettle with skin stretched over the top.

3178 DRUM. Made from a discarded powder-can, which
forms a circular body of corrugated metal. The single head
is of deerskin decorated in brown and yellow with symbolic
emblems of the Ilgnaa; this consists of a cross, the arms of
which are finished in two points and display the zigzag

1. Rosen. The Chorales Indians. Congres. Internal, des Americanistes
14, p. 656 ff. 1904.

2. Africa. No. 1426.

3. Bourke. Folk-Lore, vol. 2, 1891, p. 450.

4. Musters. Unter den Patagoniern, Jena, 1873. Quoted in Anthropos,
vol. 3, p. 920.

INDIANS, UNITED STATES I 39

lightning symbol. In two of the corners formed by the
intersecting arms of the cross are crescents. A hooped
wooden beater. Tribe: Navaho.
Diameter, 9 inches. Depth, 12^ inches,
cf. note to No. 3326.

2944 WATER DRUM. A cask-shaped body with four feet,

cut from a log of wood hollowed out. The head of skin
stretched over the edge is fastened with cords on the under
side of the cask. The tension of the skin is regulated by
twisting small sticks inserted under the cords. Reproduc-
tion. Tribe: Pawnee. Family: Caddoan.
Diameter, 1 1 yi inches. Depth, i foot 8 inches.
Four of these drums are used in the Bear Dance of the
Skidi Pawnee.^ A similar drum used in the Mide'wiwin
ceremonial of the Chippewa is described by Frances Dens-
more^ as follows: "This mitigwakik is made of a bass-
wood log, hollowed by charring and scraping. It is i6>^
inches high, 10 inches in diameter at the base, and 8j4
inches in diameter at the top. It is decorated with a
blue band at the base, four heads representing the four
Mide'manido (spirits), and an oblong, said to represent a
bag containing yarrow, which signifies life. The heads
are outlined in red and the bag in blue. When in use it
is partially filled with water. The top is of untanned
deerskin, which is dampened and stretched very tight.
This is held in place by a flesh-hoop wound with cloth.
At times instead of being dampened the top of the drum
is held toward the fire or in the warmth of the sun, which
has the desired effect. Great care is taken in preparing
a drum for use, the proper quality of tone being secured
by the treatment of the deerskin top."
The Indians of the Rio de Sonora employ a peculiar form
of water drum in the Deer Dance described in the note to
No. 2628, p. 134.

3346 KETTLE DRUM. Made from an ordinary camp

kettle with skin stretched over the top, edged with a band

1. Dorsey. Traditions of the Skidi Pawnee. Memoirs of the Amer. Folk-
Lore Society, vol. 8, 1904, p. 300, fig. 21; also note 6, p. 329; also note
299. P- 359-

2. Densmore. Chippewa Music. Bur. of Amer. Ethnol. Bui. 45, p. 1 1 ff.
Wash. 1910.

cf. Rosen. The Chorates Indians in the Bolivian Chaco, p. 656 ff.
See note to No. 3 142, p.

1 40 MUSICAL INSTRUMENTS. AMERICA

Class III
Vibrating
Membranes
Division I
Struck
Section A
Drums
1. With
one head

of red flannel. Tribe: Mandan. Family: Siouan. Local-
ity: North Dakota. Reproduction. Made by a Mandan
boy in the Indian Industrial School, Carlisle, Pa.
Diameter, ii inches. Depth, loK int^hes.
The Indian by whom this drum was made stated that in
the early days the Mandans used the kettle drum in the
Buffalo Dance, also in dances after a victory. The singers
sat about the drum and the women danced around it.
Catlin^ describes this dance of the Mandans as follows:
"In the olden days when the buffalo still ranged over the
prairies and formed the staple article of food among some
of the tribes, the Mandans, even then a small tribe and
surrounded by enemies, were often in a state of starvation
if their herds of buffalo roved too far from their village
for them to venture in pursuit. At such times an order
was issued by the chief and the Buffalo Dance proclaimed.
Every man in the village was obliged to keep the 'buffalo
mask' within reach and when the call came this was
donned and the dance started to the accompaniment of
the tambourine, drum, and rattle. The mask worn con-
sisted of the head of a buffalo with a strip of skin hanging
to it the whole length of the animal. The dance never
failed to bring the buffalo, for it was danced, sometimes,
two and three weeks without intermission, until a signal
from the men on the hills announced the appearance of
the herd in the distance."

The use of the ordinary camp kettle as a drum is referred
to in the Ethnologic Dictionary of the Franciscan Fathers^
in a description of the girls' dance (squaw dance), which,
with the "carrying of the rattle stick" forms one of the
principal features of the war dance of that tribe. In con-
verting the kettle into a drum a few pebbles are thrown
into it and the opening is covered with a piece of goat or
buckskin. It is struck with a small stick and accompanies
the dance.

A similar drum was also used by the Caddoans. A prim-
itive form of water drum of Mandan origin is the eeh-
iech-ka recorded by E. H. Hawley of the National Mu-
seum. This is composed of two sacks each in the form
of a large tortoise made from the skin of a buffalo's neck
and filled with water. These are beaten with two sticks.

1. The Manners, Customs, and Conditions of the North American Indian,
vol. I, p. 126 fF., pi. 56.

2. P. 370.

INDIANS, UNITED STATES I4I

Musters^ in a description of the dance of the Tehuelche
Indians of Rio Chico, Venezuela, refers to a drum made
from the ordinary camp kettle with skin stretched over the
top and "a kind of bone instrument made from the shank
bone of a guanaka with holes which could be blown or
played with a short bow with horsehair strings."

3149 WATER DRUM. Ga-no-go-o. A section of a small

log of wood hollowed out, the open end covered with buck-
skin held in place by a rope of the same wound with red
flannel. The beater has a small knob at one end; the opposite
end broadens out and is cut in grooves to fit the fingers.
This form of stick is peculiar to the Seneca. Tribe: Seneca.
Family: Iroquoian. Locality: New York State.
Diameter, 'jii inches. Depth, 4^4 inches.

A similar specimen in the U. S. Nat. Museum Col. No.

219,046. The same collection has a Chippewa drum

(No. 204,969) also called ga-no-jo-o.

3626 DRUM. Similar to No. 3149. The head has a fringe

of buckskin where it is fastened to the shell. Tribe: probably
Apache.
Diameter, 'j}4 inches. Depth, 5^^ inches.

3615 DRUM. Similar to No. 3149.

Diameter, 5X inches. Depth, 4K inches.

3534 WATER DRUM. Ga-no-go-o. Made of a small

wooden paint keg, banded with iron. The top covered with
skin held in place with a flesh-hoop wound with cloth. A
grooved wooden beater. Tribe: Alleghany Seneca. Fam-
ily: Iroquoian. Locality: New York State.
Diameter, yj^ inches. Depth, 3^ inches.
Used in connection with the horn rattle (No. 3535, p. 159)
to accompany social and religious songs. Obtained from
Dayoa-tzonh-tsi Chauncy Warrior, a Seneca Indian,
1906.

2044 DRUM. A circular frame of wood with sheepskin

head. At one side a tree sketched in black and above
it a star. From the Warm Springs Reservation, Oregon.*
Diameter, i foot 4)4 inches. Depth, 3H inches.

1. Unter den Patagoniern quoted in Anthropos, vol. 3, 1908, pp. 920-921.

2. 'Ihis reservation is occupied by the Paiutes of the Shoshonean family.

Class III
Vibrating
Membranes
Division i
Struck
Section A
Drums
2. With
two heads

142 MUSICAL INSTRUMENTS, AMERICA

2026* DRUM. A circular rim of wood covered with mem-
brane decorated with the cloud symbols of the Pueblo
Indians. The edge is hung with bits of red flannel and
feathers.
Diameter, i foot i yi. inches.

63 1 DRUM. Wakan-chan-cha-gha. Conjurer's drum. A

circular frame of wood with skin stretched over both sides
and the edges laced together with a thong. On one side the
thunder-bird' with zigzag lines (the lightning flash) diverg-
ing from its head, is outlined in black on a green ground;
on the other side a crudely drawn animal form with the zig-
zag lines radiating from its mouth, on a background of
yellow. Two small brass bells tied to the rim. Family:
Siouan.
Diameter, 10 inches. Depth, 3 inches.

Illustrated in Brown. Musical Instruments of North
America, pi. I, fig. I. See also footnote reference to No.
579. P- 125-

in red. Tribe:
Locality: Leech

2822 DRUM. A shallow circular frame of wood with skin

stretched over both sides. One side painted a bright ver-
milion with a four-inch border of black extending nearly
half way around the head. In the center a bird's head out-
lined in red on a white plaque framed in a quadrangle of
black. On the reverse, a face outlined
Chippewa (Ojibwa). Family: Algonquian.
Lake Reservation, Minnesota.
Diameter, i foot. 5K inches. Depth, ly^ inches.
The Chippewa (Ojibwa), one of the largest tribes north
of Mexico, formerly occupied a vast area extending along
the shores of Lake Huron and Lake Superior across Min-
nesota to the Turtle Mountains in North Dakota. Frances
Densmore,^ who recently made a study of Chippewa

* This instrument is placed with Class III in the kindred instruments of
the Historical Groups.

1. Grinnell, writing of the Lodges of the Blackfeet (Siouan) describes a
lodge decorated with the thunder-bird, apparently erected to appease the
elements and avert disastrous storms. Back of this lodge a drum, dec-
orated with the same symbol, was hung on a tripod, and neither man nor
beast was allowed to pass between the lodge and this sacred drum. Amer.
Anthrop. New Ser. vol. 3, 1901, p. 657.

2. Densmore. Chippewa Music. Bur. of A.mer. Ethnol. Bui. 45, p. i. 1910.

INDIANS, UNITED STATES 1 43

Music, sa>s in speaking of the songs of these people:
"Chippewa songs are not petrified specimens; they are
ahve with the warm red blood of human nature. Music
is one of the greatest pleasures of the Chippewa. If an
Indian visits another reservation, one of the first ques-
tions asked on his return is, 'What new songs did you
learn?'

"Every phase of Chippewa life is expressed in music.
Many of the songs are very old and are found on several
reservations; others are said to be the more recent com-
positions of certain men who composed them 'during a
dream,' or 'upon awaking from a dream.' It is still
customary for the Chippewa to celebrate an important
event by song."

Two interesting drums of the type of No. 2822 are men-
tioned by Dorsey ^ in an account of the hand-guessing
game of the Wichita (Caddoan). One of these he de-
scribes as "a small drum held in the hand during the
dance." It is of the variety with two heads, being made
of two pieces of rawhide carefully and evenly stretched
over a circular wooden frame and laced along the median
line. The drum is four inches deep and sixteen inches in
diameter. One head is painted blue; the other pink with
large blue circles in the center. The reason given for
this peculiar manner of painting the drum was that it
was used in two ceremonies, the blue side being used
during the war dance, while the use of the pink side
was confined exclusively to the Ghost Dance.
The second drum, constructed in a manner similar to the
one just described, is eight inches in depth and thirty
inches in diameter, and is a remarkably good specimen
of Indian workmanship. The entire surface of the drum
is painted a deep blue, both sides containing similar
symbols.

"The center of the drum bears a red circle six inches in
diameter, upon which is an unusually good drawing of an
eagle, the black-tipped white wing and tail feathers being
drawn with great fidelity; the body is, of course, black.
Surrounding this red sphere is a narrow blue line from
which radiates a white line five inches in length, which is
crossed at right angles near the outer end by a moon
symbol in red. The line terminates in a five-pointed
blue star. Between this star and the edge of the drum is
I. Dorsey. Amer. Antiq., vol. 23, Jan. Nov. 1901, p. 367 if.

1 44 MUSICAL INSTRUMENTS, AMERICA

Clasa III
Vibrating
Membranes
Division I
Struck
Section A
Drums
a. With
two heads

drawn in white a pipe with a short stem. Diagonally
across and near the other edge of the drum is a yellow
star with a pipe in white similar to the one just mentioned.
The two diagonally opposite sides are occupied, on one
side by a red and on the other by a green star. The
following explanation was given for these symbols: The
red center symbolizes the earth, its light blue boundary
being the firmament; the white line leading from this
firmament to the blue star representing the way of life
along which the spirits of the departed travel in their
journey to the west, as blue among the Wichita is sym-
bolic of the west. The color symbolism of the three
remaining stars is: north for the green, east for the
yellow, and south for the red. The deep blue color of the
drum itself represents the heavens. I was informed that
this drum is used not only in the hand game, but in the
so-called war dance. It is also used in rain ceremonies,
but concerning the latter there was no time to get any
detailed information. The two pipes, of course, have special
reference to the use of the drum during the war ceremony.
Accompanying the drum are four forked stakes upon
which the drum is suspended at some distance from the
ground when in use by four leather thongs, which extend
out on the four sides from the center. In addition, the
drum bears on the upper surface a braided rawhide
handle."

3395 DRUM. A square frame of wood covered with skin,

the edges laced together with a leather thong. Around the
edge on each side is a band of small triangles painted in solid
red, symbolical of mountains, or a group of tepees, and in
the center of the field are three rows of angular lines that
might represent a flight of birds or arrow-heads. The
wooden beater has a padded head covered with buckskin.
Tribe: probably Hupa. Family: Athapascan. Locality:
California.

Width, I foot 8 inches. Depth, 3J^ inches.
The Hupa Indians occupy a reservation in California
that covers an area some twelve square miles in the valley
of the Trinity River, a territory that formed the original
habitat of the tribe. In the tribal dances the women
wore skirts and aprons of deer skin ornamented with
pendants cut from abalone shells. Bur. of Amer. Ethnol.,
Bui. 30. p. 581. Wash. 1907.

INDIANS, UNITED STATES I45

The drums of the Twana (Salishan) have square or
rectangular heads, the sides of which are from a foot to
two feet or more in length. They are made of deerskin,
stretched over a wooden frame. Each drum has only one
head, and on the reverse side two leather thongs or straps
are crossed at right angles for a handle. By this they
are held with one hand, while the drumstick is held in
the other. They are from three to six inches in depth,
and vary in tone, according to size, as much as our
snare and bass drums. The Clallam (Salishan) use the
same kind of drum, and also have another form, which
is similar in all respects except that the head is round
instead of rectangular.'

Dr. Charles E. Woodruff, U. S. A.,^ in a paper on the
Dances of the Hupa Indians, states that this tribe has
four dances: the Woodpecker, the White Deerskin, the
Fire, and the Flower. The only instrument mentioned is
the whistle used in the White Deerskin Dance.

3 174 DRUM. A shallow circular frame of wood with skin

stretched over both sides and meeting in a seam around the

edge. Across one side a knotted cord that vibrates when

the drum is struck. An indistinct pattern of arrow-heads

outlined in red around the edge. A knobbed beater with

padded head. Tribe: Chippewa.

Diameter, i foot 6^ inches. Depth, 2^ inches.

W. J. Hoffman in his paper, The Midewiwin, or Grand

Medicine Society,' of the Ojibwa illustrates and describes

various instruments used in the ceremonies of this tribe.

A circular drum of the tambourine type, used by the

iVaheno (conjurer) in his incantations, is made of ash

wood covered with a piece of rawhide, tightly stretched

while wet. Upon the upper surface is drawn a mythical

figure with arms and legs extended, the body painted red

and the head outlined with black with serpentine lines

at the top like horns. These lines denote superior power.

No. 631 of this collection described on page 142, a

conjurer's drum of the Siouan family, has a similar

1. Eells. Amer. Antiq. vol. 12. 1890. p. 83.

Also Smith. Inst. An. Rept. 1887, p. 651 ff. Wash. 1889.

2. Woodruff. Dances of the Hupa Indians. Amer. Anthrop. vol. 5, 1892.
P- 53-

3. Bur. of Ethnol. 7th An. Rept. 1885-1886, pp. 143, 190, 191. Wash.
1891

1 46 MUSICAL INSTRUMENTS. AMERICA

VibmUng serpentine line protruding from the mouth of the animal

Membranes that omamcnts onc side. Another drum described by

struck"' ' Hoffman is of special interest. This is called the Mide

DrS ^ ^Z""! ^nd is used by the shamans in healing the sick.

2- ^vith "It is cylindrical, consisting of an elongated kettle or

^'''" ^^ ' wooden vessel, or perhaps a section of the hollow trunk

of a tree about ten inches in diameter and from eighteen
to twenty inches in length, over both sides of which raw-
hide is stretched while wet, so that upon drying the mem-
brane becomes hard and tense, producing, when beaten, a
very hard, loud noise, which may be heard at a great
distance. Frequently, however, water is put into the
bottom of the drum and the drum head stretched across
the top in a wet state, which appears to intensify the
sound." At the initiation of new members to the Mide-
wigan the properties of the drum are explained as follows:
"It was at first the gift of Kitshi Manido, v/ho gave it
through the intercession of Minahoiho; that it is used to
invoke the presence of the Mide Manidos, or sacred
spirits, when seeking direction as to information desired,
etc.; that it is to be employed at the side of the sick to
assist in the expulsion or exorcism of evil manidos who
may possess the body of the sufferer; and that it is to be
used in the Midewigan during the initiation of new mem-
bers or the advancing of a Mide from a degree to a higher
one." Mr. Hoffman' also describes the war drum and
illustrates one of the mnemonic charts of songs formerly
used in the war dances. The drum, like those of the
Apache, is made from an old iron kettle with skin stretched
over the top; when in use it is attached to four sticks to
prevent its touching the ground. "The drumsticks are
strong withes, at the end of each of which is fastened a
ball of buckskin thongs." The Apache drumstick is a
twig with the end bent in a hoop. W. W. Beach^ states
that the Chippewa of Northern Minnesota do not appear
to be musical; their notion of music seems to be con-
centrated in the tawahegun (drum) and the madwa-
wechegance (jews' harp).

The Chippewa Dictionary^ gives the following names for
drums:

Mitigwakik: drum with one head.

1. Bur. of Ethnol. 7th An. Rept. 1885-1886, p. 238. Wash. 1891.

2. The Indian Miscellany, p. 369.

3. Rt. Rev. Bishop Baraga.

INDIAN BOY Wnn f-LUTE. TAOS PLIHBLO, NhW MhXICO
PHOIOf.KAI'H BY IKI I) IIAKVI Y. COIM' l< l(.IH, ll)()8, HI' IKI 1) HAKVhY

INDIANS. UNITED STATES I47

Teweigan: drum with Me head. Class iii

Pa gaakokwan: drumbiick. Membranes

Division i
^ Struck

589 DRUM. A cylindrical shell of corrugated metal, pes- section a

sibly a powder can, originally painted white. The open 2.'^with
ends are covered with rawhide decorated in green and yel- *^"'° ^^^'^^
low, the edges of which are laced together with thongs of
rawhide. Tribe: Hopi. Family: Shoshonean. Locality:
New Mexico.
Diameter, 9>^ inches. Depth, iiK inches.

630 DRUM. Made from a log of cottonwood hollov/cd out

and the ends covered with buffalo skin, the edges laced
together with strips of the same. Tribe: Hopi.
Diameter, 9>< inches. Depth, i foot 6 inches.
Mr. James Stevenson' in his catalogue of Pueblo instru-
ments, describes a similar drum from the Hopi Indians,
Arizona, and gives the native name as pur-pi-shuk-pi-po-ya.
The U. S. Nat. Museum has several similar drums from
the Zuni, Nos. 234,486 and 234,444.

2802 DRUM. Similar to No. 630. The surface colored

with yellow ochre. A knobbed beater with padded head.
Tribe: Zuni. Family: Zunian. Locality: New Mexico.
Diameter, i foot 2)4 inches. Depth, 2 feet.

591 DRUM. Similar to No. 630. Cylindrical shell hol-

lowed out of a log of wood. Heads of skin laced together
with strips of the same. Tribe: Hopi.
Diameter, 7^ inches. Depth, 12 inches.

3120 DRUM. European model. A circular shell of wood

with skin stretched over the open ends and laced together
with strips of the same. A knobbed beater. Tribe:
probably Pueblo.
Diameter, 9 inches. Depth, 5 ^ inches.

628 DRUM. Similar to No. 630. A very old specimen.

Tribe: Hopi.

Diameter, 11 inches. Depth, i foot 2>^ inches.
There is a similar drum from the Hopi in the U. S. Nat.
Museum Coll. No. 151,888.

I. Illustrated Catalog of the Collections obtained from the Pueblos of
New Mexico and Arizona in 1881. Bur. of Ethnol. 3d An. Rept. 1881-1882.
p. 519. Wash. 1884.

1 48 MUSICAL INS'^^RUMENTS, AMERICA

Class ni 2043 DRUM, Similai ^ . No. 630. From the ancient Pueblo

Membranes of Cochili, Rio Grande, New Mexico,

Struck" ^ Diameter, i foot i inch. Depth, i foot 4K inches.

Section A
Drums

two^heads 2856 DRUM. A circular frame of wood ornamented with

dovetailed points of red and green. The heads are colored
with yellow ochre, decorated with drawings in yellow and
green. The edges of the two heads are laced together with a
thong. Tribe: probably Zuni.
Diameter, i foot iK inches. Depth, 7K inches.
The figure in the center of one head doubtless represents
the corn maiden, and the two four-lobed ornaments, the
squash blossom. This drum is very similar to one illus-
trated by Fewkes' in his article on the New Fire Ceremony
at Walpi.

2024 DRUM. Similar to No. 2856, decorated on both heads

with symbolic emblems in dull blue and pink. Tribe:
probably Nambe of the Rio Grande Pueblo.
Diameter, io}4 inches. Depth, 1 1 inches.
The Nambe are a small group of the Tewa tribe (Tanoan
family) that occupy a pueblo north of Santa Fe, New
Mexico, on the Nambe River, a tributary of the Rio
Grande. Bur. of Ethnol., An. Rept., Bui. 30, pt, 2, p. 15.
Wash. 19 10.

629 DRUM. A circular shell of wood covered with red

flannel, ornamented with glass beads and brass tacks. Two
heads of skin, stained yellow and decorated across the cen-
ter with parallel lines and a row of arrow-heads. On the
reverse, a four-pointed red star in the center. Tribe:
Creek (Maskoki). Family: Muskhogean. Locality: Okla-
homa. (Reservations.)

Diameter, i foot ^ inch. Depth, y^i inches.
A relic of the Indian rebellion, 1867, used by the Creeks
after their victory at the battle of Frog Lake, Canada,
which was followed by a general massacre of the whites.
In the early days the Creeks were located in the states of
Georgia and Alabama, but about 1840 the greater part
of them removed to lands assigned to them in the Indian
Territory.

I. Amer. Anthrop. New Ser. vol. 2, p. 116, pi. III. 1900.

INDIANS, UNITED STATES 1 49

1454 DRUM. A cylindrical model made of birch bark.

The sides ornamented with a pictograph of a hunting scene

and camp life. Tribe: Micmac. Family: Algonquian.

Locality: Nova Scotia and vicinity.

Diameter, 5^2 inches. Depth, 11 inches.
An important Algonquian tribe that occupied Nova
Scotia, Cape Breton, and Prince Edward Island, the
northern part of New Brunswick, and probably points in
south and west Newfoundland. Bur. of Ethnol., An.
Rept., Bui. 30. p. 858. Wash. 19 10.
The Chippewa of the eastern woodlands used similar
drums.

349 I RATTLE. A straight stick with one end shaved thin Section b

and bent in a hoop over the two sides of which skin is
stretched. One side of this is decorated in ochre and indigo
with a tepee between two trees. The handle is covered with
buckskin. Tribe: Apache.
Length, i foot i inch. Diameter, 5 >^ inches.

This form of rattle is used by the Chippewa' in their Mide
ceremonial by whom it is called cici'gwan. It is also
found among the Dakota. The decoration of the above
specimen suggests the provenance stated.

2276 RATTLE. Similar to No. 3491, decorated in yellow.

At the end of the handle is a flexible thong finished at the
end with a slung-shot, a leather-covered stone. The rattle is
ornamented with tufts of possum and beaver skin, and pen-
dant tin cones.
Length, i foot 75^ inches. Diameter, 5 inches.

"This is a unique specimen. While the form suggests
the rattle of the Chippewa, the color and decoration with
the slung-shot suggest some tribe of the Southern Plains,
the Cheyenne, Arapaho, or Comanche. The Comanche
and Arapaho employ loose-necked clubs or slung-shots,
while the Shoshone and Siouan tribes of the Northern
Plains use stiff clubs. Tin cone rattles are also used
by the tribes of the Southern Rockies and. the Southern
Plains tribes." ^

1. cf. Densmore. Chippewa Music. Bur. of Amer. Ethnol. Bui. 45, pi. I.
Wash. 1910.

2. Hough, Walter. Curator of Ethnology, U. S. Nat. Museum, Wash-
ington.

Class III

Vibrating

Membranes

Division I

Struck

Section B

Rattles

150 MUSICAL INSTRUMENTS. AMERICA

639 RATTLE. Similar to No. 3491. The skin colored with

yellow ochre. Family: probably Siouan.
Length, i foot 2 inches. Diameter, 7 inches,
Catlin' writing from the mouth of the Teton River (1832-
39), a branch of the Missouri, describes and illustrates
the musical instruments of the Sioux. The rattle or
she-shee-quoi, most generally used, is made of rawhide
which becomes very hard when dry, and charged with
pebbles or something of the kind, produces a shrill noise;
this is used to mark the time of their dances and songs.
The following Siouan rattles are described in an unpub-
lished manuscript by Robert Ormsby Sweeny, of St. Paul:
Maia-hda-hda: bits of tin or copper cut and bent around

a string.
Shakee-icha-koka: a rattle of deer's toes.
Napo-kashka-ia-sake or napo-kashke-yu-dhe: a bracelet
rattle worn on the wrist; it is made of elks' tusks,
bits of horn, fruit pits, deer's toes, bones, shells,
wampum, or little bits of copper.
Hda-hda-siuta-hada: made of the rattles of the rattlesnake
(crotalus horridus); attached to the lower end of the
stick is a bladder rattle, partly filled with gravel, the
combination of sounds resembling the rattling and hiss-
ing of the serpent.
Keionta-koka: a turtle shell containing pebbles, the head
and feet of the animal represented by bits of rawhide
and colored strings.
Pe-hda-hda: made from the horn of a Rocky Mountain
sheep (Ovis Montana), scraped and boiled and worked
until it is translucent, and bound with thongs of buck-
skin.
IVa-mnu-ha: a rattle made of rawhide stretched over a
distended bladder containing pebbles and charms of
various kinds, used by the medicine men.^
Chegah-skah-hdah: conjurer's rattle. A tapering wooden

wand covered with buckskin and hung with cones.
Paihida-saka: conjurer's rattle. Globular form with a
straight wooden handle usually made of rawhide or
buckskin.
N apo-shampidah-hah; ma^a-rhda-rhda-hda-hda; hanska-

1. Catlin. The Manners, Customs, and Condition of the North American
Indians, vol. i, p. 242.

2. cf. Specimens in the Indian collection of the University of Pennsylvania
Museum.

INDIANS, UNITED STATES I5I

hugo-kah-ho-kah: rattle wands or "tappers." Wooden
sticks with knobbed heads hung with loose rings or
pendant rattles.

2793 RATTLE. Similar to No. 3491. The decoration, a

tepee in yellow. The buckskin-covered handle is finished
with a fringe of tin cones. Family: probably Apache.
Length, i foot. Diameter, 4 inches.
The Peabody Museum, Cambridge, Mass., has one of
these rattles. No. 64,434.

3 I 76 RATTLE. Cici'gwan. A circular frame of wood with

skin stretched over both sides. No decoration. Tribe:
Chippewa (Ojibwa). Family: Algonquian. Locality: Leech
Lakes Agency, Minnesota.
Diameter, 6K inches.
This form of rattle, usually about nine inches in diameter
and made of deerskin, is used by the dja sakid (doctor or
juggler) in his treatment of the sick, also in the Mide
ceremonial. It is held in the right hand of the medicine
man who at a certain point in the ceremony strikes it
against his breast; then leaning over the patient he
strikes his back between the shoulders with the rattle.
It is claimed that this enables him to locate the disease
in the patient. During this ceremony an attendant at
one side accompanies the dja sakid on a circular drum
about 15 inches in diameter. Four rattles are used in the
Mide. Three consist of small circular wooden drums cov-
ered with rawhide and pierced by a stick which forms the
handle. These are used in the treatment of the sick and
also in the "shooting of spirit power" in the Mide cere-
mony. The fourth is made from a wand of wood with
one end bent in a circle and covered with rawhide. (See
No. 3491). None of these rattles are decorated. The
Chippewa name for rattles is cici'gwan^
A similar rattle is found among the Menomini.^ Perrot^
writing in 1634 describes a similar rattle or small drum,
the chichigouan used by the sorcerers of the Canadian
Indians, as follows:
"Ce tambour est de la grandeur d'un tambour de basque;

1. Densmore. pp. 12, 14, 48.

2. cf. Bur. of Ethno!., I4lh An. Rupt., 1893, pt. i, p. 148. Wash. 1896.

3. Perrot. Memoire sur Ics moeurs, coustumes et religion des sauvages
de rAmcrique septentrionale, p. 182.

152 MUSICAL INSTRUMENTS, AMERICA

Class III

Vibrating

Membranes

Division I

Struck

Section B

Rattles

il est compose d'un cercle large de trois ou quatre doigts
et de deux peaux roidement estendues de part et d'autre,
ils mettent dedans des petites pierres ou petits cailloux
pour faire plus de bruit: le diametre des plus grands tam-
bours est de deux palmes ou environ: ils le nomment
chichigouan; et le verbe mpagahiman signifie, je fais
jouer ce tambour, Ils ne le battent pas comme font nos
Europeens, mais ils le tournent et remuent pour faire
bruire les cailloux qui sont dedans; ils en frappent la
terre tantost du bord; tantost quasi du plat, pendent, que
le sorcier fait mille singeries avec cet instrument. ^

3175 RATTLE. Cici'gwan.

Chippewa (Ojibwa).
Diameter, 3 ^< inches.

Similar to No. 3176. Tribe:

3492 RATTLE. A leather receptacle in the form of a crook

with a grease-wood handle. Probably made from the tail
of some animal.
Length, 7K inches.
The Tonkawa in Southern Texas have a war and dance
rattle hah-whoothes made from the tail of a white ox bent
in a loop. cf. U. S. Nat. Museum Coll. No. 8,499. The
Tonkawa are a prominent tribe forming the Tonkawan
linguistic family resident in Texas.

2737 RATTLE. A tube of rawhide about an inch in diam-

eter, bent in the form of a hoop, attached to a straight
wooden handle. The ring is edged with a fringe of buckskin
and the handle is wound with alternate rows of green and
white beads.

Length, 8 inches. Diameter of ring, 4 inches.
While this may possibly be a rattle from the Cheyenne,
it has every evidence of being a Star Dance rattle of the
Gros Ventre (Siouan), the ring with the fringed buck-

I. The drum is of the size of a tambourine. It is composed of a circle (of
wood) three or four fingers in depth, over the two sides of which skin is
stretched. In order to increase the sound some small stones or pebbles are
enclosed between the two heads. The diameter of the large drum is about
the width of two palms. It is czWtd chichi gouan; and the verb nipagahiman
signifies I drum or I play the drum. It is not struck as with the Europeans,
but they turn and move it in order to sound the pebbles that are within;
they strike it against the earth sometimes on its edge, sometimes on its flat
side, while the sorcerer makes a thousand tricks with this instrument.

UJ 00

o" .

-J 1-

OQ I

W O

? S

°- >-

Rattles

I N D I AN S, U N 1 T E D STATES I53

skin being symbolical of the star and its rays. The Star Class in
Dance rattle of the Arapaho has a flat head, round or Membranes
kite-shaped.^ There is a similar specimen in the Museum gtni^'i^" ^
of the University of Pennsylvania from the Wichita Sect'on B
Indians.

570 RATTLE. Pai-hui-a-saka. Conjurer's rattle. Glob-

ular form. Made of buckskin decorated with a crude draw-
ing of a human face. The straight handle is wound with
green and white beads originally decorated with feathers.
Tribe: probably Cheyenne.
Length, 9X inches.

Used by the medicine men and prepared with secret and

mysterious rites.

cf. Brown. Musical Instruments of North America, pi. I,

fig- 3-

568 RATTLE. Globular form. Made of rawhide with a

straight wooden handle originally covered with red flannel.
Tribe: probably Arapaho.
Length, 10 inches.

In the Amer. Museum of Nat. Hist. Coll. (No. 50/101 1)
there is a medicine rattle- of the Arapaho made of the
scrotum of a buffalo bull. This rattle is elliptical, painted
red and decorated with black horseshoe-shaped figures
symbolizing both the sun and horse tracks; also small
Y-shaped figures representing bird tracks. These spher-
ical rawhide rattles seem to be used among the Arapaho
by the seven old men constituting the highest society in
the ceremonial organization. On the whole, however, the
use of rattles of this type is characteristic of the medicine
man and his individual supernatural powers, and not of
the tribal ceremonies. In most of the ceremonies either
rattles are not used, as in the Crazy Dance, or if used they
consist of bunches of hoofs attached to sticks, as in the Dog
Dance. Rawhide rattles are used in the Star Dance, the
first preliminary to the series of tribal ceremonies; but
these rattles are small, kite-shaped, and flat; thus differ-

1. cf. Kroeber. Amer. Museum of Nat. Hist. Anthrop. Papers, vol. i,
pt. 4, p. 237, fig. 31. 1908.

2. Kroeber. The Arapaho. Amer. Museum of Nat. Hist. Bui. XVI II,
fig. 163. 1907.

See also Dorsey. The Arapaho Sun Dance. Field Columbian Museum
Publication 75, Anthrop. Ser. vol. 4, p. 42. 1903.

154 MUSICAL INSTRUMENTS. AMERICA

Class III

Vibrating

Membranes

Division i

Struck

Section B

Rattles

ing very distinctly from the globular or oval or even
sausage-shaped rattles of the medicine men. The rattle
of the Sun Dance is described in the Appendix, p. 271.
The general name for rattles among the Arapaho is
shi' shi'. cf. U. S. Nat. Museum Coll. No. 152,808.

3394 RATTLE. An inflated bladder colored with ochre; the

handle, edged with fringed buckskin and beads, is finished
with a bunch of horsehair. Family: probably Apache.
Length, 7 inches.

The dance rattles of the Assinaboin are of this form.

cf. Peabody Museum Collection, Cambridge, Mass., Nos.

9623 and 7886. Also No. 7586 in the same collection

from the Yanktonnais (Siouan).

3403 RATTLE. Globular form similar to No. 570. The

membrane colored with yellow ochre and green and deco-
rated with a human face. Suspended from the handle is a
bunch of brown horsehair. Tribe: probably Apache.
Length, 5 }4 inches.
The Navaho, neighbors of the Apache, have a variety of
ceremonial rattles, the form accompanying each chant
being made of certain material applicable only to that
chant, as follows:
Buffalo hide rattle, ayani aghal, the mountain and witch

chants.
Badger hide rattle, nahashchid aghal, the beauty chant.
Rattle made of the hoofs of the deer, antelope, or bighorn,

akheshga aghal, the knife chant.
Rawhide rattle, akhal aghal, the big star chant.
Gourd rattle, ade aghal, the night wind, water. Big God,

and feather chants.
Both the gourd and rawhide rattles are used in the big
star chant and the rawhide in all other chants save the
blessing, beard, and feather shaft chants.
The sound is produced by means of small pebbles of red-
white stone, abalone shell, turquoise, and bits of cannel
coal. The decoration usually consists of the sun, moon,
or some constellation.'

Another form called haghal used by certain members of
the tribe who impersonated the "slayer of monsters" is
made of pinon seeds or cedar berries strung on a string.^

1. Ethnologic Dictionary of the Navaho Language, p. 401 fF.

2. Idem, p. 391.

INDIANS. UNITED STATES I55

The iMedicine rattle vajojh consists of a bunch of dew-
claws attached to a thong; this type is used in ceremonies
connected with wounds and injuries.''

968 RATTLE. Similar to No. 3403, but with a longer

handle. One side decorated with a five-lobed ornament
in red. At the end of the handle a bunch of black horse-
hair fastened with a strip of fringed buckskin edged with
red and black beads. Tribe: Apache.
Length, 1 1 inches.

1967 RATTLE. Similar to No. 3394.

Length, 1 1 inches.

[283 PAIR OF RATTLES. She-shee-quoi. In the form

of mushrooms. Made of rawhide stretched over wooden
hoops; the edges of the leather brought together at the
center of one side form a handle. Tribe: Mandan. Fam-
ily: Siouan. Locality: North Dakota.
Length, 8 inches. Diameter, 9^ inches.

The Chippewa have a similar form of rattle called she-sha-
^zy<2w described by E. H.Hawley of the U.S.Nat. Museum.
Catlin- in writing of the Mandan Indians (1832-39) men-
tions the she-shee-quoi as a rattle used by the medicine
men. The same author furnishes the name eeh-na-de
for dance rattles of gourd or skin.

The Mandan were originally located in the northwest
where they dwelt in clay-covered log huts. An epidemic
of smallpox in 1837 left but 31 survivors of a tribe of
1600. In 1905 the estimated number on reservations
was 249.

CLASS IV SONOROUS SUBSTANCES3

3540 RATTLE. Gah-no-wa Gus-tah-we-seh. Made from the g^j^"" ^

shell of a snapping turtle, the neck and head drawn out
to form the handle, which is braced with strips of wood and

1. Matthews. U. S. Museum of Nat. Hist. Coll., No. 74,730.

2. Catlin. The Manners, Customs, and Conditions of the North American
Indians, vol. 1, pp. 109, 163.

3. For rattles of membrane see Class III, p. 149.

156 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division i
Struck

bound with a leather thong. Tribe: Tonawanda (Seneca).

Family: Iroquoian. Locahty: Erie County, New York

State.

Length, i foot 5 inches. Diameter, 8 inches.
Turtle rattles of this form are used to mark time in the
Great Feather Dance, but are generally painted. This,
however, is considered by the collector, Mr. Harrington,
to be a council house rattle. It accompanies the voice
and is used alone. The turtle and hickory bark rattles
(No. 3538) are used in the False Face Society; the gourd
and bark rattles in the Eagle Society, and the drums
and horn rattles (No. 3535) in the Bear, Buffalo, and
Women's Societies of the Seneca. 1

Morgan^ describing a ceremony of the Iroquois, states,
"The music was furnished by two singers, seated in the
center of the room, each having a turtle-shell rattle.
. . . It consisted of a series of songs or measured
verses which required about two minutes each, for their
recitation. They were all religious songs, some of them
in the praise of the Great Spirit, some in praise of various
objects in nature which ministered to their wants, others
in the nature of thanksgivings to H a-wen-ne-yu or suppli-
cations of his continued protection. The rattles were
used to mark time, and as an accompaniment to the
songs. In using them they were struck upon the seat as
often as twice or thrice in a second, the song and the step
of the dancers keeping time, notwithstanding the rapidity
of the beat. ... To make this rattle they remove
the animal from the shell and after drying it they place
within it a handful of corn, and then sew up the skin
which is left attached to the shell. The neck of the turtle
is then stretched over a wooden handle."
Lumholtz^ mentions the turtle shell among the clay rep-
resentations of Aztec musical instruments excavated at
the Cathedral of Mexico in 1900.

Fewkes'' in writing on the Passamaquoddy Indians, men-
tions the fact that he was present at the work of exca-

1. Parker. Secret Medicine Societies of the Seneca. Amer. Anthrop.
New Ser. vol. 11, p. 161, 1909.

2. Morgan. Ho-de-no-sau-nee or League of the Iroquois, vol. i, p. 268 ff.

3. Lumholtz. Unknown Mexico, vol. 2, p. 429 ff. 1902. See note to
No. 3372, p. 180.

4. Fewkes. A Contribution to Passamaquoddy Folk-lore. Journal of
Amer. Folk-lore, vol. 3, p. 261. 1890.

RATTLES OF VIBRATING MEMBRANES. INDIANS OF THE UNITED STATES
I'P 149, 150. 152, 153, 135, 175

INDIANS. UNITED STATES I57

vating an Indian burial ground at Watertown, N. Y., and Class iv
with one of the skeletons a turtle shell was found which substances
was possibly an old Indian rattle. . . . With the ^^'^uX'' ^
Passamaquoddy the shell of the turtle was used in olden
times for a rattle, in the place of the horn, and in a story
of the origin of the rattlesnake the conqueror is said to
have used a rattle of this kind. I n the Zuni dances and in
the Moqui Snake Dance, a turtle rattle is tied to the left
leg. The rattle carried in the hand of the Moqui snake
dancer is a gourd, but the Passamaquoddy seem to find
the horn better adapted for their purpose. The almost
universal use of the rattle among the Indians in their
sacred dances is significant. The meaning of the snake
song is unknown to the Indians who sing it. The words
are either archaic or remnants of a sacred language or
mystic words of an esoteric priesthood.
Harrington! {^ ^n article describing the Annual Ceremony
of the Delaware Indians witnessed at the Bartlesville
Reservation, Oklahoma, shows the turtle-shell rattles used
in that ceremony, and as well a peculiar drum made of a
dry deerhide rolled up and stuffed with dried grass. The
originals of these objects form part of the Heye Collection
in the Museum of the University of Pennsylvania, Phila-
delphia.

Turtle-shell rattles are also found among the South Sea
Islanders. SafTord^ in writing of the Island of Guam, one
of the Ladrone group, says that the songs of the natives
"were accompanied by appropriate gestures and move-
ments of the body, the women using certain rattles and
castanets made of shells. On those occasions the women
adorned their foreheads with wreaths of flowers like jas-
mines and wore belts of shell and bands from which hung
disks of turtle-shells."

3539 RATTLE. '>Gah-no-wa Gus-tah-we-seh. Similar to No.

3540. Tribe: Seneca.

Length, i foot 4 inches. Diameter, 6)4 inches.
Used by the members of the False Face Society. The
Cayuga (Iroquoian) Indians also have a rattle of this

1. Harrington. Some Customs of the Delaware Indians. In the Museum
Journal, University of Penn., vol. i. No. 3, p. 52 ff. 1910.

2. SafTord. Guam and its People. Amer. Anthrop. New Ser. vol. 4, p. 717.
1902.

158 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division I
Strucli

type which they call gad-sta-wen-drah.
Museum.

cf.Cat. U. S. Nat.

619 RATTLE. Yung-wey-sha-na. A small turtle shell with
a fringe of tin cones attached to a piece of buckskin fastened
to one side. Tribe: Hopi.

Length, 4^^ inches. Width, ^}4 inches.
This form of rattle is bound to the leg below the knee
and worn in the Snake Dance.

The Zuni name for a turtle-shell leg-rattle is ka-ka-a-
wen ihle-a-kwi-we or ihle-a-kwt-an nak'u-tchi-we. U. S.
Nat. Museum Coll. No. 69,267.

620 RATTLE. Yung-uh-sho-na. Made from a turtle shell
with four pendant hoofs strung on a strip of buckskin at-
tached to one side. Tribe: Hopi.

Length, 5K inches. Width, 4 inches.
A similar rattle, the mo-sha-yes-ai-ya, used by this tribe
in the Buffalo Dance held before the chase, has pendant
buffalo hoofs. One made entirely of hoofs, the al-te-qua-hi,
is used in the morning to bring rain. They also have a
cedar-berry rattle called le-pos-le-qua-he.^ The Cherokee
have a tortoise-shell rattle inksi (tortoise) worn in the
women's dance; it is tied about the ankles and the dancer
marks the time by stamping the foot and sounding the
rattle in unison with one of gourd held in the hand. U. S.
Nat. Museum Coll. No. 130,491.

Among the Hopi the flesh of the turtle is carefully re-
moved from the shell, leaving it hollow. To the edges of
the breastplate are attached the toes of goats and sheep.
These toes coming in contact with the hollow shell, pro-
duce a peculiar sound, in keeping with the sound caused
by the gourd rattles used in the same ceremony. In the
dance the rattle is fastened at the back of the right leg
near the knee.^

Bancroft^ describes the Green Corn Dance of the Jemez
Indians (Pueblo) in which these knee rattles are worn.
This dance is called the you-pel-lay. "When the per-
formers first appeared, all of whom were men, they came

Columbian Museum

1. Hawley. U. S. Nat. Museum.

2. Dorsey. The Oraibi Soya! Ceremony. Field
Publications 55, Anthrop. Ser. vol. 3, p. 29. 1901.

3. Simpson. Journal of Military Reconnaissance, p. 17, Phila., 1852.
Quoted by Bancroft, p. 550.

INDIANS, UNITED STATES I 59

in a line, slowly walking, and bending and stooping as
they approached. They were dressed in a kirt of blanket,
the upper portion of their bodies being naked, and painted
dark red. Their legs and arms, which were also bare,
were variously striped with red, white, and blue colors;
and around their arms, above the elbow, they wore a
green band, decked with a sprig of pinon.' A necklace
of some description was worn about the neck. Their
heads were decorated with feathers. In one hand they
carried a dried gourd containing some grains of corn,
with which they produced a rattling kind of music; in
the other, a string from which were hung several tortillas.
At the knee were fastened small shells of the ground tur-
tle and antelope's feet, and dangling from the back, at
the waist, depended a fox skin. The musicians were
habited in the common costume of the village, and made
their music in a sitting posture. Their instruments con-
sisted each of half a gourd placed before them, with the
convex side up ; upon this they placed, with the left hand,
a small stick and with their right drew forward and back-
ward upon it in a sawing manner, a notched one."
Teit,'' writing of the Thompson Indians of the North-
west, states that they used very few musical instru-
ments. Their songs and dances were accompanied by
the drum, which consisted of a round wooden frame
covered with skin, that of a one-year-old deer considered
best, and often worn before using on the drum, because
this was believed to improve the sound. The drums
were generally painted with emblematic designs. Those
made for potlatches had designs referring to those festiv-
ities. It is only recently that square drums have been
made. The Thompson Indians used no rattles except
rattling anklets made of deer hoofs, which were worn at
dances. The same author states that the Shuswap some-
times hung fawn hoofs around the rims of their drums.
The Huichol Indians (Piman family) located in the Sierra
Madre Mountains of Mexico, have a deer-hoof rattle, to
which they give the name of rikua.

3535 RATTLE. Ga-non-gah Gasda-we-sa. Made from a

section of oxhorn, the ends closed with wood; a straight

1. Pinon is the common scrub pine of the country.

2. Amer. Museum of Nat. Hist. Mem. vol. 2, Anthropol. I, The Jesup No.
Pac. Exped. vol. 4, pp. 383. 384. 1900.

l60 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division I
Struck

3536

2794

wooden handle. Tribe: Alleghany Seneca. Family: Iro-
quoian. Locality: Cattaraugus County, New York State.
Length, 8}4 inches. Diameter of head, ^}4 inches.

Used with or without the drum to accompany the voice in
various dances and ceremonies.

Similar specimen in the U. S. Nat. Museum Coll. cf. No.
219,045.

Used by members of the False Face Society. The Cana-
dian Delawares have a similar rattle, which they call
cowunhegnn.^

In the choogichoo yajik or Serpent Dance of the Micmacs
the head dancer marks the time with a horn rattle.'

RATTLE. Ga-non-gah Gasda-we-sa. Similar to No.

3535. Tribe: Alleghany Seneca.

Length, "j^i inches. Diameter of head, 2J4 inches.
Similar specimens in the U. S. Nat. Museum Coll. Nos.
219,045; 219,622; 219,623.

RATTLE. Ga-non-gah Gasda-we-sa. Similar to No.

3536. Tribe: Seneca.

Length, 12 inches. Diameter of head, 1 K inches.

3538 RATTLE. Ga-snonk Gus tah we seh. Made of a strip

of hickory bark, the ends bent together forming a receptacle
holding small pebbles. Tribe: Alleghany Seneca. Fam-
ily: Iroquoian. Locality: Cattaraugus County, New York
State.

Length, i foot lyi inches. Width, 3>^ inches.
This and the turtle-shell rattle are used in the annual
dance of the False Face Society {J a-di-gon-sa) held at the
time of the Iroquois New Year, a ceremony probably
introduced from the Iroquois people on the west of the
Seneca where it is very strong. Its purpose is benevo-
lence, the members acquiring magical powers for curing
disease through wearing the masks. In a paper on the
Music of the North American Indians^ M. Gagnon,
quoting Lafitau and Lejeune, gives the following account:*

1. Harrington. Amer. Anthropol. New Ser. vol. 10, p. 416. 1908.

2. Hager. Amer. Anthropol. vol. 8, p. 31. 1895.

3. Gagnon. Les Sauvages de I'Amerique et I'art Musical. In Compte
rendu du Congres Internat. des Americanistes 15, 1907.

4. The passage translated reads as follows:

The songs and the dances of our savages were always accompanied by a

INDIANS, UNITED STATES l6l

Les chants et les danses de nos sauvages etaient toujours
accompagnes d'un instrument bruyant, nuUement me-
lodique, appele chichikoue^ ou chichigouane par les indi-
genes, et chichiquois par les Franjais. Si I'instrument
etait de grande dimension, on I'appelait mit chichigouane ou
machichiquois, c'etait, le plus souvent, tme corne de boeuf ou
de bison, remplie depetits cailloux, que Ton agitait a inter-
valles reguliers et rapproches pendant toute la duree du
chant ou de la danse. Chez les 1 roquois c'etait quelque fois
une petite citrouille creusoe, sechee, puis remplie de cailloux
ou d'osselets et fixee au bout d'un baton.^ Nos sauvages
se servaient aussi de tambours qui jouaient un grand role
dans leurs magies ou tabagies.^

Sir Francis Drake'' writing in 1578 describes a dance
rattle of the Patagonians of Santa Cruz, as made of bark
sewed with gut string and hung from the belt of the dancer.

1 969 RATTLE. A split quill, bent across the center, the end

folded back and slipped in the opposite end, where it is
wound with a strip of sinew. Tribe: Dalles. Family: Chi-
nookan. Locality: Northern Oregon,
Length, ^}4 inches. Width, i ^ inches.
The Chinookan names for rattles are shugh and shukk-
shukk.

Among the Osage (Siouan) of Oklahoma, a bent quill
rattle similar to this is attached to the top of the tattooing
needles, four or five of which project from its smaller
end. The rattling sound produced as the needles prick
the skin symbolizes the rattle of the serpent as it stings
its victim.5 Examples of these may be seen in the Indian

noisy instrument not at all musical called chichikone or chichigouane by the
natives and chichiquois by the French. If the instrument was of large di-
mensions it was called tnitchichigouane or machichiquois; it was most often the
horn of an ox or bison, filled with pebbles, and it was shaken at regular in-
tervals as they drew together during the chant or dance. With the Iroquois
it was sometimes a small hollow gourd dried and then filled with pebbles or
bones and fixed to the end of a stick. Our Indians also employ the drum,
which plays an important part in their magic rites.

1. Sagard, writing in 161 5, describes this as a small hand drum. See also
note to No. 3176, p. 151.

2. Lafitau. Moeurs des Sauvages Ameriquains, vol. 1, p. 215. 1724.

3. Lejeune. Relation du Canada pour I'annee 1634. Sagard. Histoire,
p. 474. 1636.

4. Quoted by Fletcher. The World Encompassed by Sir Francis Drake,
p. 50. London, 1854. In Anthropos. vol. 3, p. 919. 1908.

5. Infn. W. Hough, U. S. Nat. Museum, Wash.

1 62 MUSICAL INSTRUMENTS. AMERICA

Class IV
Sonorous
Substances
DiV'ision i
Struck

Collection of the Museum of the University of Pennsyl-
vania, Philadelphia.

584 BELL. Made from the horn of a Rocky Mountain

sheep. Tribe: Hopi.
Length, 5K inches. Width, 3^ inches.

582 RATTLE. An ox horn containing shot. Tribe: Ab-

naki. Family: Algonquian. Locality: Nev/ England.

Length, 12 inches.

An old shot horn originally the property of Sapiel Sock-

alexis, an Indian chief of the Penobscot (Abnaki) tribe,

used at wedding feasts to mark the rhythm of the dance.

3667 RATTLE. A round gourd containing small glass beads;

this has a wooden handle which passes through it and pro-
jects at the top. The decoration consists of two birds
(crows) with spread wings which alternate with two four-
pointed stars. The designs are carved in the surface of
the gourd, and colored in indigo and white. Tribe: Arapaho.
Length, 1 1 % inches. Diameter of gourd, 4 inches.
The tone produced by the small glass beads is a swish
rather than a rattle. Similar rattles in the peyote cere-
mony are made of small gourds painted yellow;^ the
handles wrapped around with beads, similar to No. 1756,
p. 168.

The gourd rattle, which is, perhaps, more generally used
among the tribes than any other type, when manipulated
by a native, can express his mood quite as eloquently
as a violin does that of the virtuoso. In the early seven-
teenth century we read from the records of Captain John
Smith- that the musical instruments of the Virginia
Indians consisted of "a thick Cane, on which they pipe
as on a Recorder.^ For their warres they have a great
deepe platter of wood. They cover the mouth thereof
with a skin, at each corner they tie a walnut which meet-
ing on the backside neere the bottome, with a small rope

1. Kroeber. The Arapaho. IV. Religion. Amer. Museum of Nat. Hist.
Bui. XVIII, pt. 4, pp. 400-405, 1907.

2. Smith, Capt. John. His Works, vol. 1, p. 368. Also Beverley. His-
tory of Virginia, book 3, p. 193.

3. The flute douce to which the name Recorder is given by Shakespeare in
the 1 6th century, and confirmed by Praetorius in his Syntagma Musicum,
1618. cf. No. 906, European Section of Catalogue.

INSTRUMENTS OF THE SENECA INDIANS
iM'. 126, 141, 155, 157, 151), l()l), l()7

INDIANS, UNITED STATES

163

they twitch them together till it be so tought and stifTe, Class iv
that they may be beat vpon it as vpon a drumme. But substances
their chiefe instruments are Rattles made of small gourds, ^^t/uck " ^
or pumpeons shels. Of these they haue Base, Tenor,
Countertenor, Meane and Treble. ^ These mingled with
their voyces sometimes twenty or thirtie together, make
such a terrible noise as would rather affright, than
delight any man."

The antiquity of this form of rattle is further evidenced
by the quaint extract from Hariot^ writing in 1590 of the
Virginia Indians, and "Their manner of prainge with
Rattels about the fyer. When they have escaped
any great danger by fea or lande, or be returned from
the warre in token of loye (joy) they make a great fyer
abowt which the men, and woemen fift (sit) together, hold-
inge a certaine fruite in their hands like vnto a rownde
pompion or a gourde, which after they haue taken out
the fruits, and the seedes, then fill with small stons or
certayne bigg kernells to make the more noife, and fasten
that vppon a sticke, and singinge after their manner,
they make merrie; as myself obserued and noted down
at my beinge amonge them. For it is a ftrange cuftom.e
and worth the obseruation."

Speaking of gourd rattles in her notes on Omaha (Siouan)
music. Miss Fletcher^ states that the manner of playing
them is determined by the character of the songs which
they accompany: "A tremolo can be produced by shak-
ing them, or they are played with a strong stroke and a
rebound." In the construction of these ceremonial rattles
great care is taken in procuring the material necessary to
produce the desired effect, both as regards tone and
decoration. Different tones are acquired by the insertion
of pebbles, kernels of Indian corn, or minute glass beads.
Morgan'' in writing of the music of the Iroquois states
that gourd rattles containing Indian corn were used in
the O-ee-dos'e concert and they were so made that each
gave a distinct note by means of different sized shells and
holes bored in them to emit the sound. Among twenty

1. Willoughby. The Virginia Indians. Amer. Anthrop. New Ser. vol. 9,
p. 76. 1907.

2. Hariot. Report. 1 590.

3. Fletcher. A Study of Omaha Music in Arch, and Eth. Papers of the
Peabody Museum, Cambridge, Mass., vol. i, p. 54. 1893.

4. Morgan. League of the Iroquois, p. 287.

1 64 MUSICAL INSTRUMENTS, AMERICA

of them rattled together at such a concert no two would
give the same sound.

There are few ceremonies in which this type of rattle
does not appear; for to the native it is full of symbolic
meaning and embodies the magic powers of the Great
Spirit. The scope of the symbolic ornament used in its
decoration is well illustrated in Mr. Mooney's^ detailed
description of a Kiowa mescal rattle: "The rattle is
diminutive, being only about nine inches long, exclusive
of the buckskin fringes, which are ornamented with beads
and the feathers of the bluebird. These feathers, as also
some of another species at the top of the rattle, have a
symbolic meaning in connection with the mescal rite.''
The gourd of the rattle is about the size of a small hen's
egg, being the ordinary gourd commonly used for this
purpose, and is covered with carvings symbolic of the
rite, which seems to be a worship of the elements or the
powers of nature. Radiating downward for a short dis-
tance from the top of the rattle are a number of lines,
painted green representing the falling rain, green or blue
being the symbolic color of water. On opposite sides of
the rattle are two zigzag red lines, running the full length
of the gourd. These represent the mescal songs, the same
device of zigzag lines ' being; frequently used in the Kiowa
pictograph system to represent songs, the idea, perhaps,
being to indicate the rising and falling of the voice in
singing. In one of the divisions formed by the parallel
lines is the figure of a flower with a bird pecking at it,
representing the mescal and the bird (not identified),
which is said to feed upon it. The bird is painted yellow,
either because this is the natural color or to indicate that
it is sacred to the sun. I have been told that it is the
humming bird, which sucks the honey from the flower.
In the other division is a figure with a round center
painted yellow, from which radiate six curved lines, run-
ning out from a double circle of yellow dots around the
central disk. The whole figure represents the mescal itself,

1. Mooney. A Kiowa Mescal Rattle, in Amer. Anthrop. vol. 5, p. 64. 1892.

2. See Peyote Ceremony, Appendix, p. 283.

3. The zigzag line has a variety of meanings: among the Pueblo Indians
it signifies lightning; with the Arapaho the rays of the morning star are so
depicted, while in the paraphernalia of the shaman it symbolizes the magic
power radiating from his person. With the Chippewa the zigzag with
branching lines terminating in two circles represents the path of life.

WALPI SNAKE I'RIHST WITH LHG RATTLE oi I'INDANI HOOIS
I'HOIOGKAI'H BV A. C. VKOMAN

INDIANS, UNITED STATES

165

which is possibly regarded as typical of the sun, yellow Class iv
being the color symbolic of the sun, or rather of the substances
auroral morning light. _ Struck ° ^

"By the side of this last is the principal figure, a rude
semblance of a woman, with a sort of crown or halo
about her head, a fan in her left hand, and a star under
her feet. This is the 'Mescal Woman,' Sei-tnan-yi of
the Kiowa, the presiding goddess of the ceremony. The
figure has a double meaning, and while apparently only
a fantastic figure of a woman, it conveys also to the minds
of the initiated a symbolic representation of the interior
of the mescal lodge. Turning the rattle in the hand
toward the east, the lines forming the halo about the
head of the figure represent the circle of devotees within
the lodge. The head itself, with the spots for eyes and
mouth, represents the large consecrated mescal which is
placed upon a crescent-shaped mound of earth in the
center of the lodge, this mound being represented in the
figure by a broad curving line, painted yellow, forming
the curve of the shoulders. Below is a smaller crescent
curve, the original surface of the gourd, representing the
smaller crescent mound of ashes built up within the cres-
cent of the earth as the ceremony progresses. The horns
of both crescents point toward the door of the lodge on
the east side, which in the figure is toward the feet. In
the center of the body is a round circle, painted red,
emblematic of the fire within the horns of the crescent in
the lodge. The lower part of the body is green, symbolic
of the eastern ocean, beyond which dwells the goddess,
and the star under her feet is the m.orning star, which
heralds her approach. In her left hand is a figure repre-
senting the fan of eagle feathers used to shield her eyes
from the glare of the fire during the ceremony."
This symbolism appears also in certain Pawnee (Cad-
doan) ceremonies described by Dorsey,' who says that
the symbol of the gourd rattle is conceived as lying on
the ground, between the altar and the fireplace, to which
certain offerings are made. Thus the rattle symbolizes
both the garden of the Evening Star^ in the west and the

1. Dorsey, George A. Traditions of the Skidi Pawnee in Mem. Amer.
Folk-Lore Soc. vol. 8, 1904.

2. Idem. Morning star or tcuper ihata (Bright Star), one of the great
deities of the Pawnee. She transmits, through her four assistants, — Wind,
Cloud, Lightning, and Thunder, the mandates of the Supreme Being, Tirawa,

l66 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division i
Struck

road thither, as well as the road to the dead priests, the
spirits of whom are conceived as being contained within
the rattle itself, and symbolized by the pebbles in the
gourd.'

Again in the Hako (Pawnee) ceremony described by Miss
Fletcher^ the gourd rattle represents the squash supplied
by Tirawa, the Great Father, to his people. With the
Pueblo Indians it is an important feature in the Snake
Dance ceremony where it marks the rhythmic measure
of the dance.

2792 RATTLE. A small pear-shaped gourd colored with

turquoise blue and yellow pigment, a line of black around

the circumference dividing the two colors. At the point

where the short, thick wooden handle is inserted, the neck

of the gourd is decorated with four groups of branching

lines in black. Tribe: Hopi.

Length, 7 inches. Diameter, 3>^ inches.

The Zuni have a gourd rattle, used in the Order of the

Knife, which they call a-tchi-a-kwe-a-wa tchi-mon-ne. A

specimen in the U. S. Nat. Museum Coll. No. 69,860.

Another gourd rattle, used by this tribe in the Ka Ka

sacred dance, is called ka-ka-a-wen ichi-mon-ne. U. S.

Nat. Museum Coll. No. 69,263. The Cocopa (Yuman)

Indians of the Pima Agency, Arizona, have a gourd rattle

which they call katchawa. U. S. Nat. Museum ColL

No. 76,147.

3407 RATTLE. Made of a round gourd, a wooden handle

inserted in the neck. The surface of the gourd is divided
by black lines into four sections. In one of the lower sec-
tions is a butterfly with red and black wings and a white
head on a background of green. Above this, the upper
section has the terrace-cloud symbol, white on blue between
two bands of bright red and yellow outlined in black, that
tapers to the apex of the gourd. The lower section of the
opposite side has the lightning symbol in blue on a white
background, the upper section a symbolic arrangement of

to the people upon earth. She also maintains a garden in which are fields
of ripening grain and many buffalo from which spring all streams of life,
p. 19.

1. Dorsey, George A. Traditions of the Skidi Pawnee. Note 6, p. 329.

2. Fletcher. Bur. of Ethnol. 22d An. Rept. pt. 2, p. 47, pi. LXXXIX.

7. 5

INDIANS, UNITED STATES

167

angular bands in red, blue, yellow, and white outlined in ciass iv

Sonorous
Substances
Division i

black. Tribe: Zuni.

Length, 7K inches. Diameter, 4^ inches,
cf. Note to No. 606, page 169.

With the Hopi, black and white bands typify rain, red
and blue bands, lightning. Bur. of Ethnol., loth An.
Rept. 1888-18S9, p. 628. Wash. 1893.
One of the instructive objects taken from the north ceme-
tery at Fourmile ruin (about two miles from Taylor,
Arizona), was a rattle made of a small gourd. This
rattle had an oval shape, and was decorated with red and
green paint, on which was the impression of feathers.
The handle, which was broken from the rattle, was not
found. The occurrence of this gourd rattle, identical
with those still used in Pueblo ceremonials, gives archaeo-
logical evidence of its use in ancient times, probably as
an accompaniment to songs in religious rites. F"ewkes.
Bur. of Ethnol., 22d An. Rept., 1900-1, pt. i, p. 163.
Wash. 1904.

1964 RATTLE. Similar to No. 2792, the gourd colored

dark blue, a band of red around the handle. Tribe: probably
Sia. Family: Keresan. Locality: Rio Grande Pueblo,
New Mexico.

Length, 11 inches. Diameter, 3 X inches.
See note to No. 2792, p. 166.

3537 RATTLE. A globular gourd with a wooden handle

which pierces it and projects at the top. Tribe: Seneca.
Family: Iroquois. Locality: New York State.
Length, 1 1 yi inches. Diameter, 4>^ inches.
A similar rattle is illustrated and described by Hoffman'
in his paper on the Mide'wiwin or Grand Medicine Society
of the Ojibway. Among the Seneca Indians it is used in
the Council House to mark the time in the ceremonial
dances.

The gourd rattles are also used by the Comanche (Sho-
shonean). Bancroft^ writing of this tribe, states that all
festivities are incomplete without impromptu songs ac-
companied by cornstock or cane flutes, wooden drums, and
calabash rattles.
Mr. E. H. Hawley furnishes the following detailed descrip-

1. Bur. of Ethnol. 7th An. Rept. 1885-6, p. 191. Wash. 1891.

2. The Native Races of the Pacific States of America, vol. i, p. 516.

Struck

l68 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division i
Struck

tion of the onio-sa-ka-sta-we-sa (U. S. Nat. Museum Coll.
No. 221,155), a Seneca medicine rattle obtained from
Andrew John, a Seneca Indian: "Body, a small bulbous
gourd with a short neck. Handle of pine passing in the
neck and out the flower end, a transverse pin through the
outer end of handle retains the gourd. Used in the sacred
medicine lodge of the Iroquois. The patient having
applied for treatment to the medicine lodge, the medicine
man goes to the patient with the lodge medicine powder;
he then goes to the nearest running stream, sets the cup
down on the bank and starts a little fire, puts a pinch of
tobacco into the fire, at the same time invoking the Great
Spirit to aid the medicine in making the patient well.
After the invocation he sings a low peculiar song for the
medicine, keeping time with his rattle. At the con-
clusion of the song he puts a small pinch of the medicine
powder into the cup of water and the medicine is ready
for the patient."

^735 RATTLE. A round gourd with a short neck, with five

double lines of perforation which radiate from the center
of the top. The neck is cut off near the body and a stout
wooden handle inserted. Family: Piman. Locality: Mex-
ico.

Length, 9 inches. Diameter, 2}4 inches,
cf. Russell: Bur. of Ethnol. 26th An. Rept., 1904-1905,
fig. 82, p. 168. Wash. 1908. The same author describes
a disk rattle which resembles the Egyptian sistrum, and
is used in the Navitco ceremonies in the village of Pe-
eptcilt. It consists of a rod of wood, half of which is the
handle, the upper part a framework in which two sets of
four tin disks are strung loosely on wire. Its provenance
is uncertain. U. S. Nat. Museum Coll. No. 218,066.
The Walpi of Sonora also use the sistrum form of rattle.

I 756 RATTLE. A small round gourd pierced by a straight

stick which projects at the top. The handle covered with
beadwork. Tribe: Chippewa (Ojibwa). Family: Algon-
quian.
Length, 8 inches. Diameter, 1^ inches.

A similar rattle is used in the peyote ceremony of the

Arapaho.i

I. See Kroeber. The Arapaho, IV, Religion. Amer. Museum of Nat. Hist.
Bui. XVHI, pt. 4, p. 405, 1907.

ANIHLOPE PRIEST IN CHRHMONIAL GARB OF IHE

SNAKE DANCE AT WALIM

I'llOTOr.liAI'H BY A. C. VkOMAN

INDIANS. UNITED STATES 1 69

605 RATTLE. A round flat gourd with a straight wooden Class iv
handle cut square. Tribe: Zuni. Family: Zunian. Local- substances
ity: New Mexico. struck"^
Length, 1 1 >^ inches. Diameter of gourd, 7 inches.

606 RATTLE. Ah-yah. Made from a flat gourd, the sur-
face painted green; a Maltese cross, the emblem of the
butterfly, is painted on each side in black and white and a
band of black around the edge is intersected by crosses and
parallel lines. Tribe: Hopi.

Length, 9 inches. Diameter, 6 inches,
cf. U. S. Nat. Museum Coll. No. 128,737.
Rattles of this type are used in the Snake Dance cere-
monial.*

The butterfly is one of the symbols that figure in the snake
ceremonies of the Hopi and is a form often used in deco-
rating their pottery. Fewkes^ describes the ho-ko-na-ma-
na, the "butterfly virgin slab," as a piece of stone with
rounded corners fourteen inches long, ten inches broad,
and an inch and a half thick. This is decorated with a
symbolic figure of the rain clouds, two butterflies, and
several tadpoles, and is placed back of the altar in the
position of a reredos.

In connection with this cross-shaped decoration it may be
of interest to note that among the Blackfeet Indians of the
United States, a belief is held that it was through the me-
dium of dreams that the braves in olden times received in-
structions as to the decoration of their various implements:
hence, if a chief dreamed of war, his drum or rattle received
the butterfly emblem, which was the Greek cross. It is
still the custom for the mother to embroider this emblem
on a bit of buckskin, in bead or quill-work, and tie it in the
child's hair when she wishes it to sleep; and it is often
found embroidered on the "baby-boards" on which in-
fants are strapped when carried on their mothers' backs.
This emblem is also found among the Cheyennes. The
Dakota use the Latin cross to denote the dragon fly,
which insect is supposed to warn one of approaching
danger.'

1. See Appendix, p. 273.

2. Journal of Amer. Ethnol. and Archaeol., vol. 4, p. 43.
Also Amer. Anthrop., vol. 3, 1901, p. 221.

3. Grinnell. Amer. Anthrop., vol. 1, 1899, p. 194.
cf. note to No. 633, p. 129.

Class IV
Sonorous
Substances
Division I
Struck

70 MUSICAL INSTRUMENTS, AMERICA

The Hopi have various names for rattles: spherical
gourd rattles katana; ye-he-he-ai-ya; mu-shi-la. The
flattened gourd rattle ah-yah or ai-ya; mo-sha-yes-ai-ya;
sha-qiwi-a-ya-ka-ch-na. A cedar-berry rattle, lepos-le-
qua-he. A wand with pendant olive shells, mo-si-li-li,
and the moisture rattle, pa-a-ya, used in the flute ob-
servance. Unfn. E. H. Hawley, U. S. Nat. Museum.)

608 RATTLE. Ah-yah. A round flat gourd pierced by a

wooden handle which passes through the sides. The surface
painted white, the center, around the knob of the fruit,
green. Tribe: Hopi.
Length, 11 inches. Diameter, 6^ inches.

609

RATTLE, Made from a warty gourd, the knobbed
surface originally colored with a turquoise blue pigment.
Tribe: Zuni.

Length, 1 1 inches. Diameter, 6K inches,
cf. U. S. Nat. Museum, Coll. No. 99,006; also No. 41,856
illustrated in Bur. of Ethnol. 25th An. Rept. 1903-4,
p. 371. Wash. 1907.

638 RATTLE. Similar to No. 3537, but with a shorter

handle. Tribe: Zuni,
Length, 6K inches. Diameter, 5 inches.

2759* RATTLE. A small gourd attached to a short wooden
handle. Tribe: Zuni.
Length, 6 inches. Diameter of gourd, 3K inches.

607 RATTLE. An oblong block of wood with three spread-

ing prongs at one end which are united by crosspieces
painted in blue, yellow, and red. At the opposite end of
the block a small gourd rattle is fastened by a strip of buck-
skin. Tribe: probably Hopi.

Length of frame, i foot 3 inches. Length of gourd rattle,
6 inches. Diameter, 6 inches.

2736 RATTLE. A wooden cylinder pierced by a straight

stick, the entire surface covered with beadwork. Two

*This instrument is placed with Class IV in the kindred instruments of the
Historical Groups.

GOURD RATTLES.

INDIANS OF THH
I'l". 162, 1 06, 169

UNITED STATES

INDIANS, UNITED STATES I7I

small bells and strips of red cotton cloth decorate the
handle. Family: Siouan.
Length, i foot.

3655 RATTLE. A cylindrical head, metal lined, pierced

through its smallest diameter by a straight wooden handle
covered with buckskin and bits of native weaving.
Length, i foot 4 inches. Diameter of head, 3 inches.

3341 POTTERY RATTLE. Pear-shaped form in black
glazed pottery. Tribe: probably Tewa. Family: Tanoan.
Locality: Santa Clara Pueblo, New Mexico.

Length, 6>2 inches.
The Tewa are a group of Pueblo Indians of the Tanoan
family located in the valley of the Rio Grande in northern
New Mexico. Bur. of Amer. Ethnol., Bui. 30, pt. 2, p.
737. Wash. 1910.

3342 POTTERY RATTLE. Pear-shaped form similar to
No. 3341, in gray glazed pottery. Tribe: probably Tewa.
Family: Tanoan. Locality: Tesuque Pueblo.

Length, 4>< inches.

571 RATTLE. A leather thong covered with a fringe of

dew-claws; at the end an eagle's claw and deer's tail. Tribe:
Osage. Family: Siouan.
Length, 4 feet 10 inches.
The Osage (Wazhazhe), the most important southern
Siouan tribe of the western division, are located in Mis-
souri and Arkansas.

This is doubtless similar to the runner's rattle men-
tioned by Lumholtz' in use among the Tarahumara In-
dians of Mexico; it is described as follows: "The racers
wear rattles of deer hoofs and bits of root tied together
on a strip of leather, which they stick in the backs of their
girdles or hang over their backs. The magic rattling
keeps them from falling asleep while running."
in the Oraibi Snake Ceremony some of the dancers wear
a "snake kilt" tcu-vitkuna, edged with fawn hoofs, also
a belt, wokokwava, edged with pendant bits of petrified
wood.*

1. Lumholtz. Unknown Mexico, vol. 1, p. 290.

2. Voth. The Oraibi Summer Snake Ceremony. Field Columbian Mu-
seum Publication, 83, Anthrop. Ser. vol. 3, p. 337. Nov. 1903.

Class IV
Sonorous
Substances
Division i
SUuck

172 MUSICAL INSTRUMENTS. AMERICA

Gilbert Thompson' describes a Pinon Dance of the In-
dians at Jemez, New Mexico, in which the costume con-
sisted of foxskins, buckskins, corn, dried fruits, and
boughs of the pine. "Their head-dresses were generally
made of eagle feathers, while festoons of tortoise shells
mingled with sheep toes dangled about their persons,
making a singular rattling sound as they moved. In one
hand each held a dry gourd in which was corn or pebbles."

3597 RATTLE. Similar to No. 571, but without the eagle

claw.
Length, 6 feet.

3343 RATTLE. A wooden rod covered with buckskin to

which are hung bits of black horn cut to imitate dew-claws.

At the top a fringe of buckskin and at the opposite end a

piece of fringed buckskin worked in blue and black beads.

Tribe: Chippewa.

Length of stick, i foot 3 inches.

According to Fewkes, rattles of this type with pendant

shells appeared in the ancient ceremonial of the Tusayan.

In an article on the Prehistoric Culture of Tusayan, he

states that in prehistoric ceremonials, as today, the spire

of the Oliva angulaia was "cut into a conical bell and

tied with others to the end of a rod to be used as a rattle

with which to beat time to sacred songs." Shell rattles

of this description appear in his illustration of the Flute

Altar.^

The same author also states^ that the conus were favorite
shells for the manufacture of rattles, and they are still
used for that purpose by the Hopi. The spire was
ground away on a plane at right angles to the lip, making
a conical object perforated at the apex. The larger spec-
imens were probably tied to a short crook, and were used
as rattles with which to beat time to the sacred songs.
Smaller specimens, found in great numbers on som.e of
the skeletons, served as tinklers, and were apparently tied
to garments of the deceased in much the same fashion
as the tin cones are appended to the kilts of the Snake
priests in the Snake Dance.

1. An Indian dance at Jemez, New Mexico. Amer. Anthrop., vol. 2, 1889,
p. 351.

2. Amer. Anthrop., vol. 9, 1896, p. 151.

3. Bur. of Elrinol. 22d An. Rept. 1900-1901, pt. i, p. 91. Wash. 1904.

RATTLES. INDIANS OF THE UNITED STATES
IM'. 172, 173

INDIANS. UNITED STATES

173

Substances
Division i
Struck

Still another form of the hoof or dew-claw rattle is illus- Class iv
trated and described by Kroeber.' This is the isodyanchin,
which figures in the Dog Dance of the Gros Ventre and is
similar to that used by the Arapaho in the same dance.
It differs from the ordinary wand rattle in that it has
two prongs. The author describes it as follows: "Two
sticks appear to have been joined at the handle so as to
spread slightly. The sticks, when separate, are incased
in skin painted yellow; at the handle they are wrapped
together with a flat thong. Across each stick pass three
strips of quill embroidery each consisting of a red row
of quills bordered on each side by white. At the end of
each fork hangs an eagle-wing feather, the base of its
quill covered with red cloth. Along the lower side of each
fork are the hoofs that rattle. There are on each stick
about thirty-three pairs of these hoofs." The wrist cord
attached to the handle is finished with a deer's tail.

726 RATTLE. A short stick covered with buckskin, hung

with dew-claws. Tribe: Yankton. Family: Siouan.
Length, i foot 3 inches.
This form of* rattle is used by the Yankton Sioux and
the Arapaho. See U. S. Nat. Museum Coll. Nos. 153,727;
165,760; 200,571; 165,765.

When a member of an Omaha society dies, his body is
taken immediately to the lodge and placed in a sitting
posture, while in his right hand is placed the ta-sha-gae or
deer-hoof rattle, which is carried only by the leader of
the society. The favorite songs of the deceased are then
sung to rhythmic steps, while presents are laid on the
drum, — offerings toward the funeral ceremonies. The
funeral song, of which the Omaha have but one, is chanted
by the young men of the village, who stand before the
tent and mark time by striking together two short sticks.^

597 RATTLE. Chegah-skah-hdah. Conjurer's rattle. A

slightly tapering stick covered with buckskin to which four
small brass bells and tin cones are attached. Tribe: Siouan.
Length, i foot 7 inches.

of. Brown. Musical Instruments of North America, pi. I,

fig. 2.

1. Amer. Museum of Nat. Hist. Anthrop. Papers, vol. i, pt. 4, p. 256. 1908.

2. La Flesche, Francis. Death and funeral customs of the Omaha, in Journal
of Amer. Folk-Lore, vol. 2, p. 3. 1889.

Class IV
Sonorous
Substances
Division I
Struck

1 74 MUSICAL INSTRUMENTS, AMERICA

569 BRACELET RATTLE. Napo-kashke-yu-dha. A

band of buckskin to which are attached bits of hoof and tin
cut in the form of arrow-heads and small cones. The skin
fringed at one end. Family: Siouan.
Length, including fringe, i foot 4 inches.

This and the preceding specimen. No. 597, illustrate the
modern type as developed from the primitive hoof
rattle, the hoofs having been supplanted by bits of metal.

599 RATTLE. M aia-rhda-rhda-hda-hda. A pointed stick,

the wood cut away leaving a small pavilion or open box
near the upper end, in which is a revolving ball. Above and
below this are loose wooden rings stained red and blue.
Four brass sleigh bells. Family: Siouan.
Length, i foot 1 1 inches.

cf. Brown. Musical Instruments, pi. 2, fig. 5.
These are the "tappers" described by Robert O. Sweeny
in an unpublished paper on the Sioux — "A smooth hard
rod about 12 or 18 inches long held lightly with the
fingers of the right hand taps briskly upon any sonorous
object, such as the back of a bow, pipe stem, the blade of
a tomahawk, or a buffalo rib. I have heard the tappers
on a large number of tomahawks make wonderful music.
By moving the fingers along the under side of the blade
of a tomahawk the note is changed."

601 RATTLE. Hanska-hugo-kah-ho-kah. Similar to No.

599. The top carved in the form of a head. The pavilion
with a division in' the center and two balls. Family: Siouan.
Length, 2 feet 3 >^ inches.

cf. Brown. Musical Instruments of North America, pi. 2,

fig. 6.

634 RATTLE. Kah-to-to-hay. A piece of polished horn

shaped like a spoon with a long handle. The rattle is
formed by a number of blue porcelain beads and a small
sleigh bell tied on with a strip of buckskin. A common
instrument among the Sioux. The player taps briskly upon
a blade of a tomahawk or other sonorous objects. Family:
Siouan.

Length, i foot jj4 inches,
cf. Brown. Musical Instruments of North America, pi. 2,
fig. 9.

ARAPAHO IN THIZ COSTUME OF THE DOG DANCE
rkpi<ouuci-:d by couriesy of mi-. American muskum oi- naiiral iiisiory

INDIANS. UNITED STATES I75

603 RATTLE. Napo-shampidah-hah. Made from an um- Class iv

brella handle with a flat metal top. The stick wound with substances
plaited porcupine quill stained red, yellow, and blue. A suu^jf" ^
bunch of thimbles, four small bells, and some gilt beads tied
near the center. Two quill cords finished with tassels made
of dried grass stained yellow, the heads small tin cones.
Family: Siouan.
Length, i foot 7 inches.

cf. Brown. Musical Instruments of North America, pi. 2,

fig. 4.

3249 RATTLE. Li-ha-li-ha-ha. (Acorn lipper.) Acorns

strung on a cord held in place at each end by a wooden nut.
Family: Yukian. Locality, California.
Length, 3 feet 5 inches.
This rattle was collected by Mr. S. C. Simms of the Field
Columbian Museum, who describes its use as follows:
"Hold the string of the lipper so that one terminal nut
touches the pursed lips and partly open teeth. The other
hand at the opposite extremity of the string twirls the
whole string so that this one nut strikes the lips and
edge of teeth producing a varying pitch of sound within
the mouth. It is audible at quite a distance, and when
the instrument is seasoned and dry it is quite pleasant
to the ear as a concord of gurgling notes."

3248 RATTLE. Kai-ye-ye. A bunch of feathers and co-

coons filled with pebbles, the quills of the feathers bound
together with a strip of buckskin forming the handle. Used
by the medicine men. Family: Yukian.
Length, 9 inches.

Roland B. Dixon describes a cocoon rattle found among
the Northern Maidu (Pujunan) of California, as follows:
"It was made like the deer-hoof rattles, merely substi-
tuting the cocoons of the attacus californicus for the
hoofs. The cocoons had gravel or small pebbles in them,
and produced a soft, sibilant rustling when shaken.
These rattles were used only for ceremonial purposes, and
as a rule by shamans alone. They were always used in
praying to the ku'kint or spirits."

1970 RATTLE. Two cocoons filled with bits of glass,

doubtless originally fastened to a wooden wand. Tribe:

Class IV
Sonorous
Substances
Division i
Struck

1 76 MUSICAL INSTRUMENTS, AMERICA

Klamath. Family: Lutuamian. Locality: Northern Cali-
fornia.
Length, 2 inches.

The Miwok (Mariposan) Indians of Central California
use a rattle made of two cocoons fastened to the end of a
wooden wand. Peabody Museum (No. 64,521), Cam-
bridge, Mass. The Maidu (Pujunan) shaman also uses
a similar rattle. Amer. Museum of Nat. Hist. Coll. No.
50/4031.

1 97 1 WICKER RATTLE. A mat of plaited straw folded

so as to form a triangular receptacle with closed ends,
holding pebbles or seeds. Tribe: Bannock. Family: Sho-
shonean. Locality: Northern California.
Length, i foot 3^^ inches. Diameter, 4)4 inches.

2771 RHOMBUS or BULL-ROARER. Tii-ditindi {sound-

ing wood). An oblong strip of pine with irregular serpentine
lines on one side, on the other side a grotesque drawing in
outline of a human figure. Tribe: Apache. Family: Ath-
apascan. Locality: New Mexico. Reproduction. Original
in the U. S. Nat. Museum, Washington, D. C.
Length, 8f^ inches. Width, i^/^ inches.
John G. Bourke,^ who made a study of the medicine men
of the Apache, illustrates and describes the use of the
rhombus among the tribes of the North American Indians
and other peoples. We quote in full his notes on the
subject:

"The rhombus was first seen by me at the Snake Dance
of the Tusayan, in the village of Walpi, Ariz., in the
month of August, 1881. Previous to that date 1 had
heard of it vaguely, but had never been able to see it in
actual use. The medicine man twirled it rapidly, and
with a uniform motion, about the head and from front
to rear, and succeeded in faithfully imitating the sound
of a gust of rain-laden wind. As explained to me by one
of the medicine men, by making this sound they compelled
the wind and rain to come to the aid of the crops. At a
later date I found it in use among the Apache, and for
the same purpose. The season near the San Carlos
Agency during the year 1884 had been unusually dry
and the crops were parched. The medicine men arranged

I. The Medicine Men of the Apache. Bur. of Ethnol. 9th An. Rept.,
i887-'88. p. 476 ff. Wash. 1892.

INDIANS. UNITED STATES 1 77

a procession, two of the features of which were the
rhombus and a long-handled cross. . . . Again, while
examining certain ruins in the Verde Valley in Central
Arizona, I found that the 'Cliff Dwellers,' as it has become
customary to call the prehistoric inhabitants, had em-
ployed the same weapon of persuasion in their intercourse
with their gods. I found the rhombus also among the
Rio Grande Pueblo tribes and the Zuni. Dr. Washington
Matthews has described it as existing among the Navaho
and Maj. J. W. Powell has observed it in use among the
Utes of Nevada and Utah. As will be shown, its use in
all parts of the world seems to have been as general as
that of any sacred implement known to primitive man,
not even excepting the sacred cord or rosaries. . . .
Three forms of the rhombus have come under my own
observation, each and all apparently connected in sym-
bolism with the lightning. The first terminates in a tri-
angular point, and the general shape is either that of a
long, narrow parallelogram, capped with an equilateral
triangle, or else the whole figure is that of a slender isos-
celes triangle. Where the former shape was used, as at
the Tusayan Snake Dance, the tracing of a snake or
lightning in blue or yellow followed down the length of
the rhombus and terminated in the small triangle, which
did duty as the snake's head. The second pattern was
found by Dr. Matthews among the Navaho, and by myself
in the old cliff dwellings. The one which I found was
somewhat decayed and the extremity of the triangle
was broken off. There was no vestige of painting left.
The second form was serrated on both edges to simulate
the form of the snake or lightning. The third form, in
use among the Apache (see No. 2771) is an oblong of
seven or eight inches in length, one and a quarter inches
in width by a quarter in thickness. One extremity, that
through which the cord passes, is rounded to rudely rep-
resent a human head, and the whole bears a close resem-
blance to the drawings of schoolboys, which are intended
for the human figure. The Apache explained that the
lines on the front side of the rhombus were the entrails
and those on the rear side the hair of their wind god.
The hair is of several colors, and represents the lightning.
I did not ascertain positively that such was the case, but
was led to believe that the rhombus of the Apache was
made by the medicine men from wood, generally of .pine

1 78 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division i
Struck

or fir, which had been struck by lightning on the moun-
tain tops. Such wood is held in the highest estimation
among them and is used for the manufacture of amulets
of especial efficacy. The Apache name for the rhombus
is tii-ditindi, the 'sounding wood.' The identification of
the rhombus or 'bull-roarer' of the ancient Greeks with
that used by the Tusayan in their Snake Dance was first
made by E. B. Taylor in the Saturday Review in a criti-
cism upon 'The Snake Dance of the Moquis of Arizona. '^
"The Kaffirs have the rhombus among their play-
things:

'The nodiwu is a piece of wood about 6 or 8 inches long,
and an inch and a half or two inches wide, and an eighth
or a quarter of an inch thick in the middle. Towards the
edges it is beveled off", so that the surface is convex, or
consists of two inclined planes. At one end it has a
thong attached to it by which it is whirled rapidly round.
. . . There is a kind of superstition connected with
the nodiwu, that playing with it invites a gale of wind.
Men will, on this account, often prevent boys from using
it when they desire calm weather for any purpose. This
superstition is identical with that which prevents many
sailors from whistling at sea.'

"Of the Peruvians we are informed that 'their belief was
that there was a man in the sky with a sling and a stick,
and that in his power were the rain, the hail, the thunder,
and all else that appertains to the regions of the air,
where clouds are formed.'

"The sacred twirler of the snake dance is found in Greece,
America, Africa, and New Zealand. It survives as a toy
in England and the United States. The same peculiar in-
strument has been noticed in the religious ceremonials of
the Australians (cf. No. 738), especially in the initiatory
rites of the 'bora.' It is called 'tirricoty.' The twirling
of the tii-ditindi in medicine or prayer corresponds to
the revolution of the prayer wheel of the Lamas."

I. The bull-roarer used by the Snake and Antelope fraternities at Mish-
ognovi is called towokingpiata. It is used on the eighth day of the snake
ceremonies with the "lightning frame" {talawihpika), a pivoted framework
that can be extended or contracted at will by a series of joints operated by
two handles like those of a pair of shears. The bull-roarers are twirled by
two men who stand on the roof of the kiva and "shoot" the lightning frame
four times to the points of the compass.

cf. Voth. Field Columbian Museum Pub. 66, Anthrop. Ser. vol. 3, p. 228.
1901.

HOIM ILL It PKltST WITH BULL-KOARER IN HIS RK.HI HArO)
PHOTOGRAPH BY A. C. VROMAN

INDIANS. UNITED STATES 1 79

John Murdoch' in his report on the Point Barrow Eskimo Class iv
states that the "whizzing stick" is found among these Subst^^s
people by whom it is called imigluta, {im-ig-lnk-ta, U. S. itl^^k '^ ^
Nat. Museum, Coll. No. 89,800); it seems to be simply
a toy, however, and does not appear to be used by the
adults in their ceremonials.

2772 RHOMBUS or BULL- ROARER. Tsin-ce'nr. (Groan-

ing stick). A flat stick pointed at one end, painted black
and covered with specular iron ore. Tribe: Navaho.
Family: Athapascan. Locality: New Mexico and Ari-
zona. Reproduction. Original in the U. S. Nat. Museum
Coll. No. 215,656.
Length, 9 inches. Width, i j4 inches.

Illustrated and described by Dr. Washington Matthews*
in his paper on The Mountain Chant, a Navaho cere-
mony: "The instrument designatedasthewhizzer is athin,
flat, pointed piece of wood painted black and sparkling
with the specular iron ore which is sprinkled on the sur-
face; three pieces of turquoise are inlaid in the wood to
represent eyes and mouth. One whizzer which I examined
was nine inches long, one and three-fourths inches broad,
and about a quarter of an inch thick in the thickest part.
To it was attached a string about two feet long, by
means of which the centrifugal motion was imparted to
it. It is called by the Navaho tsin-ce'nr or groaning stick.
It is used among many tribes of the southwest in their
ceremonies. The Navaho chanters say that the sacred
groaning stick may only be made of the wood of a pine
tree which has been struck by lightning."
J. W. Fewkes^ describes the use of the "whizzer" in the
Walpi Flute Ceremonies, and gives as its name u-muk-pi.
The Bushmen^ of South Africa use it, like the Hopi, as a
rain charm.

3 1 79 RHOMBUS or BULL- ROARER. A flat strip of wood

rounded at one end. Tribe: Hopi.
Length, 12^ inches. Width, i finches.

1. Murdoch. Bur. of Ethnol. 9th An. Rept. 1887-1888, p. 378. Wash.
1892.

2. Matthews. The Mountain Chant. Bur. of Ethnol. 5th An. Rept.
1883-1884, p. 436. Wash. 1887.

3 Fewkes. Jour, of Amer. Folk-Lore, vol. 7, 1894, p. 269.

4. Ratzel. The History of Mankind, vol. 2, p. 275. Von den Steinen, p. 498.

l80 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division I
Struck

3I2I

BUZZER. Hateikuuran or Hali-ku-tha. A bone, the
knuckle or joint of a cow, wound around with a buckskin
cord on each end of which is a short stick. Tribe: probably
Arapaho.
Length of sticks, 3 X inches; bone, i >^ inches.

In sounding the buzzer the sticks at the ends of the thong
are held one in each hand and the bone is swung around,
twisting each end contrariwise; if the hands are then
suddenly jerked apart, the bone revolves and by reduc-
ing the tension the moment the twist is out of the thong,
the momentum causes it to retwist, and the action may
be continued at the pleasure of the player.
A similar specimen in the Amer. Museum of Nat. Hist.
Coll. No. 50/3110. This form is also used by the Gros
Ventres.^ The bull-roarer "breeds wind," and is called
nakaantan by this tribe, meaning "making cold," a name
given also to the thermometer. With the Gros Ventres
and also the Arapaho it is used as a toy among the chil-
dren.

Kroeber^ describes a bull-roarer of the Arapaho as follows:
"The bull-roarer itself is of bone, a little more than an
inch wide, and only four or five inches long. Neither end
is pointed. The end to which the string is attached is cut
ofF squarely, and the opposite end is deeply notched.
Along each side there are about a dozen notches. . , .
The implement is quite different in form from the longer,
pointed wooden bull-roarer."

A bone buzzer made of the foot bone of a cow, and called,
like a bull-roarer, hateikuiican, is sometimes used in the
Ghost Dance to start the singing. Some of these have a
few holes; three holes in a row were said to represent
the three stars of Orion, called by the Arapaho "buffalo
bulls."

3372 RATTLE. Patcikyopi or Zhegunpi-hopi. Notched

stick with bone scraper and gourd resonator. A flat stick
with the surface cut in grooves and a large bottle-necked
gourd with an opening cut in one side. Tribe: Hopi.

1. Kroeber. Ethnology of the Gros Ventre. Amer. Museum of Nat. Hist.
Anthrop. Papers, vol. 1, pt. 3, 1908, p. 190.

Idem. Decorative Symbolism of the Arapaho. Amer. Anthrop. New Ser.
vol. 3, 1901, p. 308.

2. Idem. The Arapaho Ceremonial Organization. University of Calif.
Bui. 18, p. 396 ff. 1905.

INDIANS, UNITED STATES l8l

Family: Shoshonean. Locality: Oraibi, Northern Arizona.

Length of stick, i foot 2 inches. Gourd, 1 foot 7 inches.

Diameter, 6}4 in.
When in use the gourd is held between the knees or
rested on the ground and serves as a resonator. The
performer places the notched stick against the opening of
the gourd and with his right hand passes a bone rapidly
over its corrugated surface. The bone "scraper" is
usually the shoulder blade of a deer or sheep, or thigh
bone of a rabbit. The notched stick is an instrument
that dates back to great antiquity. Among primitive
peoples it is used in marking the rhythm of the dance, but
in ancient China it was used in the Confucian ceremonies
and occupied a position of prominence on the west side
of the temple. Its native name in China is yu, and it is
of carved wood in the form of a recumbent tiger on a
rectangular box. On the back of the tiger are twenty-
seven teeth, resembling a saw, and at certain points in
the service the tiger is struck three times on the head
with a beater n ade of split bamboo which is rapidly
passed over the projections on the back.' In Japan a
similar instrument is called gyo.^ Carl Lumholtz,^ in
writing of Unknown Mexico, refers to the notched
stick rattle found among the Huichol Indians of Mex-
ico, who use two notched deer bones as an accompani-
ment to the hunting song. In this instance the
"scraper" was a bone, as in Nos. 3372, 3147. In
the same volume Lumholtz makes the following interest-
ing remarks on the antiquity of this form of instrument
as evidenced by excavations made in Mexico when a
number of models of musical instruments were unearthed:
"I first believed that these bones were taken from en-
emies killed in battle and, worn as charms to give the
victor the strength of the vanquished foe and thereby
luck in fighting. It seemed, however, to be the consensus
of opinion that the bones were musical instruments, an
opinion which has been corroborated by the discovery
in 1898 of notched deer bones in use among the present
Huichol Indians. Any further doubt in this matter is
removed by an interesting fmd made in the course of the

1. Van Aalst. p. 74; Asia. No. 2272.

2. Asia. No. 2272.

3. Unknown Mexico, vol. 2, p. 155, Mem. Amer. Museum of Nat. Hist,
vol. 3, p. 206.

1 82 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division I
Struck

excavations behind the Cathedral of Mexico in the
autumn of 1900. Mr. M. H. Saville, who was present
then, informs me that representations in clay of notched
human bones (femurs) were found with similar repre-
sentations of Aztec musical instruments, — the horizontal
wooden drum, the rattle, the turtleshell, the flageolet
{chirimia). They were all of rude earthenware and were
more or less uniform in size. There were several speci-
mens of each instrument and the whole collection num-
bered about a hundred objects. Thus the purpose of the
notched human bone is clearly shown, and even the
instrument with whicn it was rubbed is reproduced in
relief along one side."i

Thompson,^ in describing an Indian dance at Jemez,
New Mexico, states that the dancers numbered about thirty,
with three musicians who sat upon the ground. "Before
two of them were placed large gourds, portions of which
had been cut away. In the left hand each held a round
stick firmly pressed across the open top of the gourd, and
across these each drew a notched stick."
Bancroft^ shows this instrument resting on an inverted
pan, which he states is sometimes replaced by the shell
of a gourd. The same author^ quotes extracts from the
diary of Dr. P. G. S. TenBroeck, who visited the Hopi in
1852, in which he mentions the use of the notched stick
as an accompaniment to one of the ceremonial dances:
"Young men dressed as women and seated on blankets
had each a large hollow gourd placed before him, on which
rested a grooved piece of wood shaped like an old-fash-
ioned washboard; and by drawing the dry shoulder blade
of a sheep rapidly across this, a sound was produced sim-
ilar to that of a watchman's rattle."
James Stevenson^ gives truh-kun-pi as the Hopi name for
the notched stick rattle.
Still another and slightly differing form of this instrument^

1. Lumholtz.

2. Thompson

Unknown Mexico, vol. 2, p. 429 fF.

An Indian Dance at Jemez, New Mexico. Amer. Anthrop.
vol. 2, p. 351, 1889.

3. Bancroft. The Native Races of the Pacific States of America, vol. 2,
P- 75-

4. Idem, vol. 4, pp. 83-84.

5. Bur. of Ethnol. 2d An. Rept. 1880-1881, p. 319. Wash. 1883.
Also Wilson. Prehistoric Art, p. 586.

6. Amer. Anthrop. vol. 9, 1896, p. 241.

INDIANS, UNITED STATES 1 83

is mentioned by Verner Z. Reed in his description of the
Ute Bear Dance which he witnessed in March, 1893,
given by members of the Southern Ute tribe on their
reservation in Colorado. The Utes believe that their
primal ancestors were bears and they regard this as the
wisest of animals and the bravest of all except the moun-
tain lion. When a bear dance is given, "the squaws hew
moraches or 'singing sticks' out of wood to be used during
the dance ceremony. These sticks are shaped like the
jaw of an animaU and teeth-like protuberances are left
over with which to grate bones or sticks of wood. The
men gather timber and pine boughs to make the inclosure
in which the dance is held; this is called a-vik-wok-et, or
'cave of the sticks.' It is from 100 to 150 feet in diameter,
is circular, and is meant to represent a bear cave. It has
one opening, always to the south or southwest, facing the
sun, as the bears in choosing their winter quarters are
said to select caves into the mouth of which the sun shines
part of the day." There are from eight to fourteen musi-
cians who sing and perform upon the notched stick con-
stantly during the dance, which lasts four days and one
night, the time required by bears to recover from hiber-
nation. These musicians are placed at one side of the
inclosure where a circular hole is made in the ground
hollowed out in the form of an underground cave. Over
this a box or drum with an open bottom is placed and
around this the musicians group themselves. Each holds
a morache with one end resting in his lap and the opposite
end braced against the box while the notched surface is
rubbed with a piece of bone or wood. Should a dancer
fall, the music stops instantly until he has been "doc-
tored" by the shaman, who approaches, and with the
morache charms away the evil that would otherwise befall
the unlucky dancer.

In Spain and Cuba the maruga is a form of this type, made
of a tin cylinder with pointed ends and corrugated sur-
face; this is rubbed with pieces of wire. The guiro, still
another form, is made of a long-necked gourd with lines
cut in the surface while the gourd is still green. The
scraper is a small stick and the instrument is used to ac-
company the guitar.
Mr. E. H. Hawley, writing in the American Anthropol-

I. Among the negroes of the Southern States the jaw bone of a mule or
horse is used in the same way, a stick being rubbed over the teeth.

Class IV
Sonorous
Substances
Division I
Struck

184 MUSICAL INSTRUMENTS. AMERICA

ogist' on the Distribution of the Notched Rattle, records
the pam-pu-ni-wap of the Ute Indians, the truh-kun-pi
of the Hopi, the guiro of the West Indies; and from the
Indians of the Amazon a notched bamboo or cane rubbed
by a stick (in some instances a bone), called claracarsha.
The same author also describes the charra or kwatscha
found among the Usambara of Africa, the latter, "a solid
piece of wood from which is lightly bent a notched stick
over which another stick is stroked, producing a horrible
sound."

The Bhuiyars, an aboriginal tribe in the Mirzapur Hills,
India, have a combination musical bow and notched stick;
the string is of twisted bark and the bow has a row of
notches along one edge over which a stick is rubbed,
producing a rasping noise and throwing the string into
vibration. When played upon, one end of the bow rests
on the ground, the other upon a basket inside of which
a metal pot is placed which acts as a resonator.

1972 RATTLE. Patcikyopi or Zhegunpi-hopi. Notched

stick with bone scraper and gourd resonator. Similar to
No. 3372. Tribe: Hopi. Length of stick, i foot 4 >^ inches.
Gourd, I foot 2>^ inches. Diameter, 6^4 inches.

670 RATTLE. Notched stick and scraper. A straight

stick with serrated edge, the end carved in the form of a
bird. The scraper, a stick with the end similarly carved.
Tribe: Pueblo. Locality: probably San Domingo, Mexico.
Length of stick, i foot i inch. Length of beater, 8%" inches.

cf. Mahillon. Catalogue, vol. 3, p. 250, No. 1720.

U. S. Nat. Museum Coll. No. 176,377.

3147 RATTLE. Ga-no-ska. A straight flat stick with

the narrow edge serrated. The scraper, a flat narrow
stick. Tribe: Seneca. Family: Iroquoian. Locality: New
York State. Reproduction. Original in the U. S. Nat.
Museum, Washington, D. C.
Length of stick, i foot.

I. Amer. Anthrop., vol. 11, p. 344, 1898.

S -

l2 c

AMERICAN FOLK-INSTRUMENTS

CLASS I STRINGED INSTRUMENTS

598 BANJO. A gourd body with a round opening cut in Section A

one side over which a piece of sheepskin is fastened with strhigs
glue and tacks. The finger-board is finished with a carved
scroll in which four pegs are inserted, the fifth string being
attached to a peg placed in an ornamental scroll work on
the side of the neck. The strings are secured to a piece of
leather that is slipped over a wooden peg projecting from the
bottom of the gourd. Four strings of black thread and the
fifth of horsehair.

Length, 3 feet. Diameter of the gourd, 7^2 inches.
The banjo in its primitive form, supplemented by the
bone clappers, was the usual accompaniment to the
melodies and "clog dances"' popular with the negroes of
the southern plantations. It is doubtless an importation
that owes its origin to the slave trade established in the
East and West Indies by the Portuguese as early as 1442,
and that later obtained a footing on the mainland of
North America in 1620, when a Dutch trade ship landed
a cargo of negro slaves at Jamestown. The derivation
of the name has been variously attributed to a corruption
of hanjore or bandore, and to the name of a town Ban
Joemas, on the Island of Java.

3296 BANJO. Circular wooden frame with a head of goat-

skin held in place by a wooden hoop.
Length, 3 feet. Diameter of gourd, 9 inches.
This specimen represents the prototype of the modern

I. A dance in which the feet are made to perform a noisy accompaniment
to the music, the shoes (clogs) of the performer having wooden heels and
soles.

185

1 86 MUSICAL INSTRUMENTS, AMERICA

Class I

Stringed

Instruments

Section A

Plucked

Strings

circular banjo. It was constructed by an old negro on a
plantation in Georgia and is the form that was origin-
ally in common use among plantation negroes. The body
is made from the rim of a sieve; the hide was cured from
a goat raised by the negro, and the wood of the neck
from a tree of his own planting.

2820 BANJO. Primitive form similar to No. 3296, with the

addition of a metal rim and six clamps. Five wire strings.
Length, 2 feet 8 inches. Diameter, i2>^ inches.

2851 BANJO. Metal body, the rim fastened by sixteen

clamps.
Length, 2 feet 10 inches. Diameter, 1 1 inches.

2677 BANJO. A convex metal frame with parchment head,

the tension of which is regulated by a screw in the back.
The long, flat neck of hard wood with a veneer of unpol-
ished ebony.

Length, 3 feet. Diameter, I2>^ inches.
Gift of H. McCord, 1901.

2676 BANJO. Metal frame with walnut neck and a finger-

board of ebony veneer. The tension of the membrane is
regulated by a patent mechanism operated from a central
screw at the back.

Length, 2 feet 1 1 inches. Diameter, 1 1 Yz inches.
Gift of H. McCord, 1901.

602 BANJO. Circular metal body with a neck of wood.

The parchment head secured by a metal rim and six clamps.
Five gut strings. Similar to No. 2820 but a smaller model.
Length, 2 feet i inch. Diameter, 7^ inches.

2887 BANJO. Circular body with a neck of unpolished

ebony. Sixteen metal clamps. Five gut strings.
Length, i foot 10 inches. Diameter, lyi inches.

551 BANJO. Wooden frame and neck, the finger-board

inlaid with different woods. The membrane is held in
place by a band of leather fastened with brass tacks. Six
gut strings.

Length, 2 feet 6K inches. Diameter, 1 1 inches.
Possibly from the West Indies or Central America.

O c»

FOLK-INSTRUMENTS 1 87

3547 BANJO. Wooden frame with a neck of polished wood Class i

that terminates in a carved head of negroid type. The neck instruments
is pierced for five pegs, and one on the side. The finger- l^^^^ed^
board is inlaid with different woods. Pegs, strings, and strings
clamps missing.

Length, 3 feet i )/2 inches. Diameter, 1 1 )/2 inches.
Possibly from Central or South America.

2767 MANDOLINE. Made from a long-necked gourd, a

section of the gourd removed and the opening covered by
a wooden sound-board. The neck and finger-board of wood.
Eight wooden pegs, four placed at the back of the top or
scroll and two at each side; these carry eight fine wire
strings arranged in pairs. A small bone plectrum attached
to the bridge by a cord.
Length, i foot 11 inches. Width, 5K inches.

2821 MANDOLINE. Similar to No. 2767.

Length, 2 feet 6K inches. Width, 5K inches.
These gourd mandolines are popular among the poorer
white element resident in the mountainous districts of
the Southern States, especially Georgia.

2495 FIDDLE. Made from a section of a cornstalk; two Section c

strips of the fibre are separated from the main stalk and °^^ "°*^
form strings on the same principle as that of the marouvane
of Africa. Bow missing.
Length, i foot. Diameter, Y^ inch.
This is a primitive instrument allied to the Apache fiddle
(p. 105), and on a par with the straw flutes used by the
peasant children of Bohemia and elsewhere.

CLASS II WIND INSTRUMENTS
1347 PANPIPES. Calliope. Seven small tubes of bamboo Section A

u A . .u -.u A Whistles

bound together with cord.

Length of longest tube, 4>^ inches. Shortest, 2 inches.

3295 PANPIPES. Calliope. Five small tubes similar to

No. 1347.

Length of longest tube, 43^ inches. Shortest, 2^^ inches.
I. Section B not represented.

1 88 MUSICAL INSTRUMENTS, AMERICA

Class II Wind 2852 WHISTLE. Ozcc. A pair of wooden discs fitted

Sectio^A'" closely together. The edges of these are placed in the

Whistles moutii and the breath passing between the two discs forces

them apart and produces a reedy tone. Reproduction.

Original in the U. S. Nat. Museum.

Diameter, 3 inches.

2853 WHISTLE. Similar to No. 2852. Reproduction.

Original in the U. S. Nat. Museum.
Diameter, 2 inches.

CLASS IV SONOROUS SUBSTANCES^

135 I RATTLE. Made from the jawbone of a mule. The

sound is produced by rubbing a stick over the projecting
teeth.

Length, 1 1 inches. Width, 8 inches.
This embodies the same principle as the notched stick
rattle and is used by the southern negroes to accompany
their songs, cf. No. 3372, note i, p. 183.

1348 CLAPPERS. Two flat bones of cow-rib. They are

naturally curved and strike on a small area.
Length, 5M inches each.

This type of rattle is very popular among the negroes
and is often made of wood. It is used to mark time in
the "clog dance," and in the hands of an expert the
sound produced resembles that of the roll of a military
drum.
I. Class III not represented.

MEXICO

The musical instruments that appear in the codices of old
Mexico, together with the various forms of whistles and rattles col-
lected by archaeologists, furnish interesting material to the student
of primitive music. The prehispanic wind instruments that exist
today in various museums show that the natives early had ajmowl-
edje_of a musical scale, as has been proved by C. K. Wead,' G. W.
Mead,^ and others. The musical instruments carried by the
musicians in the illlustrations of the early manuscripts are described
by Seler under the following names: teponaitli, wooden drum;
tlalpan-ueuetl, upright wooden drum with skin head struck with the
hands; ayacachtli, gourd rattle; tlapitialli, uilacapititli or cocolodli,
flute; tecciitli, or quiquiitli , conch shell; omichichaua^ili, notched stick.
These, it will be seen, consist of wind instruments and instruments
of percussion. The large wind instruments shown may have been
of pottery or conch shell, specimens of which are preserved in the
Peabody Museum at Cambridge and in the Trocadero Museum,
Paris; orjnasmuch as they had gourd rattles, they may have been
of gourd similar to the trumpets found in Guiana. Concerning the
existence of stringed instruments in prehispanic days, the early
documents furnish no evidence. The illustration in the Codex
Becker identified by Saville as a musical bow, is held by other
authorities to be the tortoise-shell drum such as is found on the
Isthmus today, and in regard to this point Dr. Seler^ writes as fol-
lows:^ " Dem gegenuber hat nun Marshall H. Saville in einem neuer-

1. Wead. Contributions to the History of Musical Scales. Bur. of Ethnol.
An. Rept. 1900, p. 417. Wash. 1902.

2. Mead. Musical Instruments of the incas, p. 11.

3. Ed. Seler. Mittel-amerikanische Musikinstrumente, in Globus, 76,
1899, pp. 1 09- 1 10.

4. The passage translated reads as follows:

In opposition to this Marshall H. Saville in a lately published article has
tried to bring proof that the picture of the one-stringed bow serving as
musical instrument is already to be found in an old American manuscript,

189

1 90 MUSICAL INSTRUMENTS, AMERICA

dings veroflFentlichten Artikel den Nachweis zu fiihren gesucht,
dass der mit einer Saite bespannte, als Musikinstrument dienende
Bogen schon in einer altamerikanischen Handschrift abgebildet zu
finden sei, und zwar in dem Codex Becker, einer Handschrift, wahr-
scheinlich mixtekischen Ursprungs, die mit dem Codex Dorenberg
oder Codice Colombino zusammen gehort, und von der eine mit
der Hand gemachte Kopie von Henri de Saussureunter dem Namen
'Manuscrit du Cacique' veroffentlicht worden ist. Ich gebe in
der Abbildung das Orchester wieder, auf das sich Saville bezieht,
Nur ist diese Zeichnung nicht, wie die Savillesche, nach der de Saus-
sureschen Kopie, sondern nach einer vom Original genommenen
Photographie gemacht worden. Nach der Savilleschen Deutung
hielte die sechste, die letzte der hier dargestellten Personen, den
'Musikbogen' unter dem linken Arm und in der rechten einen
gegabelten Stab, der zum Anschlagen der Saite dienen solL Da
der ganze Raum zwischen dem angeblichen Bogen und seiner
angeblichen Sehne mit blauer Farbe gemalt ist, ist es mir eigentlich
schwer verstandlich, wie Saville uberhaupt darauf kommen konnte,
hier ein den oben beschriebenen ahnliches Instrument zu sehen.
Auch die Art, wie das Instrument gehalten wird, ist mit der Deutung
als 'Musikbogen' absolut nicht zu vereinen. Meiner Ansicht nach
umfasst der Spieler mit dem linken Arm das Gehause einer Schildkrote,
und er halt in der Rechten ein Hirschgeweih, mit dem er die nach
vorn gehaltene Bauchseite des Schildkrotenpanzers bearbeitet.
Ich meine, die etwas spreizenden Randschuppen des Schildkro-
tenpanzes in der Photographie, trotz der starken Abblatterung, die
gerade diese Figur im Original zeigt, deutlich zu erkennen."

Hamy, in his work on the American exhibit at the Trocadero

the codex Becker, a manuscript probably of Mixtec origin and belonging to
the codex Dorenberg or codice Colombine, and of which a handmade copy
by Henri de Saussure has been published under the name of Manuscript
du Casique. I show in the illustration the orchestra to which Saville
refers. However, this drawing has not been made after the copy by Saus-
sure as that of Saville but after a photograph of the original. According to
the explanation of Saville the sixth and last of the persons here represented
would hold the "musicbow" under the left arm and in the right one a forked
stick serving to touch the string. As the whole space between the supposed
bow and the supposed string is painted in blue color, it is really hard for me
to conceive how Saville could get the idea to see here an instrument similar
to the one described above. The way the instrument is held does abso-
lutely not conform with the explanation as "musicbow." In my opinion
the player encircles the shell of a tortoise with the left arm and holds in the
right hand the antlers of a deer with which he strikes the bottom of the
tortoise-shell holding the bottom to the front. I seem to recognize dis-
tinctly the somewhat spreading border-scales of the tortoise-shell in the
photograph in spite of the strong peeling off which just this figure shows
in the original.

MEXICO 191

Museum, gives the following description of early Mexican instru-
ments:' "Les Mexicains se servaient encore d'une sorte de cla-
quette, Vomichicahua^ilt, faite avec des os (omitl) ou des bois de cerf
tailles; Vayacachtli et le teiiilacatl, hochets ou grelots formes d'une
boule creuse en terre ou en metal munie de petites pierres a I'inter-
ieur et terminee par un manche ou par un anneau; Vayacachtli
caualiitli ou nacalt quanitl, 'planche de deux brasses de long sur
un empan de large, a laquelle etaient attaches des grelots, de dis-
tance en distance, et des morceaux de bois cylindres destines k
produire un bruit par le mouvement.'

"lis possedaient enfm, comme instruments a vent des conques
marines faites de la coquille du strombe geant, dont ils sciaient la
pointe, ou modelees en terre, d'apres cette meme coquille; des cors
ou cornets aussi en terre cuite, des flageolets enfm et des sifflets de
la meme matiere.

"Les flageolets, dont on peut voir une bonne figure dans
I'Album de Waldeck, se composent d'une embouchure d'un corps
plus ou moins cylindrique couvert d'une glacure brune ou rougeatre
et perce d'une anche, puis de quatre trous, d'un pavilion moule,
tout charge d'ornements en relief ou Ton distingue des quintefeuilles,
des symboles tels que la tete de mort, le joel du vent, estampes, par

I. The passage translated reads as follows:

The Mexicans still make use of a kind of clapper, I'oniichicahuaitli, made of
bones {omitl), stag horns; Vayacachtli and the tet^ilachtl, hollow, bowl-shaped
rattles or bells made of clay or metal, furnished with small stones in the
fnterior, finished with a handle or ring; Vayacachtli caualiitli or nacalt quauitl,
a board two arms in length by the breadth of a hand to which bells and some
cylindrical pieces of wood were attached at regular intervals designed to
produce a noise when moved.

They possessed as well wind instruments, some sea shells made from the
shell of some fish of which they sawed off the point or modeled the shell"
in clay, some trumpets also in baked clay as well as some flageolets or
whistles in the same material. The flageolets, of which a good example is
"Thown in the Album of Waldech, have a more or less cylindrical mouthpiece.
covered with a brown or red glaze, pierced by a reed; four finger-holes and
a_beU or "pavilion" ornamented in relief with cinquefoils and various

symbols such as the death's head, etc placed under symmetrical

arches. The whistles of which 1 have represented various types, may be
classed in three groups. Those which represent human subjects, such as
the players of the tepona^tli of which 1 have just spoken, or other small
personages moulded on a globe or cylinder and variously ornamented;
those which suggest bird forms, huit^il beating their wings, pachaquatl
with feathered ears and large round eyes and a short recurved beak; tlama-
toiotl ornamented with a large crest, colin or quail; those, the most numerous,
of globular form with a long beak glazed with a brown varnish, a projection
above and below, four buttons in high relief outlined in the center and
finally a kind of scarf, terminating in spreading ends, which envelops the
sound holes.

192 MUSICAL INSTRUMENTS, AMERICA

quatre, par six, par huit et par neuf, sous des especes d'arceaux
symetriquement disposes.

"Les sifflets, dont j'ai represente divers types . . . peu-
vent etre classes en trois groupes. Ceux qui rcpresentent des sujets
humains comme les joueurs de teponaitli dont j'ai deja parle, ou
d'autres petits personnages montes sur boule ou sur cylindre, et
diversement ernes; ceux qui ofFrent des types ornithologiques,
huit^il battant des ailes, pachaquatl aux oreilles de plumes, aux
grands yeux ronds, et au bee court et recourbe; tlamatotoil, orne
d'une large huppe, colin ou caille; ceux enfin, bien plus nombreux,
de forme globuleuse, avec un long bee enduit d'un vernis brun, une
sorte de queue saillante en avant et en bas .... quatre boutons
en fort relief, traces au centre, enfm une espece d'echarpe qui
enveloppe le trou d'emmission et se termine par des renflements
stries." Hamy, p. 36.

To this may be added the remarks on the subject by Bandelier,'
who, during his archaeological researches in the neighborhood of
the Cholula collected much valuable material. He says: "The
musical instruments, which, while still in use in Mexico, are known
to antedate the Conquest, are but three in number, one of which is
already falling into oblivion. It is the to^acatl (sounding-cane),
described to me as a long cane, bent round like an Alpine horn.
I never saw one, but its sound is said to be a sonorous bellowing. _
The other is the chirimia. It is made of dark brown wood, called
tepehuaje, brought to Cholula from Matamoros-Yziicar, or near
Atlixco. Its length is 0.46 meter (about 18 inches), and its width
at the mouth is 0.06 meter (about 3 inches). It has eleven holes,
irregularly arranged, and the mouthpiece is a thin plate of horn on
a stem of brass. The noise produced by this instrument is a fit
accompaniment to the shrill Indian voices, being horrible beyond
all description. Nevertheless, the aborigines play it rhythmically
very well, and feel as pleased with its heartrending shrieks as
with the softest and most silvery tones of a flute. The name
chirimia is Spanish, and signifies hautboy. But, while the present
wooden instrument is evidently only the Spanish (or European)
hautboy, there is a still older type, made of clay, occasionally
exhumed about Cholula, much smaller than the chirimia, to whose
affinity with the older type is due the hold it has preserved on the
affections of the natives. The chirimia is the most popular Indian
noise-maker, together with the big drum, or tlapan-huehietl,
erroneously called teponaitli. It is a hollow drum, three-legged,
made like a cylindrical barrel, with staves firmly jointed and glued,

I. Report of an Archaeological Tour in Mexico in 1881, in Papers of the
Archaeological Institute of America, American Series, vol. 2, p. i5off. 1884.

MEXICO 193

and covered at the upper end with a piece of tanned leather. The
usual height of this is 0.76 meter (30 inches); its diameter is 0.45
meter (18 inches); the legs are 0.07 meter (3 inches) high; and the
thickness of the wood, which is pine, is 0.02 meter (0.8 of an inch).
It is beaten with two drumsticks {Uaxixtli) 0.34 meter (14 inches)
long, having an elliptical head covered with deerskin. . . . This
drum was exclusively employed for religious purposes, among which
I include the dances. Every festival day the instrument is placed
in front of the church and is beaten at intervals for hours."

CLASS I STRINGED INSTRUMENTS

3316 HARP. Harpa. A quadrangular base supporting a 1^'^'^'^".^
harp-shaped frame enclosing a sound-box with four circular strings
holes. The strings fastened to metal pegs in the arch are
carried over a bridge formed by the framework to the

edge of the extended sound-box, where they pass to the
other side. Thirty-eight wire strings. Central Mexico.
Length, 3 feet 6 inches. Width, i foot.

3317 HARP. Harpa. Hexagonal sound-box of light wood
with two simply carved legs. The arch is supported by a
straight pillar with turned ends. Two sound-holes. Wooden
tuning pegs. Thirty-six strings.

Tlaxcala, Central Mexico.

Length, 3 feet \}4 inches. Width, 1 foot xoyi inches.
The harpa and jaranita (guitar) are used as an accom-
paniment to the native dances, the fandango and the
jarabe.^

662 HARP. Harpa. Sound-box of light wood, trimmings

and three ornamental sound-holes in walnut; the under
side of the box hexagonal, the larger end resting on two
feet. The arch carved in the form of a serpent, the open
mouth resting on the pillar. At the larger end of the
sound-box there is a carved figure in relief, with arms
akimbo, the legs and feet forming the support of the harp.
The head, which is carved in high relief, wears a hat and
has glass eyes. Thirty-seven strings.
Length, 3 feet 5 inches. Width, 2 feet 2}^ inches.

I. Debray. Mexico. pl.-"Un Fandango."

1 94 MUSICAL INSTRUMENTS, AMERICA

Class I

Stringed

Instruments

Section A

Plucked

Strings

635

637

2881

BANDOLINE. Made from the shell of an armadillo.
The neck and front of wood. The circular sound-hole
ornamented with inlay of white wood surmounted by a
cross, below the sound- box a seborium similarly inlaid.
Ten wooden string pegs. Five gut strings.
Length, 2 feet 4>^ inches. Diameter, 8^ inches.

MacCurdy' in his work on the armadillo in the ancient
art of the Chiriqui states that it is a dominant decorative
factor full of symbolic and mythologic meaning and is
as characteristic of the Chiriqui as the lotus is of Egypt.

BANDOLINE. A pear-shaped body of maple with
flat back and front. A central sound-hole bordered with
a band of ornamental pearl inlay. Nineteen metal frets on
the finger-board. Eighteen wire strings arranged in groups
of three. Length, 2 feet 8 inches. Diameter, i foot i inch.

GUITAR. Jaranita. European model. The
made from the shell of an armadillo. Six strings.
Length, 2 feet 8 inches. Diameter, 10 inches,
cf. Note to No. 3317, p. 193.

back

Section B
Struck Strings

1740 MUSICAL BOW. A tube of cane with a string fas-

tened at one end and held taut by a tuning-peg inserted at
the opposite end. Beneath the string the surface is flattened
and four narrow slits are cut in the tube at irregular inter-
vals. Reproduction. Original in the U. S. Nat. Museum
Cat. No. 9,974.
Length, 3 feet 9 inches.
A duplicate of this bow in the Peabody Museum, Cam-
bridge, Mass., is illustrated and described by Balfour,^ who
also shows on the same page a similar example from Patz-
cuaro, the original of which is in the University Museum,
Oxford. Starr^ mentions a bow of this type, the camalpa,
found among the shepherds of Malintzi to the west of Patz-
cuaro. The same author states* that at Coixtlahuaca he
met a Dominican who described two primitive instru-
ments formerly used by the natives of San Francisco
(Mexico). One of these was made of a turtle shell; the

1. MacCurdy, in Compte rendu du Congres Internat. des Americanistes,
15 Sess., Quebec, 1906 (1907), p. 163.

2. cf. Musical Bow, p. 46.

3. Notes. 1900. p. 36.

4. Idem., p. 67.

MEXICO 195

other, which is called sam-po-na, is a musical bow made
of the "spine" of a fish bent with a cord; one end is
placed in the mouth while the other is held in the hand;
it is played with another "spine". ^ He also describes
the Jul of the Mayas as a small bow, or arch, made from
a hejuco (vine), strung with a cord and held with the
cord to the mouth; air is breathed upon it and it is
caused to vibrate by striking with a small stick.^
The Pueblo Indians of New Mexico have a bow of this
type, the native name of which is thlin-thlin-no-me.
d. U. S. Nat. Museum Coll. No. 48,089. Mason. Amer,
Anthrop. 10, p. 379, 1897.

3318 VIOLIN. European model. Unvarnished wood, |^'^*^'°f^j

stained red. The peg-box finished in a rudely carved scroll.
Texcoco, Central Mexico.
Length, i foot 7 inches. Width, 5 inches.

563 VIOLIN. European model. Unvarnished wood

rudely carved.
Length, 2 feet. Width, 10 inches.

CLASS II WIND INSTRUMENTS

1946 WHISTLE. Pottery. Seated figure of an old priest ^f^'°P "^

wearing the maxtli or loin cloth, the right arm raised, the left
leg doubled under. The head is shaved high above the tem-
ples, leaving the hair upright in the center and falling over
the ears, a style characteristic of the order. The whistle
is in the right arm.
Height, 2% inches.
These whistles and rattles are often modeled in the forms
of the various deities of Ancient Mexico, each house-
holder, according to his rank, being allowed a certain
number of domestic idols. Writing on this subject Hamy»
quotes Clavigero, as follows: " 'Tepitoton,' dit Clavigero,*
'etait le nom que donnaient les Mexicains k leurs
penates ou dieux domestiques, et aux idoles qui les repre-

1. See also Appendix, p. 258.

2. cf. Notes, 1902, p. 17.

3. Galerie Americaine du Musee d'Ethnographie du Trocadero. 1897.

4. Storia antica del Messico cavata da miglioro storici spagnuoli e da'
manoscritti, e dalle pitture antiche degl'lndiani, etc., Cesena, 1780.

1 96 MUSICAL INSTRUMENTS, AMERICA

Class II sentaient. Le Roi et les seigneurs dcvaient avoir six de

Instruments CCS pctites idolcs (idolctti) dans leurs demeures; les

Whistres^ nobles en devaient avoir quatre, et les plebeiens deux.* "'

2066 WHISTLE. Pottery. Globular; a variant of the

bird and serpent symbolic form. One fmger-hole.
Length, 3>^ inches.

3476 WHISTLE. Pottery. Fragment. Originally a form

similar to No. 2066.
Length, 3 inches.

2064 DOUBLE WHISTLE. Pottery. Fragment. A double

form of the bird and serpent symbol, similar to No. 2066.
Length, 3 inches.

3309 WFllSTLE. Pottery. Bulbous type with serpentine

form in relief. One fmger-hole.
Length, i]4 inches.

3475 WHISTLE. Pottery. Bulbous form with flattened

tubular mouthpiece. On the front the clay is rudely modeled
in the shape of a grotesque head with two arms which pass
over the forehead and rest on the globe in front. Imperfect.
Huexotla, Texcoco.

Length, 3 finches. Diameter of bulb, ipi inches.
This model is a variant of the bulbous type decorated
with serpentine bands of clay, described by some as a
"scarf."

Kollman^ describes a similar specimen in the University
Ethnographical Museum at Basle, and Hamy^ illustrates
another from the Valley of Mexico.
Writing of the wind instruments of the Aztecs, Cresson*
is of the opinion that these people had a knowledge of
the scales as known to us. He bases his theory upon the

1. Translation. "Tepitoton," says Clavigero, "was the name that the
Mexicans gave to their penates or household gods and to the idols that
represented them. Custom demanded that the king and his court should
have six of these little idols in their dwellings; the nobles four and the
plebeians two.'"

2. Floten und Pfeifen aus Alt-Mexiko. In Adolf Bastian als Festgruss,
1896.

3. Galerie Americaine Musee d'Ethnographie du Trocadero. (Cat. No.
6385). 1897.

4. Aztec Music. In Proceedings of the Academy of Sciences of Phila-
delphia, 1883.

MEXICO 197

fact that chromatic and diatonic scales can be produced
with a full octave on the four-holed clay flageolets and
. also that the clay whistles manipulated in quartette will
produce an octave and a fourth.

3474 WHISTLE. Light brown pottery, unglazed. One

finger-hole. Similar to No. 3475. San Francisco (Distrito
Federal).
Length, 2% inches.

688 WHISTLE. A slightly conical tube of unglazed terra-

cotta terminating in a small bulb.
Length, 2 inches.

3477 WHISTLE. Pear-shaped form in light brown pottery,
unglazed. Imperfect. Coatlax, Texcoco. (?)

Length, 23^ inches.

3478 WHISTLE. Brownish gray pottery, unglazed. Bul-
bous form with flattened mouthpiece. One finger-hole.
Imperfect.

Length, 1 yi inches.

3308 WHISTLE. Brown pottery, unglazed. The shell of

the whistle is tubular with a flattened mouthpiece rising
from the center of one side. One finger-hole. San Sebas-
tian, Texcoco.
Length, zyi inches.

1 274 WHISTLE. Reddish brown pottery. The shell of the

body is elliptical with a fiat tube rising from the center of
one side. Just above the vent a grotesque human head
with large ears. One finger-hole.
Length, 3 inches.

1948 WHISTLE. Light brown pottery, unglazed, shaped

in the form of a human head. The features are unusually
well modeled; the large ears, thick lips, and fiat nose
suggesting the negroid type. The face has lines of raised
dots extending from ear to ear and on the cheeks and chin.
Length, 3>i inches.

3472 WHISTLE. Light brown pottery, unglazed, shaped

in the form of a grotesque bird's head with large ears and

Class II
Wind

Instruments
Section A
Whistles

1 98 MUSICAL INSTRUMENTS, AMERICA

round eyes. The mouthpiece and one ear missing. Valley
of Mexico.
Length, lyi inches.

There is a similar piece (No. 20,528) in the Galerie Am^r-

icaineof the Trocadero Museum, cf. Hamy, p. 18, No. 59.

This bird form represents the head of coscoquautli, the

vulture.

2378 WHISTLE. Pottery. Mask with flattened mouth-

piece protruding from the top. At the sides circular ear
ornaments. Length, 2}^ inches.

657 WHISTLE. Brownish gray pottery, unglazed, shaped

in the form of a grotesque head, the mouth open, showing
the teeth. Large ears at the sides. A conical head-dress
forms the mouthpiece. Imperfect.
Length, 2>^ inches.

3300 WHISTLE. Reddish brown pottery, unglazed. A cy-

lindrical shell resting on three feet, surmounted by a gro-
tesque head. Mouthpiece at the back. One finger-hole in
front.
Length, 3^^ inches.

3304 WHISTLE. Bird form in light brown pottery, un-

glazed. One finger-hole. Calixtl (?).
Length, 3 inches.

333^ WHISTLE. Gray black pottery, unglazed, shaped in

the form of a bull. The tail forms the mouthpiece and
there is a single finger-hole over one foreleg. Zapotec In-
dians, Coyotepec, Texcoco. cf. Starr. Notes, 1900, pp.
45, 51, and 92, fig. 26.
Length, ^}4 inches.

3333 WHISTLE. Gray black pottery, unglazed, shaped in

a grotesque bird form. It rests on two feet and the tail,
the latter forming the mouthpiece. One finger-hole in front
below the head. Zapotec Indians.
Length, 4)4 inches,
cf. Starr. Notes, 1900, p. 92, fig. 24.

2773 WHISTLE. Dark brown pottery, unglazed.

tesque globular bird form, probably an owl.
Height, 5>^ inches.

Gro-

ZAPOTEC POTTERY BELLS AND WHISTLES. MEXICO
i'l'. 198, 208

MEXICO 199

1945 WHISTLE. Brown pottery, unglazed. Ewer form Class 11

with grotesque animal head on the upper side. instruments

Length, 3 inches. ^!^^

648* WHISTLE. A small bulbous form of unglazed pottery
with a flattened mouthpiece. One hole in the center.
Length, i K inches.

3302 WHISTLE FLUTE. Pito. A conical tube of gray

pottery, unglazed, with four fmger-holes and a beaked
mouthpiece. A grotesque head in relief above the fmger-
holes. The larger end of the tube is at the mouthpiece.
Imperfect.
Length, 5 K inches.
The pitos held a prominent place in the ancient cere-
monies of the Aztecs, which Engel' describes as follows:
"At the religious festival which was held in honor of
Te^catlepoca, a divinity depicted as a handsome youth,
and considered second only to the supreme being, a young
man was sacrificed who, in preparation for the ceremony,
had been instructed in the art of playing the flute.
Twenty days before his death, four young girls, named
after the principal goddesses, were given to him as com-
panions; and when the hour arrived in which he was to
be sacrificed he observed the established symbolical rite
of breaking a flute on each of the steps as he ascended
the temple.

"Again, at the public ceremonies which took place on
the accession of a prince to the throne, the new monarch
addressed a prayer to the god, in which occurred the
following allegorical expression: 'I am thy flute; reveal
to me thy will; breathe into me thy breath like into a
flute, as thou hast done to my predecessors on the throne.
As thou hast opened their eyes, their ears, and their
mouths to utter what is good, so likewise do to me. I
resign myself entirely to thy guidance.' " He also illus-
trates a pipe in the British Museum Collection similar
to No. 3302.

Starr^ describes other varieties of the pito which accom-
pany certain dances of the Aztecs. "In the dania de
* Placed with Class II in the kindred instruments of the Historical Groups.

1. Musical Instruments in the South Kensington Museum, p. 63 ff.
Also Kollman. Floten and Pfeifen aus Alt Mexico, p. 560.

2. Starr. Notes upon the Ethnology of Southern Mexico, p. 8 ff.

Class II
Wind

Instruments
Section A
Whistles

200 MUSICAL INSTRUMENTS, AMERICA

Santiago the music is furnished by two musicians, one
who plays the pito, a cane pipe with a blow hole and five
holes for the escape of air, one of which is below, four
above. The other beats upon the huehuetl, a wooden
cylinder with a piece of peccary skin stretched across
one end."

In the dance of the El Toro de cuero (the leather bull) the
pito employed differs from that used in the Santiago.
The cane is longer, has but four escape holes, and the
mouthpiece is different, consisting of a small tube set in
a mass of black gum.

The same author^ in writing of the Zoques (Southern
Mexico) states that the music for the popular dances is
supplied by the violin, pitos, and drum, and that the pitos
are of two kinds. "The smaller has slant-cut mouthpiece,
partly plugged with gum, a square hole near the end, and
two similar holes opposite. The larger is longer, and has
a similar mouthpiece, one round escape hole on one side,
and several on the opposite side."

The two beaked flutes in the group of musical instruments
illustrated by Seler^ were doubtless of the form described
by Starr as now in use among the Zoques.
The Hopi Indians of New Mexico and Arizona also make
pottery flutes.

2774 WHISTLE FLUTE. Reddish brown pottery with

four finger-holes. The mouthpiece and bell restored.
Length, 6^ inches.

3312 WHISTLE FLUTE. Mouthpiece and fragment of

tube in dark gray pottery, slightly glazed.
Length, 2}i inches.

3471 WHISTLE FLUTE. Similar to No. 3302. Three

finger-holes. Imperfect.
Length, 4 inches.

2775 WHISTLE FLUTE. A tube of dark gray pottery,

glazed, terminating in a small bell. Four finger-holes.

1. Starr. Notes upon the Ethnology of Southern Mexico, p. 65.

2. Globus, vol. 74, 1898, p. 88, fig. F.
Idem., vol. 76, 1899, p. 109.

3309

2064

;m 7 a

3301

2774:

I'OrihRY WHISTLES. MhXICO
PP. 196-201

MEXICO 201

Between the third and fourth hole three red lines show ciasa ii
beneath the glaze. Mouthpiece and bell imperfect. instnimeni

length 6 i'^ inches. Section A

Lcngui, U/2 U1C11C3. Whistles

3301 WHISTLE FLUTE. A tube of unglazed reddish

brown pottery with a flattened mouthpiece. Four finger-
holes on the obverse side. The end of the tube (restored) is
pronged with two curling projections in the center, symboli-
cal of the fangs and open mouth of the serpent.
Length, 6}4 inches.
The placing of the finger-holes on the obverse side is not
unusual. The original form of this pipe doubtless had a
bell-shaped end such as is shown by Engel' and again by
Kollman,^ who describes a similarly-shaped flute in the
Ethnographical Museum at Basle as a "flote cocolodli."
This flote cocolodli may possibly be the prototype of
the cane flute with bell-shaped terminal employed by the
Hopi Indians in their Snake Dance ceremonial, a form
found in no other locality.
3470* WHISTLE FLUTE. Fragment of a tube of brownish
pottery, slightly glazed, somewhat serpentine in form, with
three holes in front and a flattened mouthpiece.
Length, 5X inches.

3469* WHISTLE FLUTE. Fragment of a tube of brown
pottery, slightly glazed, with a flattened mouthpiece and
two holes directly below the whistle. Three narrow bands
of red beneath the glaze.
Length, yji inches.

3473* WHISTLE FLUTE. Fragment of a tube of unglazed
gray pottery terminating in the form of a human head with
protruding eyes, a large nose, and an ornamental head-
dress. From San Diego, District of Texcoco.
Length, 2 inches.

CLASS III VIBRATING MEMBRANES

3315 DRUM. Huit^ilopochtli. A bowl-shaped conical body

made from the root of a tree hollowed out, the larger and

1. Musical Instruments in the South Kensington Museum, p. 62.

2. Floten und Pfeifen aus alt Mexico. In Adolph Bastian ais Festgruss,
i8q6, p. 560.

* These instruments have been placed with the Prehistoric Group.

202 MUSICAL INSTRUMENTS, AMERICA

Class III

Vibrating

Membranes

Division I

Struck

Section A

Drums

I. With one

Head

open end covered with a membrane decorated with a paint-
ing of an Indian head in sepia. Valley of Mexico.
Diameter, i foot 8 inches. Depth, i foot 3K inches.
Besides the two customary forms of drums used by the
native Mexicans, the tepona^ili, the horizontal drum, and
the huehuetl, the upright drum with a skin head, Starr^
also describes a pottery drum, the mai-ya, of the Mixes,
as follows:

"The Mixes delight in rather elaborate celebration of
their fiestas. They have a variety of dances and dramatic
performances; these have been much influenced by Span-
ish ideas. They retain, however, some hints of Indian
life in the costumes and musical instruments. Thus the
old rattle made of the hard and round fruit of a tree, is still
retained. Curious wands of feathers or down used in
the Dan^a de la Conquista seem to reproduce some abor-
iginal object. At San Juan Guichocobi they have long
used the mai-ya; a good specimen of this from that place
is now in possession of Bishop Mora, of Tehuantepec.
It consists of a two-bodied brownish-black earthen ves-
sel, the round bodies being one above the other; over the
aperture at the top of the upper body is tied an iguana
skin; a neck and head of some animal or bird project
from the lower body and a hole in the back of the head
serves for air escape. The sound given by this pot drum
when beaten is clear and fine. The specimen measures
I foot 3 inches in height, and 9 inches in diameter."
Writing of the instruments of the Mayas, the same
author^ describes their drums and rattles, as follows:
"The tunkul, or native drum, corresponds to the Aztec
ieponastl; it has largely gone out of use, but is said to
still figure at some village festivals; the caracal, or shell
trumpet, is used in rural places to summon the people;
rattles for dances are made from a calabash-like fruit in
which the dry seeds serve to give the noise."
The same author further states that in the Kubpal (en-
trega de cabe^a de cerdo, carrying the pig's head), a native
dance celebrated on the third day of May, "the rattles
used had an oval body set into a conical bunch of
splints, uniting downward into a handle; these rattles
were painted gaily. . . . There were two musicians,

1. Notes upon the Ethnology of Southern Mexico, pp. 62, 63, 94, fig. 47.
1900.

2. Idem, p. 17 ff. 1902.

MEXICO 203

one with a piio, or whistle, with a small mouthpiece
gummed at the end of a long tin tube pierced with note
holes; the other carried a painted tin drum of the hue-
hueil type; this he played with his hands. Hung to the
side of the drum, near the top, was a turtle shell upon
which the drummer struck with a deer's horn."*

CLASS IV SONOROUS SUBSTANCES

Division I

2620 RATTLE. A string of cocoons containing bits of struck

gravel. Worn about the calves of the legs.
Length, 7 feet 5 inches.
These rattles are made from the cocoons of a species of
bombycid moth and are used by the Papago or Yaqui of
the Piman stock that occupy territory in Southern Arizona
and as well in Sonora, northwestern Mexico.*

3620 RATTLE. Anklet rattle worn by runners. A band of

seventeen cocoons with pebbles enclosed, strung on a leather
thong, a strip of leather at each end for fastening about the
ankle. Probably Tarahumare Indians of Northern Mexico.
Length, 1 1 inches.
The Yaqui Indians have a similar rattle called tenchuy.

669 RATTLE. Notched bone. Fragment of a bone, the

surface of one side notched with fifteen incisions.
Length, 8 inches.

Biart' writing of the Aztecs states that the bones of deer
and even of men were put into the hands of the distin-
guished dead on the day of the funeral. These bones,
notched their whole length, were rubbed against each
other or against a shell. They were called axacaxtli.

671 RATTLE. Notched stick and scraper. A flat wand

of walnut with the surface of one side cut in a series of

1. Idem. pp. 19, 104, fig. 25.

2. Russell, Frank. The Pima Indians. Bur. of Ethnol. 26th An. Rept.
1904-1905, p. 169. Wash. 1908.

3. Aztecs, p. 305. cf also Capitan, in Compte Rendu du Congres Internat.
des Americanistes, 1908, p. 107, and Hamy, Gaierie Americaine du Musee
d'Ethnog. Trocadero, pi. XVI I, Nos. 51-52.

204 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division I
Struck

672

parallel incisions that terminate at each end with two

crosses.!

Length, i foot 8}4 inches.
This specimen is similar to those found in Arizona and
may be either of Piman, Yaki, or Tarahumare provenance.

RATTLE. Notched stick and scraper. A wand of
satin-wood {chloroxylon swietenia) . On one side thirty-eight
incisions, varying from y^ io }i inch in depth, form a cor-
rugated surface. Espiritu Santo Bay.
Length, i foot 9 inches.

2047 RATTLE. Giiiro. A conical cylinder of tin with a

strip of goffered tin, slightly raised from the surface, fas-
tened to one side. A handle at each end.
Length, i foot 6 inches. Diameter, ^yi inches.
There is a similar specimen from Spain in the U. S. Nat.
Museum Coll. No. 95,329.

505 BELL. Bronze. Pear-shaped, with a flat top, a slit on

the lower side showing a loose metal ball in the interior.
The upper half of the surface corrugated.
Height, 3 >^ inches. Width, 2 K^ inches.

1953 BELL. Copper,

ring in the top.
Height, i^ inches.

A small pear-shaped form with a

1954 BELL. Similar to No. 1953.
Height, I inch.

1955 BELL. Similar to No. 1953.
Height, I inch.

3306 BELL. Similar to No. 1953.

Height, I yi inches.

3305 BELL. Similar to No. 1953.

Height, I inch.

1. The Pueblo Indians often use the zigzag emblem of lightning and the
cross of St. Andrew {crux decussata), symbol of the four directions. The
U. S. Nat. Museum has a notched stick (No. 10,773) of mesquite wood
from the Ute (Shoshonean) Indians called pam-pu-ni-wap. Another
(No. 218,070) of grease wood (of the genera Sarcchatus, Grayia, etc.) from
the Pima. Also one from the Yaqui (No. 218,069).

MEXICO 205

2549 BELLS. Two miniature bells in gold, globular form, a

slit on the lower side.
Diameter, i^inch.
Wilson* furnishes the name t^iliniUi for Mexican bells
and quotes Holmes,^ who states that it is difficult to
prove that these metal bells found in Mexico are not of
European origin or inspiration, but at the same time there
is strong evidence that such bells were in use by the Amer-
icans prior to the advent of the whites.

1727 BELL. Bronze. The surface decorated with embossed

lines at the top and around the lower edge; a foliated Greek
cross on one side, between two floral forms.
Height, 7 inches.

3464 RATTLE. Red pottery, unglazed, shaped in the form

of a kneeling priestess or idol. Horned head-dress. San
Francisco (Distrito Federal).
Height, 3^ inches.

33 I I RATTLE. Red pottery, unglazed, similar to No. 3464.

Imperfect.
Height, 2}i inches.

3466 RATTLE. Red pottery, unglazed, shaped in the form
of a seated idol, wearing a pointed head-dress. San Fran-
cisco (Distrito Federal).

Height, 3 inches.
The figure represents Oiomatl, the monkey who often
appears in lieu of the god of dance and song or is dressed
in the ornaments of that god.

3467 RATTLE. Red pottery, unglazed, a figure wearing a
pointed cap or head-dress. One arm missing.

Height, 2]A inches.
Macuil-Xochitl-Xochi-pUii, the god of dance and song
represented in this figure is often shown with the face
protruding between the mandibles of a bird. The pointed
head-dress in this instance is a variant of the bird form.

1. Prehistoric Art. Smith. Inst. An. Rept. 1896, pp. 596, 627. Wash.

1898.

2. Ancient Art in the Province of Chiriqui. Bur. of Ethnol. 6th An.
Rept. 1884-1885, p. 50. Wash. 1888.

206 MUSICAL INSTRUMENTS, AMERICA
Class IV The figure also wears the shell ornament of the wind god.

Sonorous /^ i ji

Substances (^Ueial-COaU.

Division I
Struck ^

34^5 RATTLE. Gray pottery, unglazed, shaped in the form

of a woman with turban head-dress, a child on her back.
San Francisco (Distrito Federal).
Height, 2^/i inches.

1447 RATTLE. Light brown pottery, unglazed, shaped in

the form of a grotesque head.
Length, 1 inch.

3468 RATTLE. Light brown pottery, unglazed, shaped in

the form of a seated figure with a feather head-dress. The
hands rest on the knees and the feet are crossed.
Height, 3 inches.
The figure represented is Macuil-Xochiil-Xochi-pHti, the
god of dance and song. See note to No. 3467, p. 205.

1 284 RATTLE. Light brown pottery, unglazed, similar to

No. 3468, but without arms. Turban head-dress.
Height, I K inches.

3463 RATTLE. Light brown pottery, unglazed. Globular

form with a flattened knob on each side, between which pro-
trudes a short, thick neck terminating in a head. Xoxo,
Oxacaca.

Height, 2>^ inches.
This figure represents Macuil-Xochitl-Xochi-pitii as a
child wearing disc ear ornaments. See note to No. 3468.

2062 RATTLE. Reddish brown pottery, unglazed. Glob-

ular form with arms and legs, the hands resting on the
knees. In place of a head there is a small flat projection
pierced with a hole.
Diameter, 3 inches.

33^0 BALL RATTLE. Reddish brown pottery, unglazed,

the surface decorated with indented bands of geometric
ornament.
Diameter, i % inches.

3460 BALL RATTLE. Reddish brown pottery, unglazed,

similar to No. 3310, but without ornament, the surface

3468

6463

13460

2224

3307

[3464

'3466

POTTERY RATTLES. MEXICO
I'P. 205-207

MEXICO 207

marked with incised lines. The shell is perforated with Class iv

, 11 1 1 Sonorous

fourteen small holes. Substances

Diameter, 2^ inches. stS° ^

3303 RATTLE. Animal form in light brown clay; the

rattle, bell-shaped, rises from the back of the animal, be-
tween the ears.
Height, 4 inches. Length, 5 inches.

3307 RATTLE. Globular form in reddish brown clay,

slightly glazed, the surface decorated with incised lines and
perforations.
Diameter, i Y^, inches.

2065 RATTLE. Globular form, similar to No. 3307, in

terracotta.
Diameter, 2 inches.

2224 RATTLE. Brown pottery, unglazed, in the form of a

human figure, slightly stooping. Two triangular openings
in front and one at the back. Fragment of an incense
burner.

Length, 7 inches.
"Whistles and rattles of baked clay are very common in
Mexico, and in Central and South America; but few
examples, so far as the writer has learned, have been dis-
covered in the mound region. General Thruston in his
valuable work on the Antiquities of Tennessee, illustrates
an earthenware rattle and the pellets of clay used in it.
A few vases have been found having hollow legs or at-
tached animal features, in which pellets were placed so
that when used on festive or ceremonial occasions they
would serve as rattles as well as receptacles."'.

661 BELL. Dark gray pottery, unglazed. At the ear the

pottery flattens out into a broad surface with a finial cut
in the form of a spread eagle. Zapotec Indians, Coyotepec,
Texcoco.

Height, 5K inches. Diameter of bell, 10 inches.
This specimen and the following, Nos. 3327, 3329, 3330,

I. Holmes, in Bur. of Ethnol. 20th An. Rep. 1898-99, p. 35. Wash. 1903.

208 MUSICAL INSTRUMENTS, AMERICA

^noroil ^^^ ^^'^^ ^^^ Zapotec Indians, Coyotepec, Texcoco. See

Substances Starr.^ Notes, 1900, pp. 51 and 91, figs. 20-23.

Division I

Struck _

3320 BELL. Dark gray pottery. Similar to No. 661.

Height, 8 inches. Diameter, 4^ inches.

3327 BELL. Dark gray pottery, similar to Nos. 661, 3328,

the top finished in a simple ring handle.
Height, 5 inches. Depth, 4J4 inches.

3329 BELL RATTLE. Dark gray pottery, unglazed,
shaped in the form of a Maltese cross, each terminal bell-
shaped, with a small pottery clapper.

Height, 4yi inches. Diameter, i ^ inches.

3330 BELL. Dark gray pottery, unglazed, shaped in the
form of a figure with flaring skirts, the arms akimbo.
Height, 3 inches. Diameter, 2yi inches.

2950 DRUM. Teponaitli. Carved from a large tree trunk

of hard wood (mesquit) hollowed out with a solid block ^y^
inches deep left at each end. On one side a longitudinal
opening and on the opposite side two parallel incisions run-
ning lengthwise connected by a shorter incision in the
center, form two vibrating tongues i K inches thick, on
which the drum is struck.
Length, 2 feet 6 inches. Diameter, 9 inches.
This form of drum was made in sizes varying from 10
to 5 feet in length, the smaller ones being suspended from
the neck of the drummer by a strap. The sticks were
covered at the end with caoutchouc or with an elastic
gum called ule which was obtained from the juice from a
tree of the same name.

A drum resembling this is found in the m'kul of the
French Kongo, which has two similar projecting tongues
in the center with a longitudinal opening on each side.
When used in war this drum is struck on the center and
for the dance in the center and on one end. cf. African
section Nos. 552, 556. Mahillon compares it with the
kiringhie of Sierra-Leone. Mahillon, vol. 2, pp. 137-140.
cf. also Starr. Notes, 1900, p. 35. Journal of American
Folk-lore, vol. 9, 1896, p. 162. Engel. Musical Instru-

I. Notes upon the Ethnography of Southern Mexico. Proceed, of the
Davenport Academy of Nat. Sciences. 1900.

MEXICO 209

ments, p. 73. Debray. Mexico, p. 51. Biart. The
Aztecs, p. 303 fT. Preuss, in Globus, vol. 91, p. 187.

2432 DRUM. A small drum similar to No. 2950.

Length, io>^ inches. Diameter, 3 inches.

642* BELL. Copper. Pear-shaped form similar to No.

>953-

Height, I Ya, inches.

1952* BELL. Similar to No. 642.
Height, 2 inches.

3462* RATTLE. Brownish gray pottery in the form of a
seated figure with a broad, flat head and a prominent nose.
Top of head broken. District of Oaxaca.
Height, 3K inches.

3461* RATTLE. Brownish gray pottery in the form of a
grotesque standing figure with a broad, flat head and open-
ings for the eyes and mouth. District of Oaxaca.
Height, 5 inches.

*These instruments have been placed with the Prehistoric Group.

CENTRAL AMERICA

GUATEMALA

CLASS I STRINGED INSTRUMENTS

Huckid^ 3143 HARP. Similar to the Mexican harp. The neck

Strings Ornamented with conventionalized serpent forms, is pierced

for twenty-seven string pegs, seven of which are missing.

Height, 3 feet 3 inches. Width, i foot 7 inches.

CLASS II WIND INSTRUMENTS
Section A 67c WHISTLE FLUTE. A tube of cane with six finger-

Whistles I J °

I. Vertical holes.

^^"*"' Length, -j'A inches.

676 WHISTLE FLUTE. A tube of cane with six finger-

holes arranged in two groups of three. The opening for the
breath is on the reverse side from the finger-holes.
Length i foot 5 Y^ inches.

CLASS III VIBRATING MEMBRANES

Division! 563 DRUM. A wooden cylinder with skin stretched over

Section A the ends, held in place by flesh hoops, and laced together

^"withtwo with fibre cord. The tension of the heads regulated by

Headsi leather slides. Two small knobbed drumsticks.

Height, II inches. Diameter, 10 inches.

664 DRUM. Similar to No. 663. The slides that regulate

the tension are of fibre cord. One drumstick.
Height, 10 inches. Diameter, 6>^ inches.
I. Section A i not represented.

CENTRAL AMERICA. GUATEMALA 211

CLASS IV SONOROUS SUBSTANCES

665 DRUM. The shell of a snapping turtle.
Length, i foot i>^ inches. Width, 10 inches.

Stoll' in his work on the Indians of Guatemala gives the
native name of the drum as coc. The large drum, the
most important of the native instruments, is called k'ojon,
and the cane flute pokonchi.

cf. Seler's note on the Code Becker, in Globus, vol. 76, p.
m. Fig. 3. 1899.

687 PAIR OF RATTLES. Globular gourds painted

bright red and decorated in green and yellow, each pierced
with a straight wooden handle.
Length, 'j}4 inches. Diameter of gourd 2}4 inches.

13 14 RATTLE. Small globular gourd, the black surface

polished and ornamented with incised lines and dots in
yellow, green, and purple. Straight wooden handle.
Length, 6 inches. Diameter, 2 inches.

Dr. Otto Stoll' shows gourd utensils with similar decora-
tions.

666 MARI M BA. A rude wooden frame supporting twenty-
three slabs of wood. Under each slab a tube of bamboo.
Length of frame, 6 feet 10 inches. Height, 2 feet 6 inches.
Width, I foot 6 inches. Longest pipe, 2 feet ^yi inches.
Shortest, 3 inches.

HONDURAS

CLASS IV SONOROUS SUBSTANCES^

2049 MACARONI. A wooden box, one end of which is

higher than the other, producing a slanting top. In one
side three circular sound-holes, partially covered on the
inside with cloth. Rising from the top of the sound-box
are eleven wooden rods.
Length, 2 feet 11 inches. Width, 12 yi inches. Height,

I. Die Ethnologic der Indianerstamme von Guatemala, 1889.
Supplement 20 to the Internationale Archiv. fur Ethnographie, vol. i.
I. Classes I, II, III not represented.

212 MUSICAL INSTRUMENTS, AMERICA

I foot 8 inches. Length of rods, 2 feet 4K inches — \oH

inches.
This instrument resembles a "harp of rods" in the U. S.
Nat. Museum Coll. No. 258,935, which is sounded by
rubbing the rods, twenty in number, with resined fingers.

NICARAGUA

CLASS I STRINGED INSTRUMENTS

Section A 2632 GUITAR. Tipla. European model,

string^s'^ Length, 2 feet i inch. Diameter, 6 inches.

CLASS II WIND INSTRUMENTS'
Section A 2814 WHISTLE FLUTE. A tube of cane with a cap of

Whistles

caoutchouc placed over one end; this has a narrow, slit-
like opening on the edge at one side where a thin slip of
wood is set in the gum, and below this a hole is pierced in
the side of the tube. On the reverse side there are four
finger-holes 6>^ inches from the opposite end.
Length, 3 feet. Diameter, i % inches.
These flutes (Nos. 2814, 2815) are nearly destroyed by
age and climatic conditions; they are, nevertheless, val-
uable examples of the primitive type of flutes used by the
Mosquito Indians, on the Atlantic Coast of Nicaragua.

2815 WHISTLE FLUTE. The same as No. 2814. Badly

cracked and the cap missing.
Length, 3 feet.

COSTA RICA

CLASS I STRINGED INSTRUMENTS

Section B' 2385 MUSICAL BOW. Quijoiiga. A rod of palm wood

Struck Strings with a wire Stretched between the two ends. In the center

a gourd resonator fastened with a loop of wire which passes

over the wire string. When played, the wire is struck with

1. Classes 111, IV not represented.

2. Section A not represented.

CENTRAL AMERICA, COSTA RICA 213

a slender wand of wood. The gourd is decorated with in-
cised lines.

Length, 6 feet i >2 inches. Diameter of gourd, 2 J< inches.
The pitch of this instrument is varied by changing the
position of the guacal or cup on the wire, thereby altering
the vibrating length of the string. The tone is modulated
by increasing or diminishing the opening at the back of
the gourd by the palm of the left hand while the string is
struck by a small stick held in the right hand of the per-
former.

cf. Balfour. Musical Bow, p. 42.

Brinton^ in writing of the Maya, the aborigines of Yuca-
tan, furnishes the name chul for flute, and horn for trum-
pet. He also gives a list of the musical instruments of
the Nahuatl in Nicaragua.^ Among them is the musical
bow, quijonga or carimha; the pottery whistle with four
holes, ollita; a small whistle, pito; trumpets, excoletes;
a horn trumpet, cacho; and, quoting Morelet,^ an abor-
iginal wind instrument, chirimova.

Three drums are mentioned — a hand drum, huehuetl, one
played with sticks tepona^ili, and one called juco, made
of a drinking gourd with a string stretched across the
head, to which is attached a small piece of wood that
"rattles when the instrument is shaken." Small bells
are called chilchil or ayacachtli. The marimba is also a
popular instrument.

2848* MUSICAL BOW. Quijonga. Similar to No. 2385.
Length, 5 feet 10 inches. Diameter of gourd, 3K inches.
Signor Juan F. Ferraz of the Museo Nacional, Costa
Rica, is of the opinion that the word "quijongo is prob-
ably a corruption of the Aztec quix-oncan (compound
word from quixon, an impersonal form of quica, to go out,
to issue, and oncan, there, yonder, underneath, t.w., that
the sound when touching the cord goes out the gourd
underneath."

I. The Maya Chronicles — Library of Aboriginal American Literature, vol.

1. p. 265 ff. 1882.

2. Idem. Nicaraguan Musical instruments and Music, vol. 3, p. 28.
1883.

3. Voyage dans I'Amerique Central, vol. 2, p. 44.

* This instrument has been placed with Class I of the kindred instru-
ments.

214 MUSICAL INSTRUMENTS, AMERICA

CLASS II WIND INSTRUMENTS

Cia^sii 2379 BONE FLUTE. Made from a small bone of some

Instruments animal. Similar to those found in British Guiana. Five

whiiues^ fmger-holes.

Length, 7 inches.

2380 BONE FLUTE. Similar to No. 2379. Three finger-

holes.
Length, 4K inches.

3558 WHISTLE. Bird form with short neck, in reddish
brown pottery. Four finger-holes. Head, feet, and one
wing missing.

Length, 2X inches.

3555 WHISTLE. Bird form with two heads. Dark gray

pottery, slightly glazed. Four finger-holes.
Length, 2>< inches.

3610 WHISTLE. Bulbous form with a short neck. Dark

gray pottery. Two finger-holes.
Length, 2 inches.

3559 WHISTLE. Similar to No. 3610.
Length, i fi inches.

3 1 68 WHISTLE. Grotesque kneeling figure with large bulg-

ing eyes, the left hand supporting the chin. Plain terra-
cotta, unglazed. Height, ^yi inches.

3381 WHISTLE. Animal form (peccary or wild hog?) in
plain terracotta. Two feet missing. Two finger-holes.
Length, 4 inches.

3382 WHISTLE. Similar to No. 3381. Two finger-holes.
Length, 4 inches.

2689 WHISTLE. Drum form with a short neck on one side;

on the opposite side a grotesque animal (frog?) form in
relief. Reddish brown pottery, slightly glazed. The sur-
face ornamented with geometric designs and incised lines.
Four finger-holes.
Length, 2 inches.

3486

3543

2688

3555

3610

2690

3605

: 3556

13554

POTTERY WHISTLES. COSTA RICA
['!'. 214-216, 218

CENTRAL AMERICA, COSTA RICA 215

3556 WHISTLE. Similar to No. 2689. The surface slightly Class 11

glazed and decorated with bands of parallel lines and dots, instruments
On one side an animal form resembling a lizard or an ^^^istres^
iguana. Four finger-holes.
Length, 2J< inches.
Similar to No. 109,721, U. S. Nat. Museum Coll.

2687 WHISTLE. Bird form in dark brown pottery, slightly
glazed. Decorated with incised lines. Four finger-holes.
Badly cracked, head missing.

Length, 1% inches.

3486 WHISTLE. Grotesque bird form in dark gray pottery,
slightly glazed. Four finger-holes. Imperfect.

Length, 2^ inches.

2688 WHISTLE. Similar to No. 3486. Dark brown pot-
tery, slightly glazed. Four finger-holes.

Length, ^yi inches.

3170 WHISTLE. Animal form (armadillo?). Dark gray

pottery, unglazed. Four finger-holes.
Length, 2>^ inches.

3487 DOUBLE WHISTLE. Reddish-brown pottery,
slightly glazed, in the form of two birds, the heads blended
to make the mouthpiece. One finger-hole in each.
Diameter, 2% inches.

cf. Wilson, Smith. Inst. An. Rep., 1896, p. 628, fig. 283.
Washington, 1898.

2690 WHISTLE. Bird form with two heads, similar to
Nos. 3609-3558, Brown pottery, slightly glazed. Four
finger-holes.

Length, 2 inches.
Stoll' shows various forms of pottery jars and whistles
similar to these from Guatemala.

2691 WHISTLE. Animal form (squirrel?) in dark brown
pottery. No mouthpiece. A single hole in the top. Im-
perfect.

Length, 2 inches.

I. Die Ethnologic der Indianerstamme von Guatemala, vol. 1, suppl. i,
pi. II.

2l6 MUSICAL INSTRUMENTS, AMERICA

3384 WHISTLE.

terracotta with de
wwstres^ holes. Imperfect.

Class II 3384 WHISTLE. Ring form (coiled serpent?). Unglazed

Instruments terracotta with decorations in red and black. Two finger-

Diameter, 2>< inches.

3380 WHISTLE. Grotesque bird or animal form resting on

two feet, the wings or arms extended and the head turned.

Reddish brown pottery slightly glazed. Red and black

markings. Two finger-holes.

Length, 3X inches.
Similar to No. 109,712, U. S. Nat. Museum Coll. from
Chiriqui.

cf. Wilson, Smith Inst. An. Rept., 1896, p. 635. Washing-
ton, 1898.

3544 DOUBLE WHISTLE. Bird form in slightly glazed

terracotta, marked in black. Two birds are placed side by
side, the air chambers connected between the heads. Two
notes. Similar to No. 133,462 U. S. Nat. Museum Coll.
from Chiriqui. cf. Wilson. Smith Inst. An. Rept., 1896,
p. 636. Washington, 1898.
Length, 1 K inches.

3386 WHISTLE. A variation in form of Nos. 3380 and 645.

Imperfect. Two finger-holes.

Length, 2>^ inches.
Similar in form to No. 109,708, U. S. Nat. Museum Coll.
cf. Wilson. Smith Inst. An. Rept., 1896, p. 631. Wash-
ington, 1898.

2548 DOUBLE WHISTLE. Grotesque standing figure

with open mouth showing teeth. Plain terracotta, unglazed.
One hole in each.
Length, 3X inches.

3557 WHISTLE. Miniature figure in gray pottery, similar

to preceding.
Length, 1 ^ inches.

3543 WHISTLE. A grotesque, standing figure rudely mod-

eled; the head, which is thrown back, has a large nose and
slits for the eyes and mouth. The hands rest against the
front of the figure. Dark gray pottery, unglazed. Three
finger-holes. Imperfect.
Length, 4 inches.

!3646

13642;

'3609

I'OTTERY WHISTLES. COSTA RICA
I'P. 2 1 5-218

CENTRAL AMERICA. COSTA RICA 217

3483 WHISTLE. Animal form (dog?) in light brown pot- cias'"
tery, slightly glazed, with red and black markings. Two instrumenta
finger-holes. ^^tues^
Length, 6K inches.

3484 WHISTLE. Similar to No. 3483. Two finger-holes.
Length, 5 }i inches.

3485 WHISTLE. Similar to Nos. 3483-3484, but in the
form of a cat.

Length, 4X inches.
Similar to No. 109,657 U. S. Nat. Museum Coll. cf.
Wilson. Smith Inst. An. Rept., 1896, p. 638. Wash. 1898.

3542 WHISTLE. Turtle form, in light brown pottery with

red and brown markings. A circular opening in the top of
the back. Imperfect.
Length, 2% inches.

3545 WHISTLE. Animalforminpottery similar to No. 3542.

Length, 2K inches.

2377 WHISTLE. Animal form, suggesting a squirrel, in

terracotta, slightly glazed, with dark brown markings.
One finger-hole.
Length, 2>^ inches.

3388 WHISTLE. Bird form with folded wings. Light

brown pottery with red and brown markings. Two finger-
holes.
Length, 2yi inches.

3387 WHISTLE. Bird form, similar to No. 3388, but with

spread wings. Two finger-holes. Imperfect.
Length, i ^ inches.

3519 WHISTLE. Cylindrical vase form finished at the top

with a recumbent bird or animal form. Light brown pottery
with red and brown markings. Two finger-holes.
Length, 2^ inches.

2886 WHISTLE. Bird form, with two heads in dark brown

pottery, slightly glazed. Two finger-holes.
Length, 2 inches.

2l8 MUSICAL INSTRUMENTS. AMERICA

Class II 3604 WHISTLE. Bird form in brown pottery, slightly

Instruments glazcd. Two finger-holcs in each wing. Imperfect.

whiitres"^ Length, 2 inches.

3605 WHISTLE. Bird form in unglazed brownish gray pot-
tery. Two rows of incised dots around the neck. Four
fmger-holes.

Length, 3 inches.

3606 WHISTLE. Globular form in brownish gray pottery,
unglazed. A grotesque face protruding from one side.
Three fmger-holes, but no mouthpiece.

Length, 1 >^ inches.

3607 WHISTLE. Similar to No. 3606.

Length, i yi inches.

3554 WHISTLE. Bird form in slightly glazed brown pot-

tery. Four finger-holes.
Length, 33^ inches.

3608 WHISTLE. Grotesque animal form in reddish brown
pottery, unglazed. Four fmger-holes.

Length, 4X inches.

3609 WHISTLE. Bird form with two heads. Reddish
brown pottery slightly glazed. Two finger-holes.
Length, 2 inches.

645 WHISTLE. Bird form, originally resting on two feet,

one missing. Light brown pottery, slightly glazed. Two
finger-holes.
Length, 33^ inches.

2376 WHISTLE. A grotesque figure, with a broad flat

head. Brown pottery. Three holes in front, one on either
side.
Length, 4 inches.

2787 WHISTLE. In the form of a grotesque figure, showing

the teeth. Dark brown pottery. Surface decorated with
incised lines and circles. Badly broken. San Jose.
Length, 4 inches.

CENTRAL AMERICA, COSTA RICA 219

678 WHISTLE. Pottery tubing bent in triangular form,

with a bulb at two corners, a head at the third. One of the
three sides in the form of a grotesque animal.
Length of sides, 3^^ inches.

2383 WHISTLE. Pottery in the form of a bird, painted
with dark lines.

Length, i ^ inches.

2547 WHISTLE. Turtle form, in brown pottery, painted

with brown and pink lines, crossed lines on the back. Four
holes. San Jose.
Length, 3 inches.

2381 WHISTLE. Reddish brown pottery in the form of a
seated figure.

Length, 2 inches.

2382 WHISTLE. Gray pottery, egg-shaped with whistle
head; the surface decorated with incised parallel lines and
bands.

Length, 2% inches.

3 1 69 WHISTLE. Brown pottery in the form of a grotesque

bird. Four finger-holes.
Length, i ^ inches.

2384 WHISTLE. Dark gray pottery in the form of a bird's
head. Four finger-holes.

Length, i yi inches.

CLASS III VIBRATING MEMBRANES

2386 DRUM. Made from a log of wood, hollowed out, the Division i

larger end covered with snake-skin. Talamanca Indians. lection a
Height, 2 feet i inch. Diameter of large end, 7 inches; Drums
small end, 4 inches, cf. Africa. Nos. 1380, 536. Java, Nos. head'
724, 725.

The Huichol Indians employ a similar drum m the cere-
monies attendant upon the placing of the iawiakami
head plume, cf. Boas. Anniversary Volume, Anthrop.
Papers written in honor of Franz Boas, pi. xxvii, p. 316,
1906.

220 MUSICAL INSTRUMENTS. AMERICA

CLASS IV SONOROUS SUBSTANCES

strack"^ 677 RATTLE. Egg-shaped gourd attached to a bone

handle. The smaller end of the gourd is pierced and the
handle fastened with lacings of cord. From Talamanca.
Length, 7>^ inches.

2847* MARIMBA. A wooden frame supporting twenty-five
bars of wood, beneath each of which is suspended a box-like
resonator.

Length, 5 feet 3 inches. Height of stand, 3 feet 6 inches.
The marimba is used principally along the Pacific coast
in the vicinity of the Gulf of Nicoya.

*This instrument has been placed with Class IV in the kindred instruments
of the Historical Groups.

WEST INDIES

CUBA

CLASS III VIBRATING MEMBRANES'

632 DRUM. Tahona. A cask-shaped shell of wood with Division i

two heads of skin held in place by cloth-covered hoops laced section a

together with cords. ?^"^?h Two

Height, 1 foot 2 inches. Diameter, i foot 2 inches. Heads"

CLASS IV SONOROUS SUBSTANCES

585 RATTLE. Cacha. A cone-shaped basket of castilla Division i

cane tapering to a small neck that is wound with cloth and ^^^^^^
bent in a hoop. On the top a circular disc of wood. The
sound is produced by hard seeds the size of marbles.
Length i foot 4 inches. Diameter of head, 5 inches.

Used as an accompaniment to the guitar. A favorite

instrument among the Creoles.

673 RATTLE. Guiro. A slender gourd that tapers to a

curved neck, the surface incised with parallel lines. One
sound-hole.

Length, i foot 6 inches.
This is a form of the notched stick rattle and is used
to mark time in native dances. Various types found in
America are illustrated on the plate facing p. 184. cf.
also No. 2272, Japan; No. 2333, China.

1437 RATTLE. Guiro. Similar to No. 673. Two sound-

holes.
Length, i foot 3 inches.

1. Classes 1 and H not represented.

2. Section A i not represented.

221

222 MUSICAL INSTRUMENTS, AMERICA

Class IV 684 RATTLE. Guiro. A tin cylinder with corrugated sur-

iubstances i2LCQ, the ends pointed and a handle on one side.

Division 1 Length, 1 foot 6 inches.

Struck °

660 RATTLE. A cylindrical drum of tin with a straight

handle of the same material.
Length, 1 1 inches. Diameter of cylinder, 3 inches.

659 RATTLE. " Judas scare. " Tin. A straight

handle with a ratchet at one end which is struck by a mov-
able tongue in a revolving metal frame. On the top a
miniature sprinkling pot.
Height, 7 inches.

Used in religious festivals.

594 PAIR OF RATTLES. Globes of earthenware painted

white and indigo, with straight wooden handles.
Diameter of heads, 3>^ inches. Length of handles, 8
inches.

593 DRUM (?). A globular earthenware vessel, similar to

the rattles No. 594, with a bulbous neck and a circular hole
I % inches in diameter on one side.
Height, \2l4 inches. Diameter, 8>^ inches.
This instrument is evidently used in conjunction with
the rattles No. 594, being of the same material and deco-
ration. It may be a form of hand drum in which the
sound is produced by beating the palm of the hand against
the opening on the side; or again it might be used as a
pottery trumpet similar to No. 3621, p. 246, or No. 503,
Japan.

PORTO RICO

CLASS IV SONOROUS SUBSTANCES'

Division I 674 RATTLE. Guiro. A long serpentine gourd with in-

^^^^'^'^ cised lines and pierced with fifteen small holes of various

sizes. Presented by Raphael T. Betancourt, Porto Rico.
Length, 5 feet 7 inches. Diameter, 3 inches.

"The West Indian islanders accompanied their rhythmic
areitos, or dances, with instruments, among which may

1. Classes I, II, III not represented.

WEST INDIES, PORTO RICO 223

be mentioned bells, tinklers, rattles, and drums. They
had likewise a hollow \;alabash with notches cut on the
exterior, which, when scraped with a stick or stone,
emitted a rasping, rhythmic sound for the step of the
dance. A similar instrument is still used by street
musicians in Porto Rico and other West Indian islands.
The aboriginal drum was made of a hollow log of wood, the
form of which is shown in an illustration given in Oviedo.
It is not unlikely that the drum employed in the African
dances called bombas when held in the West Indies may
be directly derived from this primitive drum of the abor-
igines, although it may have been imported from Africa."^
The native name of the guiro in Porto Rico is wis guirra,
and the sound is produced by rubbing the surface of the
gourd with three wires projecting from a wooden handle
like the tines of a fork.

2758 RATTLE. Guiro. Similar to No. 674. One sound-

hole.
Length, i foot 3 inches. Diameter, 5 inches.

2788 RATTLE. Egg-shaped gourd pierced by a straight
wooden handle.

Height, \o^A inches. Diameter of gourd, 4 inches.

2790 RATTLE. Similar to No. 2788.

Height, io>^ inches. Diameter of gourd, 3 inches.

2791 RATTLE. Similar to No. 2788, but egg-shaped. Deco-
rated with bands of incised lines.

Height, 1 1 inches. Diameter of gourd, 4 inches.

2693 RATTLE. Similar to No. 2788.

Height, ?>yi inches. Diameter of gourd, ^l4 inches.

2789 RATTLE. Similar to No. 2788. The decoration geo-
metric ornaments in circles.

Height, 8 inches. Diameter of gourd, 4]4 inches.

1853 MARIMBA. Compass, 2 octaves and 2 notes. A

frame of red wood supporting 27 slabs of wood one-half inch

I. Fewkes, J. Walter. Bur. of Ethnol. 25th An. Rept. 1903-1904, p. 210.
Wash. 1907.

224 MUSICAL INSTRUMENTS, AMERICA

in width. Beneath each slab a tin cylinder with pointed
end, painted yellow and lined with green.
Length, 4 feet 8 inches. Width, i foot 6 inches. Height,
2 feet 6 inches. Longest cylinder, 2 feet 3 inches. Shortest
cylinder, 2j^ inches.

SOUTH AMERICA

COLOMBIA

CLASS II WIND INSTRUMENTS*

2860* VERTICAL FLUTE. Krena. A tube of cane with g^gf^g^
mottled brown surface. Four finger-holes in front and one
at the back. An additional hole on the side near the lower
edge.
Length, i foot 5 }<i inches.

717 REED PIPE. Pito. A tube of reed with four finger- BeShfg Reeds

holes burnt in thewood. At the upperend avibrating tongue geftin^'^Reeds
cut in one side of the tube. Cartagena.
Length, io>^ inches.
Similar to the form of reed found in the lummarah and
arghoul of Egypt, Nos. 2167, 2928, the meijiwi^ of Arabia,
No. 445, and the poongi or tubri of India, No. 286.
The Suhin, Toothli, and Western Lenguas of Paraguay
have an instrument made from a cow's horn with a reed
mouthpiece similar to this.=

1457 REED PIPE. Chirimia. A conical tube of hard wood I'eati'ng'Reedi

with six finger-holes and four additional holes for altering
the pitch. Chibchas Indians.
Length, 1 1 yi inches.

Mahillon. Catalogue vol. 2, p. 147.

The Chibchas or Muyscas previous to the conquest

occupied the highlands between the headwaters of the

•This instrument is placed with Class II of the Kindred Instruments of the
Historical groups.

1. Classes 1 and III not represented.

2. Hawtrey. Lengua Indians of the Paraguayan Chaco. Anthrop. Inst,
of Gt. Britain and Ireland. Journal, vol. 30, New Ser. 3, p. 293. 1900.

225

226 MUSICAL INSTRUMENTS, AMERICA

Magdalena River and the Sierra Nevada de Merida. They
later adopted the Spanish language and customs.

CLASS IV SONOROUS SUBSTANCES

struck" ^ 7 ' 3 RATTLE. A cylinder of wood closed at both ends, In

the interior of which a number of wooden pins are crossed at
right angles.
Length, gK inches. Diameter, 2 inches.

Used by the Indians to accompany their songs and mark

the rhythm of the dance.

VENEZUELA

CLASS I STRINGED INSTRUMENTS

Sectwn^A I 597 PANDURINA. Body made of the half section of a

Strings gourd with neck and sound-board of wood. Fourteen metal

frets in the finger-board. Ten gut strings arranged in pairs.

Caracas.

Length, i foot g}^ inches. Diameter, gj4 inches.

1352 GUITAR. Made of unvarnished wood. Four gut

strings. Five wooden frets on the finger-board. Caracas.
Length, i foot 10 inches. Diameter, 5 >^ inches.

CLASS II WIND INSTRUMENTS

Section A ^'ySo FLUTE. A tube of bamboo, the upper end closed by

a node from which projects a prong, the dried stem of a
leaf. On one side a square breath-hole. On the opposite
side just above the lower node the tube is cut away. The
note is varied by the insertion of the finger in the opening.
Anawahtan Indians, Orinoco River.
Length, 1 1 yi inches. Diameter, i ^ inches.

cf. Mahillon. Catalogue, vol. i, p. 175, No. 132; vol.

3, p. 313. No. 1834.

CLASS IV SONOROUS SUBSTANCES^

Division I 2053 PAIR OF RATTLES. Globular gourds, the surface

carved with a geometric floral pattern in relief. Small discs
of leather where the handles pierce the gourds.
Length, 8}4 inches. Diameter of gourds, 3>^ inches.
I. Class III not represented.

STRlNCtD INSTRUMENTS

YIC.ATAN, MEXICO, AND SOUTH AMI KICA

I'H. 194, 226, 240, 24^. 244

SOUTH AMERICA, BRITISH GUIANA 227

BRITISH GUIANA

CLASS 11 WIND INSTRUMENTS'

3592 BONE WHISTLE. Made from the femur of a small g^^^s^

deer called wirihiscri. No fmger-holes. The tube is open
at both ends. Probably Wiapsiana Indians, located about
the Rupununi and Essequibo Rivers.
Length, 63^ inches.
Im Thurn describes the flutes and other wind instru-
ments of the natives of British Guiana as follows: " Flutes
are made simply by piercing the necessary holes in the
bone of the jaguar or deer, or, though such are no longer
common, a man. Intricate patterns are sometimes en-
graved on these flutes, and are colored black and red, to
contrast with the pure white of the bone; and very long
tassels of white cotton are fixed at each end of the instru-
ment." Speaking of other wind instruments used by
these natives the author says: "Wooden flutes, always
used in pairs, are also made in somewhat the same way,
of short pieces of bamboo-stem. Panpipes are made of
hollow reeds. Rude wooden trumpets are said to have
been made; and I once saw the fragments of one in an
Indian house. "^

3363 BONE FLUTE. Wat-sa-pua. Made from the femur

of some small animal. A notch in the upper edge. Three
finger-holes. From Demerara.
Length, 6 inches.
The name wat-sa-pua is furnished by Wilson^J who states
that bones of the American panther or jaguar are used
in making these flutes. There is a similar specimen of
Carib origin in the U. S. Nat. Museum Coll. (No.
4346), and another in the Academy of Natural Sciences,
Philadelphia.

709 A PAIR OF BONE WHISTLES. The surface polished

and discolored with age. No finger-holes. Open at both
ends.
Length, 7X inches.

1. Class I and Section B, Class 11, not represented.

2. Among the Indians of Guiana, p. 309.

3. Prehistoric Art. Smith. Inst. An. Rept., 1896, p. 650. Wash. 1898.

228 MUSICAL INSTRUMENTS, AMERICA

Class II
Wind

Instruments
Section A
Whistles

716 BONE FLUTE. fFat-sa-pua. Made from the femu

of some small animal. A notch in the upper edge. Four
finger-holes.
Length, 8 inches.

685 BONE FLUTE. Wat-sa-pua. Made from the femur

of some small animal. Three finger-holes. From Demerara.
Length, 8 inches.

3591 BONE FLUTE. IVat-sa-pua. Made from the femur

of a puma. Three finger-holes. A cord attached with
tassels of white deer hair. Probably Wapisiana, located
about the Rupununi and Essequibo Rivers.
Length, gyi inches.

cf. U. S. Nat. Museum Coll. No. 8700; also im Thurn.

Among the Indians of Guiana, p. 309, fig. 29.

3593 FLUTE. A tube of bamboo peculiar to the region of

the Owati Wow (creek). The tube is closed at the lower end,
where it is pierced with two holes. At the upper end are
two more holes. Wapisiana Indians, located about the
Rupununi and Essequibo Rivers.
Length, 2 feet 2 inches.

690 PAIR OF WHISTLES. Each composed of two small

fruit or nut shells bound together with cord and pierced at
opposite ends with a single hole. From Demerara.
Length of shells, 2>^ inches. Diameter, i inch.
There is a similar form of whistles found in Paraguay,
where the shells are fastened to an eight-strand cord;
they are called cacique (chief) whistles. When twirled
rapidly on the end of a cord, a whistling sound is pro-
duced suggesting the pigeon whistles of China.

Section C»
Cup-mouth-
pieces

31 17 TRUMPET. A large side-blast trumpet formed of

two sections of wood split lengthwise and hollowed out, then
bound together with cord. The tube expands into a small
bell at the end farthest from the mouth end, where it is
covered with closely wound cord. The opposite end above
the breath-hole, which is cut in the side, is finished with a
border of fur.
Length, 4 feet 3>^ inches.
There is a similar specimen with a differently shaped bell

I. Section B not represented.

SOUTH AMERICA, BRITISH GUIANA 229

in the Pitt Rivers Collection, University Museum, Ox-
ford, England, No. 130. J. 43.

CLASS III VIBRATING MEMBRANES
3590 DRUM. Cylindrical shell of wood with heads of Division I

• . Struck

deerskin held in place by wooden hoops laced together with
cords. Across one head a fibre cord is stretched to which is
attached a splinter of cocerite palm which rattles when
the drum is struck. Wapisiana Indians, located about
the Rupununi and Essequibo Rivers.
Height, 12 inches. Diameter, 6 inches.

Im Thurn' gives a detailed description of a similar drum:
"A suitable tree, generally acta palm (Mauritia flexuosa)
is felled, and a piece of the trunk, of the right height for a
drum, being cut off, this is hollowed into a cylinder with
a very thin wall. Two pieces of jaguar, deer, or monkey
skin, for the top and bottom of the drum, have been
previously stretched in a wooden frame and thoroughly
dried in the sun. One of these is now fixed onto either
end of the cylinder. A very fine double thread, in the
middle of which is a slip knot, is then stretched diagon-
ally across the skin at one end of the drum, and before
this is finally drawn tight an excessively slender splinter
of wood is passed through the slip knot, so that it rests
on the skin at right angles to the line of the thread. The
result is that the two ends of the drum when beaten pro-
duce different sounds; for the one on which is the string
and splinter returns a metallic sound caused by the vibra-
tions of the splinter against the skin. The skin of the
baboon, or howling monkey, is preferred by the drum
maker because it is supposed to possess the power of
emitting the rolling, roaring sounds for which this
monkey is celebrated."

699 DRUM. Cylindrical shell of wood with heads of skin,
similar to No. 3590. From Demerara.

Height, 8 inches. Diameter, 12 inches.

700 DRUM. Cylindrical shell of wood with heads of skin
held in place by thick hoops covered with cloth and laced
together with cord of fibre.

Height, 6 inches. Diameter, 7 inches.
I. Among the Indians of Guiana, p. 308 ff.

230 MUSICAL INSTRUMENTS, AMERICA
Class III 70 1 DRUM. Cylindrical shell of wood with heads of skin,

Membranes similar tO No. 359O.

Division I Height, 9>^ inchcs. Diameter, g}4 inches.

702 DRUM. The shell cut from a log of wood larger at

the head and tapering to the base. A single head of skin
held in place by a wooden hoop fastened with lacings of
cord. The tension is regulated by large wooden pegs inserted
under the cord.

Height, 2 feet. Diameter of head, 9 inches.
This drum resembles those found in Africa, the form
having doubtless been introduced by negro slaves,
cf. Africa Nos. 536, 537, 538.

CLASS IV SONOROUS SUBSTANCES

Division I JZ^ RATTLE. A large bamboo tube with a rattle of nut-

^^'^^^ shells or fruit pits attached to a fringe of cotton cord wound

about the center of the tube. From Demerara.
Length, 3 feet 3 inches. Diameter, 2 inches.
This is doubtless one of the instruments mentioned by
Im Thurn as used by the natives of British Guiana in
their numerous paiwari (native liquor) feasts. After de-
scribing the customs of the natives he states, "Some whirl
sticks to which are tied bunches of certain seeds {the-
vetia nereijolia) which, when struck against the ground,
clash and rattle; some beat time with hollow bamboos
covered at one end with skin, like a drum, and ornamented
with bunches of these same seeds; some have small rattles
ornamented with bright-colored feathers; some have
drums; some have much ornamented flutes made of
animal bones; some have flutes made of hollow reeds;
some have panpipes, and some have sticks topped with
a rude wooden and painted image of some bird, fish, or
animal."^ The same author describes another instru-
ment akin to the drum, which is made by stretching
a piece of baboon skin over one end of a four-feet-
long piece of hollow bamboo, of a particular and rare
species. This instrument when repeatedly struck against
the ground produces a drum-like sound.* Brett^ also

1. Among the Indians of Guiana, p. 323.

2. Idem, p. 309.

3. The Indian Tribes of Guiana, p. 157.

SOUTH AMERICA, BRITISH GUIANA 23 1

mentions a similar instrument used by the Arawaks of
Wakapoa Lake in their Owiarri Dance in which each
performer carried a rod about twelve feet in length with
gourd rattle attached to the top, striking the lower end
of the rod upon the earth to mark the rhythm of the
dance. The women dancers wore ornaments of pendant
beetle wings similar to No. 714.

Mr. Hawley of the National Museum, Washington, has
recorded a number of instruments of this type in which
the column of air is set in vibration by concussion, the
note produced varying with the length of the tube.
Among the Indians of San Gabriel, Brazil, a bamboo
stamping stick of this kind is cMed ambnuba; it is made
from a section of bamboo with one end closed by a joint.
The tube is held vertically and the closed end struck on
the ground; sometimes the open end is struck with a
palm leaf beater like a fan. In Hawaii a similar instru-
ment is called pa-ipu, paha hula or hokea. One in the
National Museum collection (No. 45,619) from Korea
bears the name juk-jang-go, while in the Malay peninsu-
la the Sakai have a like form called kowelniss, tuang-
tuang, or tun-tong, which the Semang, another tribe, call
pen-ahh. These bamboo stampers are also mentioned
by Ratzel' who quotes Cook's description of those found
among the Tonga.

3362 RATTLE. Made of nutshells strung on a braided

cotton cord and ornamented with occasional strings of red
beads and smaller shells. Demerara.
Shells, I }4 inches.

697 RATTLE. Similar to No. 3362. Made of nutshells or
fruit pits. Demerara.

Shells, I K' inches.

698 RATTLE. Similar to 3362. Made of nutshells or
seeds. Worn on the neck. Demerara.

Shells, K inch.

714 RATTLE. A circle of woven cord strung with irides-

cent shells of beetles' wings.^ Demerara.

1. History, vol. i, p. 194.

2. The beetle probably is the Buprestis which has purple and green shot
wings, cf. Im Thurn. Among the Indians of Guiana, p. 146.

232 MUSICAL INSTRUMENTS, AMERICA

Class IV
Sonorous
Substances
Division I
Struck

Diameter of circle, 4 inches, Shells, 2 inches.

The Jivaros Tribe of the Upper Amazon, Peru, have a

similar rattle,
cf. also U. S. Nat. Museum Coll. No. 8730.
A rattle similar to this is worn from the back head-dresses
among the Indian chiefs of British Guiana.
Brett writing in 1868 describes the Owiarri Dance of the
Arawak Indians at Wakapoa as follows: "These per-
formers carried rods about 12 feet in length, on the top of
which were fixed small gourds with stones in them, and
decorated with streamers of silk grass, painted red. They
ranged themselves in parallel rows as before, facing each
other; and danced backwards and forwards, striking the
lower ends of their rods upon the earth, and keeping time
with the clash. Some young women went up to these
dancers from time to time, and taking them by the arm
danced with them; then at a signal given by their part-
ners, who shook the coverings of beetles' wings and other
ornaments with which their legs were adorned, they ran
off to their companions like frightened deer."'
The Indians of the Northwest Coast have a similar rattle
in which pendant puffmbeaks or dew-claws take the place
of the beetles' wings. See No. 2732. p. 100.

1498 RATTLE. Shak Shak. A cylinder of basketwork

woven in a fret pattern. The end of the straw braided
and looped back form a straight handle. Demerara.
Length, 8>^ inches. Diameter of top, i yi inches.
Similar to No. 54,186, U. S. Nat. Museum Coll. A sim-
ilar specimen in the Haldeman Collection, Museum of
Academy of Natural Sciences, Philadelphia, is labeled as
from the Carib Indians, cf. Wilson, Smith Inst. An.
Rept., 1896, p. 650. Wash. 1898.

Dr. Otto Stoll^ illustrates a similar rattle of woven cane
from Guatemala.

3361 RATTLE. Shak Shak. An egg-shaped gourd pierced

with a wooden handle, the top ornamented with parrot
feathers. Asmoach Indians. Demerara.
Length, i foot 6 inches. Diameter of gourd, 5 ^ inches.

1. The Indian Tribes of Guiana.'p. 157.

2. Die Ethnologic der Indianerstamme von Guatemala, vol. i, suppl. i,
pl. 1.

SOUTH AMERICA, BRITISH GUIANA 233

3594 RATTLE. Shak Shah. A globular yellow gourd

pierced by a wooden rod which extends four inches beyond
the top of the gourd, where it is covered with yellow and
black feathers. The round handle where it enters the gourd
is rectangular and the four edges for a distance of three
inches are closely notched.
Length, 17 inches. Diameter of gourd, 3 inches.

This form of rattle is peculiar to the Atoradis Indians.

cf. U. S. Nat. Museum Coll. Nos, 5374 and 4370 from

Demerara.

I 505 RATTLE. Small pear-shaped gourd of bright orange

color.
Length, 3K inches. Diameter, 2}i inches.

PERU

Prior to the arrival of the Spaniards the natives had a savage
fondness for instruments of percussion, especially the chhilchiles
and chanares, certain timbrels and bells, and the huancar or drum.
The popular tinya, a small guitar, is without doubt of European
origin just as certain other primitive forms found in South America
are importations from Africa. The wind instruments were the
" cuyvi or whistles of five sounds; the pincollo or flute; the
huaylla or the flageolet; the chayna, a certain coarse flute."

Enock' in writing of the Peruvian Indians of the Andes, de-
scribes the Cholo-Quechua Indians as of a "poetical and melancholy
habit of thought, although often happy and simple as children."
Among the ancient dwellings of the Quechua and Inca termed by
the natives of today as "Gentiles," is a site known as "the hill of
the flute." This was "so called because the tribe inhabiting it
had installed large flutes in the high apertures of the rock, which,
due to the draught blowing up from some cave below, gave forth a
continuous mournful sound," which was heard far and wide.

The various forms of panpipes were called huayra-puhura. A
plaster cast of one of these instruments- found in a Peruvian grave
by the French General Paroissien is shown in the group of prehis-
toric instruments (No. 2119).^ A number of aboriginal names are

1. The Andes and the Amazon. Life and Travels in Peru, p. 147 fT. 1907.

2. The ownership of the original of this syrinx is attributed by Engel to
ihe Rev. Canon J. H. Rawdon. Royal Society of Edinburgh. Transac-
tions, vol. 20, pt. I, 1850. Quoted by Engel. Musical Instruments in
the Kensington Museum, p. 64, 1908.

234 MUSICAL INSTRUMENTS, AMERICA

furnished by Cobo, who in describing the culture of the natives of
Peru and Bolivia, writes in 1683 of their fetes as follows:^

"Tenian para ello muchos instrumentos musicos, los cuales
nunca tocaban sino en los bailes y borracheras, y todos hacian el son
poco suave, y menos artificioso pues cualquiera que se pone a
tocarlos, a la primera lecion queda maestro. El instrumento mas
general es el atambor, que ellos Uaman huancar; hacianlos, grandes,
y pequenos, de un palo hueco tapado por ambos cabos con cuero de
Llama, como pergamino delgado y seco. Los mayores son como
nuestras cajas de guerra, pero mas largos y no tan bien hechos; los
menores como una cajeta pequena de conserva, y los medianos
como nuestros tamborinos.

"Tocanlo con un solo palo, el cual a veces por gala esta cubi-
erto de hilo de lana de diferentes colores; y tambien suelen pintar y
engalanar los atambores. Tocanlo asi hombres como mujeres;
y hay bailes al son de uno solo, y otros en que cada uno lleva su
atambor pequeno, bailando y tocando juntamente. Tambien usan
cierta suerte de adufes, nombrados huancartinya; pifano, Uamado
p incollo . A ntar a es otro genero de flauta corta y ancha.
Quenaqu ena es una cana sola como flauta, para cantar en-
dechas. Qu e p a es una suerte de trompetilla que hacen de un
calabazo largo. Usan tambien en sus bailes tocar un instrumento
compuesto de siete flautillas, poco mas 6 menos, puestas como
canones de organos, juntas y desiguales, que la mayor sera larga

I. The passage translated reads as follows: They had for this purpose
many musical instruments which they never played except at balls and
feasts, and all gave forth sounds that were neither soft nor skillful, for
anyone taking them up can at the first trial become a master. The
most common instrument is the drum which they call huancar; they
made them both large and small of wood hollowed out, covered at both
ends with skin of the Llama, like dry and thin parchment. The largest
are like our own war drums but longer and not so well made. The smaller
are somewhat like a preserve jar; the medium ones like our tambourines.
They are played with a single stick which sometimes for show is covered
with worsted of different colors, and sometimes they paint and decorate the
drums. Both men and women play them, and sometimes only one is used
at a dance, while with other dances each person will carry his own small
drum dancing and playing at the same time. They also use a sort of tam-
bourine called huancartinya; and fifes called pincollo. Antara is another
kind of flute, short and broad. Quena is a single pipe like a flute for sing-
ing dirges. Quepa is a sort of little trumpet that they make from a long
calabash. They use also at their dances an instrument made up of seven
little flutes, more or less, put together like the pipes of an organ and of
different sizes. The largest is about the length of a hand, the others yet
smaller in their order. This instrument is called ayarichic and it is played
by putting it to the lower lip and blowing into the said flutes, in this way
they make a deafening and anything but sweet sound. They also play
on shells and other instruments of less importance.

SOUTH AMERICA. PERU 235

un palmo y las demas van descreciendo por su orden: llaman a
este instrumento ayarichic, y tocanio puesto sobre el labio
bajo y soplando en las dichas flautillas, con que haccn un sordo y
poco dulce sonido. Tocan asimismo caracoles y otros instrumentos
de menos cuenta."'

The names furnished by Bandelier^ for panpipes of the Aymara
of Titicaca Island, Peru, show Spanish influence. He says: "The
pan flute in its tiniest form is kena-kena — and in its tallest, nearly the
size of a full-grown man, ^ampona." He also states that these
people have a large variety of drums and that a "clarinet-like instru-
ment or fife" is the constant companion of nearly every Indian
while traveling. Other native names furnished by the same author
are: ^acapa, rattles of beans; churu, rattles of snails; chaurara,
rattles of copper and silver.

CLASS II WIND INSTRUMENTS'

7 1 5 BONE FLUTE. Made from the femur of a deer. The

surface polished and discolored. A notch in the upper edge y^hilties'*^
below which are four finger-holes.
Length, 6j< inches.

Similar to No. 3592 (p. 227), from British Guiana, a

modern example.

131 5 BONE FLUTE. Similar to No. 715.

Length, 6>^ inches.

3432* WHISTLE. Animal form. Light brown pottery
spotted with yellow. One hole in the center of the back.
Coast district. Presented by the American Museum of
Natural History, New York.
Length, 3>^ inches.

3433* WHISTLE. Vase form in reddish brown pottery, a
small handle on one side, a hole in the top. From Cuzco.
Presented by the American Museum of Natural History,
New York.
Diameter, ij^ inches.

343'* WHISTLE. Bird form in brown pottery. From the

1. Historia del Nuevo Mundo, vol. 4, p. 228 ff. 1893.

2. The Islands of Titicaca and Koati, p. 112. Idem, p. 157, note 131.

3. Class I and Section B, Class II not represented.

*These instruments have been placed with the Prehistoric Group.

236 MUSICAL INSTRUMENTS, AMERICA

coast in the vicin
Museum of Natu
Section A Length, 3 inches.

Whistles ° ' ^

Class II coast in the vicinity of Lima. Presented by the American

Instruments Muscum of Natural History, New York.

3430* WHISTLE. A small tube of dark pottery, flattened at
one end and pierced with a single hole. From the coast in
the vicinity of Lima.
Length, 2}i inches.

3399* WHISTLE FLUTE. Made from the tibia of a llama.
Four holes in front, one at the back.
Length, ^y& inches.

3424* WHISTLE FLUTE. Made from the ulna of a deer.
Six holes in front in groups of two; one hole }4-inch from
the top on one side, two holes on the opposite side, and two
holes at the back i }^ inches from the bottom. From the
vicinity of Lima. Presented by the American Museum of
Natural History.
Length, 4)4 inches.

3400* WHISTLE FLUTE. Similar to No. 3424.
Length, 4^4 inches.

3425* VERTICAL FLUTE. A tube of cane or bamboo.
Seven holes in front. Cuzco. Presented by the American
Museum of Natural History.
Length, g}4 inches.

21 19* SYRINX. Huayra-puhura. Eight pipes of greenish
stone. Four of these pipes have lateral finger-holes, which
when closed lower the pitch a semitone. These holes are
on the second, fourth, sixth, and seventh pipes. Reproduc-
tion in plaster from a cast in the Berlin Museum. Original
found in a Peruvian tomb, South America.' Procured
through the courtesy of the American Museum of Natural
History, New York.
Height, 5^8 inches. Width, 6}i inches.
The Peruvian Indians (Cholo-Quechua) of the Andes have
panpipes and flutes. The flute is sometimes played
inside a large earthen pot or olla.^
*These instruments have been placed with the Prehistoric Group.

1. See note 2, page 265.

2. Enock. Life and Travels in Peru, p. 148.

POTTERY TRUMPETS. PERU
P. 237

SOUTH AMERICA, PERU 237

1286 TRUMPET. Cqueppa. A conical tube in terracotta. Ciass 11
The tube has one turn near the mouthpiece and terminates instruments
in a bell modeled in the form of a dragon head. Truxiilo. ly'^p'"" ^'
Length, 1 1 inches. Diameter of head, 3 X inches. Mouthpieces

cf. Squier. Peru, p. 182. Mortimer^ mentions the use
of the conch-shell trumpet by the Peruvians, the native
name for which is bosina. Sir Clements Markham^ also
refers to the use of the sea-shell trumpets in the Hua
rachicu festival of the Inca at which ceremonial youths
received knighthood. The same author^ mentions the
native name of flutes as pincuUus.

1287 TRUMPET. Cqueppa. Similar to No. 1286.
Length, 1 1 inches. Diameter of head, 2 inches.

3665 TRUMPET. Cqueppa. Similar to No. 1286. Gift of

Wm. M. Grinnell, 1912.
Length, i foot 3 inches. Diameter of head, 2 inches.

1285* TRUMPET. Cqueppa. A conical tube of red clay
with one turn. From Truxiilo. Presented by the American
Museum of Natural History, New York.
Length, 8^ inches.

171 5 WHISTLING JAR. Light gray pottery, unglazed.

Similar to No. 1959. The rounded top with a band of
ornament, and a seated bird with a large beak. Gift of
Morris K. Jesup.
Height, 8>i inches. Width, 6 inches.

I 714 WHISTLING JAR. Reddish brown pottery, unglazed.

Similar to No. 171 5. On one side of the top a straight neck,
on the other, a bearded figure with a horned head-dress;
the two joined by a curved band. Gift of Morris K. Jesup.
Height, gyi inches. Diameter, 7 inches.

1959 WHISTLING JAR. Two bottles of brown pottery

joined at the base and having a connecting band of open-
work design between the straight necks. On the top of one

1. Section B not represented.

2. Peru, p. 438.

3. The Incas of Peru, p. 129. 1910.

4. A History of Peru, p. 457. 1892.

*This instrument has been placed with the Prehistoric Group.

238 MUSICAL INSTRUMENTS, AMERICA

Class II
Wind

Instruments
Section C
Cup mouth-
pieces

bottle a grotesque animal form. The surface ornamented
with dots and grotesque birds in outline. From Guada-
lupe, Dept. La Libertad, Province Pacasmayo.
Height, 4>^ inches. Diameter of each bottle, 3>^ inches.

Similar in form to No. 107,552, U. S. Nat. Museum Coll.

cf. Smith. Inst. An. Rept., 1896, p. 660, Wash. 1898.

1 71 7 WHISTLING JAR. Brown pottery in the form of
two eggs joined at the center of one side. On the top of
the handle a bird with a large beak. Gift of Morris K.
Jesup.

Height, 5 inches. Width, 6)4 inches.

1 71 8 WHISTLING JAR. Light brown pottery in the form
of a bird. Gift of Morris K. Jesup.

Height, 6j!^ inches.
Similar to No. 88,263, U. S. Nat. Museum Coll.
cf. Smith. Inst. An. Rept., 1896, p. 655. Wash. 1898.

2 1 1 7 WHISTLING JAR. Light brown pottery in the form

of a seated figure playing a flute. From the Barlow Collection.
Height, II inches. Diameter, 4 >^ inches.

In the account of an excursion made to Moche, Squier'
illustrates and describes the great pyramid sometimes
called El Templo del Sol (The Temple of the Sun), from
which source this specimen was acquired. He also men-
tions a band of natives who saluted the travelers with a
drum and quina, an Indian flute. A similar jar is illus-
trated by the same author on p. 181.

1 71 6 WHISTLING JAR. Two receptacles of dark gray

pottery joined at the center. The one with the straight
neck ornamented with a figure wearing a plumed head-
dress modeled in relief on a background of dots. On the
top of one, two seated birds. Gift of Morris K. Jesup.
Height, ']l4 inches. Width, 8 inches.

1 71 3 WHISTLING JAR. Two globular jars of pottery

joined at the center with a connecting handle at the necks;
on one a bird's head. Surface ornamented with zigzag lines
and dots in a darker color. Gift of Morris K. Jesup.
Height, 6 inches. Width, 6}i inches.

I. Peru, p. 125 flF. cf. also Hamy. Galerie Americaine du Musee d' Eth-
nographic du Trocadero, pi. XLII, fig. 122. 1897.

SOUTH AMERICA, PERU 239

3423 WHISTLING JAR. Two bottles of dark gray pot-

tery, one ornamented with a panel of zigzag lines on a
background of dots, above which rises a head wearing a
horned head-dress. Chepen.
Height, 6 inches. Width of each bottle, 4^4 inches.

689 WHISTLING JAR. Gray pottery. A bulbous bottle

with a straight neck joined near the base to a similar vessel
in the form of a bird. At the top a handle. The surface
decorated with panels of raised lines and dots.
Height, 6]4 inches. Width, 7^-^ inches.

1958 WHISTLING JAR. Dark gray pottery. Four bulbs,

two with straight necks, joined by a connecting bar. On
one side a seated ape, the head missing. From Guadalupe,
Dept. La Libertad, Province Pacasmayo.
Height, 6 inches. Width, 6 inches.

1957* WHISTLING JAR. Pottery. A double vase of
painted ware, the flattened sides decorated with geometric
bands, a grotesque bird in the center of each, the two air-
chambers connected by a short tube.
Height, 6 inches. Width, 6X inches.

CLASS IV SONOROUS SUBSTANCES^

3434 CLAPPERS. A pair of spondylus shells. From Surco. ^^7J^|^" ^

Presented by the American Museum of Natural History,
New York.
Diameter, 4 inches.

2051-2052 BELLS. Fragments of bronze bells, quadrangu-
lar at base and tapering to the top. The surface corroded.
Diameters, 2^ inches x 2}4 inches; 3 inches x 2 inches.

3428* BELL. Copper. Bean-shaped body with an eyelet at
the top, a narrow opening around the lower edge. Surface
corroded. Island of Titicaca. Presented by the Museum
of Natural History, New York.
Length, i inch.

•This instrument has been placed with the Prehistoric Group.
I. Class III not represented.

240 MUSICAL INSTRUMENTS, AMERICA
Class IV 2050* BELL. Copper fragment. Surface corroded.

Sonorous r^- • , x • l

Substances Uimensions, 2 X 2>^ inches.

Division I
Struck

3427 RATTLE. Made from a gourd, a hole pierced on one

side, the seeds forming the rattle. Presented by the Amer-
ican Museum of Natural History.
Diameter, ^yi inches.

3426* RATTLE. Seeds of the laurel tree, strung on a cord
of vegetable fibre. Used in the dance. Surco. Presented
by the American Museum of Natural History, New York.
Diameter of seeds, yix }i inches.

BOLIVIA

CLASS I STRINGED INSTRUMENTS

Section A 704 PANDURINA. Body the shell of an armadillo, the

Strings neck and sound-board of wood. Ten string pegs, the strings

tuned in pairs. From La Paz.

Length, i foot 85^ inches. Diameter, 4>^ inches,
cf. note I to No. 635, p. 194.

CLASS 11 WIND INSTRUMENTS

Whist^es^ 711 PANPIPES. Sixteen tubes of bamboo, arranged in

two rows, eight closed at one end and eight open at both
ends. Bound together with strips of cane. From La Paz.
Longest tube, 1 1 K inches. Shortest, 2K inches.

Boman' writing of the Susquenos Indians of the Argentine
Republic, describes three different varieties of panpipes
which he states are not made by these Indians, but are
purchased from the Indians of Bolivia. The general
name of these pipes is fusa (a Spanish note of music)
The largest size is called sanja; those of sixteen pipes,
area, and still smaller ones with fourteen pipes, ira.
These Indians also have a cane flute with five finger-
holes, the quena; this is accompanied by a small hand
drum, the caja, which is suspended from the musician's
*These instruments have been placed with the Prehistoric Group.
I. Antiquites de la Region Andine de la Repubiique Argentine et du Desert
d'Atacama II. Mission Scientif., p. 463 ff. 1908.

722 686

w»^

INSTRUMENTS OF SOUTH AMERICA
IM". 225-246

SOUTH AMERICA, BOLIVIA

241

neck and struck with one hand while the other manip- Class 11

ulates the flute, suggesting the pipe and tabor (Euro- instruments

pean Section No. 2308) of England. They also have a fyl^jg^^gg^
large drum with heads of sheepskin called homha.

712 PANPIPES. Fourteen tubes of bamboo placed side

by side and bound together with fibre cord. Lower ends
closed. Several tubes missing. From La Paz.
Longest tube, 8 inches. Shortest, ^yi inches.

710 PANPIPES. Sixteen tubes of bamboo, similar to No.

712. From La Paz.
Longest tube, 7^ inches. Shortest, 2 inches.

CLASS IV SONOROUS SUBSTANCES^

3429* BELL. Copper. A slender neck expanding into a flat Division i
bell. Clapper missing. Surface corroded. From Sicasica. ^^^^'^^
Presented by the American Museum of Natural History.
Height, I X inches.

CHILE

CLASS II WIND INSTRUMENTS*

2699 WHISTLE. A lump of light brown clay with a flat- Section a

tened projection on one side pierced with a hole. Repro- ^^^'^"^'^^
duction in plaster.
Length, 4J^ inches. Width, i ^4 inches.

2698 WHISTLE. Gray clay modeled in the form of a pan-

pipe with three tubes. A flattened projection on one side
bored with a hole. Reproduction in plaster.
Length, 7 inches. Width, 2% inches.

Saville' illustrates a similar whistle from Manabi,
Ecuador. One from Guatemala described by Hough*
is of terracotta and has four tubes, each with a slit near
the upper end, "all blown by one mouthpiece, having a

1. Class III not represented.

*This instrument has been placed with the Prehistoric Group.

2. Other classes not represented.

3. The Antiquities of Manabi, Ecuador, vol. i, pi. XLIX, 1907.

4. The Ancient Central and South American Pottery in the Columbian
Historical Exposition at Madrid in 1892. Wash. 1895.

242 MUSICAL INSTRUMENTS, AMERICA
Class II septum, which conducts the air on either side to a pair

Instruments ^' tUDCS.

Section A

Whistles y" •"

2696 WHISTLE, Gray clay modeled in the form of an
elongated cone. Reproduction in plaster.

Length, 1 1 inches. Diameter, i ^^ inches.

2697 WHISTLE. Red clay modeled in the form of a flat-
tened cone. Two knob-like projections on the sides, each
pierced with a hole. At the smaller end a breath-hole.
Reproduction in plaster.

Length, 8^ inches. Diameter, 3K inches.

BRAZIL

CLASS I STRINGED INSTRUMENTS'

pfuck°ed^ 708 HARP. Made from a rod of palm wood and a gourd.

Strings The Stick rests on the gourd, which acts as a resonator, and

above this rises an upright bridge with notches on one side.
The four strings are made by loosening strips of the bark,
which are raised from the surface and slipped into the
notches of the bridge; their tension is regulated by rings of
the bark, which slide along the rod, over the loosened strips
of bark. From the district of the Upper Purus River, a
tributary to the Amazon.
Length, 5 feet 4^4 inches,

Mr, Henry Balfour, of the Pitt Rivers Museum, Oxford,
writes in regard to this instrument, that while the Upper
Purus, a tributary of the Amazon, seems out of the way
for an African instrument to have reached, still the
spread of African instruments introduced by the slave
trade, has been very wide, and in several instances has
passed beyond the limits of the immigrant negro popu-
lation. It is not likely that a complex instrument should
be independently arrived at in two widely separated
regions, with so identical a result. Instruments with the
string slit from the surface of a reed or bamboo are known
in British Guiana, though these have no resonators and
are much simpler than the present specimen.
As Mr, Balfour states, this type of instrument, a variant
of the musical bow,^ is probably an importation by Afri-

1. Section B not represented.

2. The musical bow of Brazil, the umcunga, is described by Balfour (Musical

SOUTH AMERICA, BRAZIL 243

can slaves, as it is identical with the muet^ of the Kongo
District, West Africa. Ewbank^ illustrates and describes
the laniee (which he calls marimba) as an instrument in
common use among the slaves, who play African airs
upon it. The melodies chanted by the negroes are also
often of African origin, and, as the same author states,
the "porters in moving household effects jog along to
the accompaniment of the Angola warble, the leader
marking time with a gourd rattle fringed with rags. . . .
Every gang of coflfee carriers has a leader who commonly
shakes a rattle to the music of which his associates behind
him chant." Im Thurn^ mentions a similar instrument to
this and describes it as an aeolian harp. "This," he states,
"isformed from the leaf-stalkoftheaeta pdi\m (mauriiia/iex-
uosa) by picking and separating without severing, four or
five feet of several of the parallel fibres of which the skin of
the stalk consists; a bridge like that of a fiddle is then
placed under each end of these fibres, so as to raise them
from the level of the stalk. The leaf-stalk thus prepared
is fastened upright in some exposed place, and the wind
passing through the strings causes a soft musical sound
which rises and falls as the strength of the breeze varies."

705 CITHER. Pear-shaped body of wood that tapers from

a rounded base to the neck. The back round. The neck
and front board of light wood, finger-board of ebony inlaid
with four pearl dots and sixteen metal frets. Open peg-box
finished with a carved head of negroid type. Eight strings
arranged in pairs, six of silk overspun with wire, two of wire.
Eight metal screws for tuning.
Length, i foot 8 inches. Diameter, 6 inches.

707 GUITAR. Tipla. Body of wood, stained black, the

Bow, p. 48) as a tube of rattan with a string stretched from one end to about
two thirds its length and tied. The bow is held against the throat or vocal
cords and the string is struck with a small stick. Meyer (in Smith. Inst.
An. Rept. 1898, p. 5O2, pi. LVll, 10) writing of the bows and arrows of
Central Brazil, states that the Suya fasten a bored tecum nut on the tip of
the shaft, which, when the arrow is projected in flight, produces a clear
whistling sound. The same principle is demonstrated in the pigeon whistles
of China.

1. cf. Nos. 3528 and 1467, African section.

2. Life in Brazil, pp. 92, 111, 112, 117.

3. Among the Indians of Guiana, p. 310.

Section C
Bowed Strings

244 MUSICAL INSTRUMENTS. AMERICA

back of the neck red; the sound-board unstained. Seven
metal frets on the finger-board. Ten string pegs.
Length, i foot 6yi inches. Diameter, 4K inches.

of. Schmidt, Indianerstudien in Zentralbrasilien, p. 143,

fig. 26. Similar to the charango (Berlin Museum, V. B.

5007) of the Bolivian Indians.

cf. Boman. Mission Scientifique, p. 465, 1908.

706 POCHETTE. Rabeljo. A narrow body of stained

wood with a short neck and open peg-box finished with a
carved head of a demon. Two crescent sound-holes. Four
gut strings.
Length, 2 feet 5 inches. Width, 3 inches.

3524 VIOLIN. European model. Made of natural wood,

with ornamental inlay of dark wood. Finger-board, tail-
piece, and pegs of dark wood. Two S sound-holes.
Length, i foot 11 inches. Width, jy^ inches.
This instrument has two bows; one, a European model
of unstained wood, the other, a natural twig strung with
horsehair.

CLASS II WIND INSTRUMENTS

Section A
Whistles

722

FLUTE. Poo-do-parana. A tube of bamboo in two
sections bound at intervals with dried grass. The surface of
the tube is decorated with the grass laid on in a zigzag pat-
tern. There are three holes, two in the longer section and
one in the short piece. These are placed 2^8, 17H, 33 H
inches from the end of the longer piece. Possibly a nose
flute.
Length, 3 feet 9>^ inches.

Koch-Grunberg illustrates and describes the Uaneui Dance
of the Siusi' of northwest Brazil in which the natives beat
time upon the ground with large tubes of bamboo. In
another instance the dance was accompanied by panpipes
and a number of large flutes iyapurutu^) some five feet in
length.

718 WHISTLE FLUTE. Bamboo with six finger-holes.

On one side, half an inch from the lower end, a square hole.
Length, 1 1 inches.

1. Globus, 1906, p. 346. Also note to No. 723, p. 230.

2. Idem, p. 349.

SOUTH AMERICA, BRAZIL 245

721 VERTICAL FLUTE. A tube of bamboo with a notch

in the upper edge. Four finger-holes.

Length, i foot 1 1 inches.
Schmidt^ describes a flute with four finger-holes, from
the Nakukua. Berlin Museum Coll., V. B. 5285.

720 VERTICAL FLUTE. Similar to No. 721. Six fmger-

holes.
Length, i foot -jyi. inches.

719 TRANSVERSE FLUTE. A tube of bamboo with six

fmger-holes.
Length, i foot.

16 1 8 HORN. Caracasha. A tube of wood with breath-hole Section c

on the side similar to the African horns. The surface cov- Mouthpieces
ered with basketwork in a fret pattern. The bell of the
instrument made from a bottle-shaped gourd. Lower
Amazon.

Length, i foot 11 inches. Diameter of bell, 3^" inches.
The Carib Indians of Guiana have horns of this character.
Ewbank^ mentions an interesting ca^iquis (chief) trumpet
in the Museo Nacional of Rio Janeiro among other abor-
iginal instruments. This is made from the tail of an alli-
gator hardened and blackened with aee and curved like a
French horn, the bell originally having been edged with
brightly-colored feathers. There are also double bone
flutes, one having four fmger-holes in each tube below the
cord binding.

Bandelier^ refers to cow horn trumpets under the name of
pu-tu-to. In primitive times conch, clay, and copper
trumpets were used.

1532 HORN. Caracasha. Similar to No. 1618, the bell an

oxhorn.
Length, 2 feet. Diameter of bell, 35^ inches.

686 HORN. Oxhorn, the surface engraved with borders of

leaves and a human figure crudely drawn. The end fitted
with a cup mouthpiece.
Length, i foot 10 inches. Diameter of bell, 3>^ inches.

1. Indianerstudien in Zentralbrasilien Ergebnisse und Ethnologische Ergeb-
nisse einer rcise in den Jahren 1900 bis 1901, p. 92, fig. 1 1.

2. Section B. Reeds not represented.

3. Ewbank. Life in Brazil, p. 121.

4. The Islands of Titicaca and Koati, p. 93.

246 MUSICAL INSTRUMENTS, AMERICA

Class II
Wind

Instruments
Section C
Cup Mouth-
pieces

351 I TRUMPET. A wooden cylinder formed of two sec-

tions of wood split lengthwise, hollowed out and the sides
cemented together, A long straight neck finished in a
block carved in the form of an arrow-head, in the side of
which is the breath-hole.

Length, 3 feet 7>^ inches. Diameter of bell, i]/i inches.
Funeral trumpet of the Bororo Indians, a tribe located in
western Brazil about the head waters of the River Para-
guay.

A similar trumpet is illustrated and its use described by
von den Steinen.' cf. U. S. Nat. Museum Coll. No.
210,869.

3621 TRUMPET. Brown pottery, unglazed. Pear-shaped,

with a flaring bell at the larger end. On one side a circular
opening ^ of an inch in diameter. Around the neck of
the bell a cord of dried bark with a carrying loop.
Length, 73^ inches.

Division I

Struck

Section A

Drums

2. With two

heads"

Division I
Struck

CLASS III VIBRATING MEMBRANES

1834 DRUM. Cylindrical shell of wood with heads of skin

held in place by a lacing of cords. Rio Negro region.
Height, 7 inches. Diameter, 8>< inches.

CLASS IV SONOROUS SUBSTANCES

1453 RATTLE. Made of nut shells strung on fibre rope.

From the Upper Amazon.

Shells, 1 Ya, inches.

Shell rattles similar to this are used by the medicine men
of the Gran Chaco Indians of Paraguay.
The instruments of the Chaco Indians of Paraguay are
described by Hawtrey,^ as follows: "They have a round
flat whistle worn about the neck; it has a hole at the
top which is held to the lips while the thumb and fore-
finger make the notes from two side holes. They also
use flutes of bamboo or bone and as well a rude fiddle
made from a block of wood with one string of horsehair.

1. Unter den Naturvolkern Zentral-Brasiliens, p. 496.

2. Section A i not represented.

3. The Lengua Indians of the Paraguayan Chaco. Anthrop. Inst, of Gt.
Britain and Ireland. Journal, vol. 30, New Ser. pi. XLI, figs, i, 2, 3. 1900.

APPENDIX

1 CLASSIFICATION

II ALPHABETICAL LIST OF LINGUISTIC FAMILIES
III NOTES

APPENDIX I
TABLE OF CLASSIFICATION

CLASS I STRINGED INSTRUMENTS

Division I. Without a Keyboard.
Section A. Plucked.
Section B. Struck.
Section C. Bowed.

Division 11. With a Keyboard.
Section A. Plucked.
Section B. Struck.
Section C. Bowed.

Division III. With Automatic Mechanism.

CLASS II WIND INSTRUMENTS

Division I. Without a Keyboard.
Section A. Whistles.

1. Vertical Flutes.

2. Transverse Flutes.
Section B. Reeds.

1. Beating Reeds, (a) Single.

(b) Double.

with Air Reservoir.

2. Free Reeds.
Section C. Cup Mouthpieces.

Division II. With a Keyboard.

Section A. Whistles and Beating Reeds.
Section B. Free Reeds.

Division III. With Automatic Mechanism.
249

250 APPENDIX I

CLASS III VIBRATING MEMBRANES

Division I. Struck.
Section A. Drums.

1. With one head.

2. With two heads.
Section B. Rattles.

Division II. Rubbed.

CLASS IV SONOROUS SUBSTANCES

Division 1. Struck.
Division II. Plucked.
Division III. Rubbed.

CLASS V MUSICAL ACCESSORIES AND ILLUSTRATIONS

APPENDIX II

ALPHABETICAL LIST OF LINGUISTIC FAMILIES NORTH
OF MEXICO.!

Adaizan Family. Originally located in Texas, The remnant of
the group finally absorbed by the Caddoan.

Algonquian Family. The largest group north of Mexico.

Athapascan Family. Divided into three groups: Northern,
Pacific, and Southern.

Attacapan Family. A group of which there is little known,
located on the Gulf of Mexico.

Beothukan Family. A small group located in Newfoundland.

Caddoan Family. Divided into three groups: Northern, Middle,
and Southern, located in the middle west.

Chimakuan Family. Originally one of the largest and most power-
ful tribes of the Northwest Coast in the neighborhood of
Puget Sound. In 1884, Myron Eells reported about twenty
survivors living near Port Townsend, Washington.

Chimarikan Family. A small group in California, now nearly
extinct.

Chimmesyan Family. Located on the Northwest Coast.

Chinookan Family. A small group on the Northwest Coast.

Chitimachan Family. A group now nearly extinct, located in
Louisiana.

Chumashan Family. The few survivors of this group are located
on the coast of southern California.

CoAHUiLTECAN FAMILY. A Mexican group now practically extinct.

CoPEHAN Family. Located in California.

CosTANOAN Family. The survivors of this group numbered about
thirty individuals in 1888, and were located near the towns
of Santa Cruz and Monterey in California.

I. Compiled from J. W. Powell's paper qn Indian Linguistic Families of
America North of Mexico. In Seventh Annual Report of the Bureau of
Ethnology, 1885-86. Washington, 1891.

251

252 APPENDIX II

EsKiMAUAN Family. The coast of Greenland and the north coast

of the Dominion of Canada.
EssELENiAN FAMILY. A Small group on the coast of southern

California.
Iroquoian Family. Originally settled in three distinct regions,

the larger group occupying the territory along the St.

Lawrence, Lake Erie, and Lake Ontario; two smaller groups

in the south, Virginia, North and South Carolina, and

Tennessee.
Kalapooian Family. Originally located in Oregon.
Karankawan Family. Originally located in Texas, now extinct.
Keresan Family. Located in New Mexico.
KiowAN Family. Indian Territory reservation.
KiTUNAHAN Family. Located in British Columbia.
KoLUSCHAN Family. Northwest Coast.
Kulanapan Family. A small group located on the coast of

California.
KusAN Family. A small group originally located in Oregon.
LuTUAMiAN Family. Located in Oregon.
Mariposan Family. Located in California.
MoQUELUMNAN Family. A small group in southern California.
MusKHOGEAN Family. Located in the southern states bordering

the Gulf of Mexico.
Natch ESAN Family. A small group located in Mississippi and

Louisiana.
Palaihnihan Family. Located in California.
PiMAN Family. Located in northwestern Mexico and Arizona.
PujuNAN Family. Located in California.
Quoratean Family. Located in California.
Salinan Family. Located in California.
Salishan Family. Northwest Coast.
Sastean (Shastan) Family. Located in northern California and

Oregon.
Shahaptian Family. Located in Washington and its bordering

states.
Shoshonean Family. An important group occupying a large

area in the southwest.
SiouAN Family. One of the important groups occupying a large

territory in the middle west with a small division farther

east near the Atlantic seaboard.
Skittagetan Family. Queen Charlotte Islands.
Takilman Family. A small group that numbered but twenty-
seven survivors in 1884 when they were resident on the

Siletz Reservation, Oregon.

APPENDIX II 253

Tanoan Family, Three scattered groups located in the south-
west in the Athapascan territory.

Timuquanan Family. Located in Florida.

Ton I KAN Family. The few survivors of this group are located in
Louisiana.

Tonka WAN Family. Located in Texas.

UcHEAN Family. Located in Georgia.

Waiilatpuan Family. The few survivors of this group are
scattered among the different reservations of the West.

Wakashan Family. Northwest Coast.

Washoan Family. Located on the border of northwestern
Nevada and California.

Weitspekan Family. A small group on the coast of California.

WiSHOSKAN (Wishokan) Family. A small group originally located
on the coast of California.

Yakonan Family. A small group on the coast of Oregon.

Yanan Family. A small group in northern California.

Yukian Family. Located in California.

Yuman Family. Located in Mexico and Lower California.

Zunian Family. Located in western New Mexico.

NOTES

THE POTLATCH OR DISTRIBUTION OF PROPERTY^

"The distribution of property, or poilaich, as it is called in the
Chinook jargon (Haida, kie-is-hil), implying, as it appears at first
sight, such entire self-abnegation and disregard of the value of
slowly accumulated wealth, requires some explanation. The cus-
tom thus named is very widely spread, extending not only to all
the coast tribes of British Columbia and its adjacent islands, but
also to the native inhabitants of the interior of the province, of
entirely different stocks. I have been able to ascertain more about
this custom among the Haidas than elsewhere. Whether in all the
other tribes it is so perfectly systematized, or carried out precisely
in the same way, it is impossible at present to tell, but among the
inhabitants of at least the whole northern part of the coast the
usage appears to vary very little.

"The potlatch, besides being a means of combining labor for
an industrial 'bee' for purposes in which individual effort is insuf-
ficient, is also a method of acquiring influence in the tribe, and in
some cases, as we have seen, of attaining even to the chieftaincy.
The more frequently and liberally an individual thus distributes
property the more important he becomes in the eyes of his tribe,
and the more is owing to him when some other member performs the
same ceremony. Only in certain special circumstances are the
blankets — which generally constitute the greater part of the prop-
erty distributed — torn into shreds and destroyed. In most cases it
is known long beforehand that a certain man is about to make a
distribution, for the purpose of raising a house, cutting out and
erecting a new carved post, or other exertion. Some months pre-
viously, among the Haida, he quietly distributes among his friends

I. Dawson. Report of Progress. Geolog. Survey of Canada, p. 125,1878-1879.
cf. also Chapman. Notes on the I inneh Iribe of Anvik, Alaska. In
Congies Internat. des .\mericanistes 15, vol. 2, 1907.

255

256 NOTES

and the principal members of the tribe his property, be it in blank-
ets or money. The mode of distribution and value of property
given to each person is thoroughly systematized, and all the mem-
bers of the tribe know beforehand how many blankets go to each.
A short time before the ceremony all this property is returned with
interest; a man who has received four blankets, giving back six, or
some larger number in something like this ratio. This retention of
a certain amount of the property and its return with increase,
appear to be looked upon as an honor by those to whom it is given
out. The members of the tribe are then called together for a certain
date, and at the same time parties from other, and perhaps distant,
villages are invited. The work in hand is accomplished, the man
for whom it is done making feasts of the best he has for his guests,
and the toil being varied by dancing and gambling with the gaming-
sticks, which occupy all the time not more profitably employed.
The work finished, the distribution takes place, and shortly after-
wards all disperse.

"it is usual to make a potlatch on the occasion of tattooing a
child, and at other stages in its advance toward manhood. When it
is desired to show utter disregard of worldly wealth, the blankets
are torn into strips and scattered among the crowd, and money is
also strewn broadcast. This procedure is sometimes followed in
competitions for the chieftaincy, already referred to. A similar
practice is also a method of showing rage and grief. At Masset,
lately, it became known to a father that a young man had made
improper advances to his daughter. The father immediately, in
great anger, tore up twenty blankets, which not only served as an
outlet for his feelings, but placed the young man under the necessity
of destroying a similar number of blankets; and in this case, not
being possessed of sufficient property, those of the young man's
totem-clan had to furnish by subscription the requisite number, or
leave upon themselves a lasting disgrace. The feelings of the sub-
scribers were not naturally of the kindest toward the young man,
but they did not in this case turn him out of the tribe, as they had
a right to do after having atoned for his fault.

"Among the Tshimsians an ordinary man confines his potlatch
or yak to those of his own village, while a chief generally, or often,
invites people from other villages also. The chief may be assisted
in giving potlatches by his people. Should he desire help of this
kind, he gives a feast with many different dishes, to which all are
invited. The next day a drum is beaten for him by his jester in a
peculiar manner, when all who have been at the feast come together
with gifts, which are afterwards, with those belonging to the chief
himself, given away.

NOTES 257

"The dance is closely connected with the potlatch ceremonies,
but also takes place in some instances without the occasion of a
giving away of property. In most of the dances the Tshimsian
language is used in the song, which would appear to indicate that
the ceremonial has been borrowed from these people. Notwith-
standing the old-time hostility of the Haida and Tshimsians, the
former profess a great liking for the Tshimsian language, and many
of them speak it fluently.

"Six kinds of dancing ceremonies are distinguished, and are
designated in the Skidegate dialect by the following names: (i)
Ska-ga, (2) Ska-dul, (3) Kwai-o-guns-o-lung, (4) Ka-ta-ka-gun,
(5) Ska-rut, (6) Hi-atl. Of these I have only witnessed No. 3, the
description of the others being at second hand.

" ( I ). Ska-ga is performed on occasions of joy, as when friendly
Indians arrive at a village in their canoes, and it is desired to mani-
fest pleasure. A chief performs this dance. He takes his stand in
the house at the side of the central fire furthest from the door. He
should wear over his shoulders one of the na-xin or Tshimsian
blankets, made of fine cedar bark and the wool of the mountain
goat. He wears, besides, the best clothes he may happen to have,
and on his head an ornament made of the stout bristles from the
whiskers of the sea lion. These are set upright in a circle, and be-
tween them feather-down is heaped, which as he moves is scattered
on all sides, filling the air and covering the spectators. He dances in
the usual slouching way common among the Indians, bending his
knees, but not lifting his feet far from the ground. The people,
sitting around in the firelight, all sing, and the drum is continually
beaten. This dance may last half an hour or an hour.

" (2). The dance distinguished as Ska-dul appears to be merely
the beginning of that known as (3) Kwai-o-guns-o-lung. Any man
who knows the mode of singing starts the dance alone, when it is
called Ska-dul; soon others join in, and it becomes No. 3. This is
performed by no particular number of people, the more the better,
and occurs only when a man desires shortly to make a house. The
man himself does not dance, nor does any giving away of property
take place. The women occupy a prominent place in this dance,
being carefully dressed with the little marks and na-xin or cloaks
previously described. One man performs on a drum or tambourine
to which all sing, or grunt in time, shuffling about with a jerky
motion as they do so. There is a master of ceremonies who leads
off the chorus. Rattles are freely used. The song is in praise of
the man who intends to build, and also of the dancers. It eulogizes
his strength, riches, and so on, and is in the Tshimsian language.

"(4.) Ka-ta-ka-gun. This is performed by the male relatives

258 NOTES

of the man's wife and takes place when a house has Been finished,
the owner at the same time making a distribution of property.
The dancers are attired in their best, ornamented, and with faces
painted, but no birds' down is used. It is performed in the newly
finished house, and may occupy half an hour or an hour. The
man who makes the distribution does not dance. All sing in the
Tshimsian language.

(5.) "Ska-rut. One man performs this dance, but is generally
or always paid to do the duty for the person more immediately
concerned. It takes place some days before a distribution of prop-
erty, on the occasion of such an event as the tattooing of a child or
death of a relative or friend. The dance is performed by a single
man, naked with the exception of his breech-cloth. In the first
part of the dance, which appears to be intended to simulate a sort
of possession or frenzy, one of the grotesque wooden masks is worn,
and this is the only dance in which they are used. The wearing of
the mask is not, however, absolutely necessary, but is a matter of
choice with the performer. Getting heated in the dance, he throws
the mask away, snatches up the first dog he can find, kills him, and
tearing pieces of his flesh, eats them. This dance is not performed in
the house as the others are, but at large through the village. The
usual present tariff for the performance of the ceremony is about
ten blankets. On enquiring what the feelings of the man might be
whose dog was devoured, 1 found that afterwards the dog is appraised
and paid for to the satisfaction of all parties. This is characteristic
of the manner in which, among the Haida themselves, the principle
of nothing for nothing is strictly carried out.

"(6.) Hi-atl. This dance is very frequently indulged in, on
the occasion of any joyful event, as the arrival of visitors, etc. It
is performed by several or many men, who wear feathers in their
hair and paint their faces. The Haida language is used in the song.
No distribution of property happens, except in the case of the dance
being to denote the conclusion of mourning for a dead friend. In
this instance a potlatch occurs by the former mourner, who invites
his friends together to dance with him."

THE MUSICAL BOW IN AMERICA

The presence of the musical bow in America has given rise to
much discussion as to whether or not it may be considered indigen-
ous. While the theory of independent origin of certain types in
widely separated localities is quite as possible in the field of primitive
culture as in that of art,i in the case of the musical bow the theory
i. Take, far instance, the metal-workers of the sixteenth century when

NOTES 259

of transmission is borne out by the facts that thus far pre-Columbian
records have failed to produce any suggestion of the use of stringed
instruments by the aborigines; that in those parts of South America
where slave traffic flourished in the early days, various types of
African instruments are still found; and that in many of the negro
melodies there is a strongly marked African element. In nearly
every instance the bow, as it is found in America, corresponds to
some African type; this is especially true of the form found among
the Maya of Yucatan in which the buccal cavity of the player acts
as a resonator, and again, in that of the Huichol Indians of iVlexico,
where the bow is supplemented by a gourd resonator. Other in-
stances that show foreign contact are the ha-hat-shim of the Yokaia
Indians of California that is distinctly Polynesian in character,
being almost identical with the ukeke of Hawaii, and the thlin-
thlin-no-me of the Pueblo Indians of New JVIexico; here the intro-
duction of a string-peg shows a higher development of culture that
at once suggests contact with European forms, although again we
find a similar type in Siam^ which, however, has not only a tuning
peg, but as well the gourd resonator.

In discussing this subject the late Dr. Otis T. Mason' writing
in the American Anthropologist, expressed himself in the following
terms: "After looking over the musical collection of the U. S.
National Museum and such literature as has been collected by the
Bureau of American Anthropology, I have come to the conclusion
that stringed musical instruments were not known by any of the
aborigines of the Western Hemisphere before Columbus." E. H.
Hawley, of the same institution, after years of research work along
these lines fails to find sufficient proof to convince him otherwise;
also Charles W. Mead^ of the American Museum of Natural History,
New York, in his book, The Musical Instruments of the Incas,
referring to some of the early Spanish writers, states: "Garcilasso
de la Vega, in his chapter entitled 'Of the Geometry, Geography,
Arithmetick, and Musick known to the Indians' gives no account
of any stringed instrument. There is scarcely a chapter in the
'Cronica del Peru' of Cieza de Leon that does not contain mention
of some musical instrument, but we find no hint of this class. The

Miyochin, Japan's greatest artist in metal, and Benvenuto Cellini, each
working independently in widely separated localities, produced like results;
or again, the Japanese woodcuts of the eighteenth century that show the
same delicacy of technique and treatment of design as those of the French
artists of the same period.

1. Balfour. History of the Musical Bow, p. 66.

2. American Anthropologist, vol. 10, p. 380, 1897.

3. The Musical Instruments of the Incas, p. 29, 1903.

26o NOTES

Peruvians themselves, as we have seen, left behind them many of
their instruments and numerous representations of them on their
pottery vessels and metal ornaments; but among them all, not one
belonging to the lyre type can be found." Frederick Starr^ in his
Notes upon the Ethnology of Southern Mexico, describes the Mexi-
can bow which, he is of the opinion, was not in use among the
natives prior to the invasion of the Spaniards. He refers to it as
follows: "On the slopes of the Malintzi the shepherds use a stringed
instrument, the camalpa. It is the musical bow which has been so
interestingly studied by Balfour.^ It consists here of a simple cane
some three or four feet long: a string is fastened to one end of this
and is rendered taut by a tightening peg at the other. It is played
by vibrating the cord and manipulating with the mouth. Senor
Quechol, who showed me the mode of use, believes from the name that
the instrument is post-Conquest in Mexico. His etymology of the
word is cam, mouth; alpa, corruption of the Spanish arpa (harpa) —
a mouth harp."

The English authority, Henry Balfour,^ in his work on the history
of the musical bow, expresses his opinion on the subject, as follows:
"In reviewing the various types of musical bows to be found in the
New World, 1 must say that I feel that the case of the claims of
this instrument to be regarded as indigenous (pre-Columbian) in
the Americas can only as yet be dismissed with a verdict of not
proven."

On the other hand, the theory of independent origin is upheld
by Carl Lumholtz,* who bases his claims upon the important
position held by the musical bow in the ceremonial of several of
the Indian tribes. Describing its use by a shaman of one of these
tribes, he says: "In front of the shaman was the musical instrument
on which he had been playing. This was a large, round gourd, on
top of which a bow of unusual size was placed with its back down.
The shaman's right foot rested on a board which holds the bow in
place on the gourd. The bow being made taut, the shaman beats
the string with two sticks in a short rhythmical measure of one long
and two short beats. ... In the religion of the Maidu^ tribe also
this bow plays an important part, and much secrecy is connected
with it. . . The Cora« always glue the musical bow to the gourd,

1. Reprinted from vol. VIII, Proceedings of Davenport Academy of Natural
Sciences, 1900.

2. History of the Musical Bow, p. 46.

3. History of the Musical Bow, p. 50,

4. Unknown Mexico, vol. I, pp. 475, 476, 523. 1902.

5. Maidu. Tribe of the Pujunan family. Lower California.

6. Preuss in an article entitled Sanger Ascension Diaz, den Bogen Schia-

NOTES 261

uniting the two parts to form one instrument. The gourd is placed
over a small excavation in the ground to increase its resonance.
This is the musical bow of America, which is here met for the first
time. It is intimately connected with the religious rites of this
tribe (Aztecs), as well as with those of the Cora and Huichol,^ the
latter playing it with two arrows. The assertion has been made
that the musical bow is not indigenous to the Western Hemisphere,
but was introduced by African slaves. Without placing undue
importance on the fact that negroes are very rarely, if at all, found
in the northwestern part of Mexico, it seems entirely beyond the
range of possibility that a foreign implement could have become
of such paramount importance in the religious system of several
tribes."

The same author elsewhere^ describes the musical bow of the
Huichol (Piman) Indians as the same as that in use among the Cora
(Piman) and very similar to that of the southern Tepehuane and
the few neighboring Aztecs. He says: " Its necessary accessory is a
resonator in the form of a large gourd, on top of which it is placed.
The gourd selected for the purpose is round, and compressed from
the end. It rests on the ground with the neck turned upwards.
A large circular hole is carved out of the lower end, and a smaller
hole is to be found in the side. The bow, having been made taut,
is placed on the gourd with its back down, the middle part resting
on it. The shaman, who when playing is seated on a stool or kind
of bench, keeps the bow steady by a cross-piece of flat wood, which
he presses with one foot. This piece of wood, which is about 70 cm.
long, 3 cm. wide, and 2 cm. thick, has a transverse slit at one end,
to fit the back of the bow over which it is placed. This tends to
keep the bow more steady than the sandaled foot could do, the use
of a stick also precluding any interference with the resonance of
the gourd. This custom prevails among the southern Tepehuane
Indians and the neighboring Aztecs. The Cora, however, glue the
back of the bow solidly to the gourd for the occasion, thus making
one instrument of them. They also place the gourd over a small
excavation in the ground in order to increase its resonance. It is
played with two thin, round sticks of tough, heavy wood, each
about 40 cm. long. The musical bow has the same name as the
shooting bow, and is called by the southern Tepehuanes and their
neighbors the Aztecs, tawito'l. By the Cora the name tunamo is
applied. The Huichols call it topi. The gourd and the playing

gend (in Globus, vol. 90, p. 71, 1906) gives an illustration of a native
Cora playing upon the musical bow as described above.

1. Cora and Huichol. Tribes of the Piman family. Lower California.

2. Am. Museum of Natural History. Memoir, vol. 3, p. 206 fl. 1900.

262 NOTES

sticks, as well as the stick on which the foot is put, have their
special native names. In the Nahuatl (Mexicano) of that region
the playing sticks are called otsji'l, and the stick with which the
player keeps the bow from moving is called kwawite. Among all
these tribes, with the exception of the Huichol, it is used at religious
ceremonies where it takes the place of the drum of the latter tribe.
These facts settle beyond doubt the question recently raised,
whether or not there is a musical bow indigenous to America. To
deny its existence among the Cora and their neighbors would be
equivalent to doubting the originality of the Huichol drum."

At Azqueltan, a small pueblo in central Mexico, the Tepecano, a
subtribe of the Tepehuane (Piman stock) Indians, still practise an
ancient ceremonial in which the musical bow plays an important
part. This tribe, aboriginally clannish, remained isolated for
many years; but during the past ten years the character of the
settlement shows a marked change; Spanish has almost entirely
replaced the Indian tongue and many of the tribal customs have
been abandoned. Scattered survivors of the older generation,
however, still cling to the ancient religious rites; in the Fiesta
of the Pinole witnessed in January, 19 12, there were but four
elderly men and two middle-aged men who participated in the cere-
mony. The musical bow used in this rite is the same as that of the
Huichol; it rests on an inverted gourd that covers a little depression
in the earth and is held in place by the left foot of the Cantador or
chief singer, who with his right hand strikes the string with two
small sticks producing a clear note. The songs lasted from eight
in the evening until daybreak, the Cantador, who is the highest
functionary of the Tepehuane religion, singing alone, accompanied
only by the monotonous note of the musical bow.^

The use of the bow in tribal ceremonial is also mentioned by
Roland B. Dixon^ who states that while the northeastern Maidu
(Pujunan) use it merely as an amusement, with the southwestern
division it is considered more or less sacred. He writes as follows:
"The musical bow seems to have been known to all the Maidu.
The northeastern Maidu used the regular hunting bow for the
purpose and played upon it merely as an amusement, there being
apparently nothing that was sacred or ceremonial about it. The
northwestern Maidu, however, at least in the foot-hills, seem to
have considered the faint sounds produced as specially suitable for
individual converse with the spirits; therefore, the use of the musical
bow is restricted to shamans. The bow here, moreover, appears

1. cf. The Fiesta of the Pinole at Azqueltan. University Museum Journal,
vol. 3, p. 44. Phila. 1912.

2. Amer. Museum of Natural History Bulletin, vol. XVII, p. 222, 1905-1907.

NOTES 263

to have been especially made for the purpose, the regular hunting
bow not being used. The bow is about a meter and a third long,
thus exceeding the regular bow somewhat in its dimensions. When
made it was rubbed, it is claimed, with human blood. In playing
the bow it is held in the left hand, one end of the bow being placed
in the mouth, the other end extended horizontally toward the left.
The string of the bow is then tapped gently with a small twig, held
in the right hand, and the notes varied by opening or closing the
mouth to a greater or less degree, thus increasing or lessening the
size of the resonance chamber."

In describing the music of the Mayas^ and Lacandones, Tozzer^
apparently considers the musical bow used by that tribe to be of
native origin. He says: " In addition to the many modern musical
instruments which have been brought into the country, the Mayas
have a few which are clearly a survival of the time when music
played a part in their ceremonies. One example of the musical bow
was observed. This was made of a flexible rod and the sinewy fiber
of a tree as the string. The cord is made to vibrate between the
lips in the manner of the Jews' harp as it is struck with a stick.
Distinct musical sounds are thus produced." This is the type re-
ferred to by M. H. Saville^ as the hool, a primitive Maya instrument,
made by stretching a piece of rope-like vine, called ohil, between the
ends of a pliable piece of v/ood. It was played as described by Dixon,
and was used, as stated by Saville, for the jardana'i or native dances
and cast aside after use.

The presence of the musical bow in America is recorded by Bal-
four in the following localities:

West Indies. The henta of the negro slaves of the West Indies.
A simple bow with a striker called warimha. Described by
J. G. Stedman in his Narrative of a Five Years' Expedition
against the Revolted Negroes of Surinam, vol 2, pi. fig. 12.
1813.
Bahia, Brazil. A simple bow with a gourd resonator attached to
the center by a small string loop which also braces the bow-
string to the bow. The string is struck with a small stick.
A small wicker rattle hung on the fingers of the left hand
furnished a rattling accompaniment. In the collection of
the British Museum.
Lencas, Honduras. The fewmZ^Mw, described by Prof. O. T. Mason.
Similar to the bow from Bahia. The bow is sometimes

1. A linguistic family of American Indians located in southeastern Mexico
and Central America.

2. A Comparative Study of the Mayas and the Lacandones, p. 73 ff. 1907.

3. American Anthropologist, vol. X, p. 272, 1897.

264 NOTES

placed on an additional half-section of a gourd placed on the
ground, to increase the resonance.

MosQuiTiA. The carimha. A heavy bow with a metal string and a
gourd resonator similar to the bows of Bahia and Honduras.

San Salvador. The carimha. A bow similar to that from Mos-
quitia, described by Dr. S. Habel in Smithsonian Contribu-
tions to Knowledge, vol. 22, p. 31. 1878.

Guatemala. The apache or marimhachi, also caramha. A light
wooden bow, strung with a thin creeper or a string, with a
bracing loop near the middle, but no gourd resonator. The
bow is placed against the mouth and struck with a small
stick, described by Dr. Carl Sapper in Das nordliche Mittel-
Amerika, p. 312. Brunswick, 1897.

Nicaragua. The quijonga. Similar to the bows already described,
having a bracing loop, a resonator, and the tone produced
by striking the string. Described by D. G. Brinton in The
Comedy Ballet of Gueguence, p. 36. Philadelphia, 1883.
The same instrument is also described by J. F. Ferraz in
Nahuatlismos de Costa Rica, p. 106. 1892.

Yucatan. The hool, described by M. H. Saville as a primitive
Maya instrument in which the mouth of the player serves
as resonator. The tone is produced by striking the string.
American Anthropologist, August, 1897. For Mr. Saville's
reference to the appearance of the musical bow in the Codex
Becker, see note 4, p. 189.

Mexico. (Modern). A bow with a tuning peg, obtained by O. H.
Howarth in Patzcuaro, Michoacan. Oxford University
Museum. Similar to the harpa from the Rio Verde district
in the Peabody Museum, Cambridge, Mass. (see No. 1740),
the mawahellis from California, and the thlin-thlin-no-me from
New Mexico in the U. S. Nat. Museum Col., Wash., D. C.

Central Brazil. The umcunga, a bow of rattan that is held
against the throat or vocal cords and struck with a short stick.

Patagonia. The koh'lo or colo. A small bow played with a bone
plectrum described by Musters.'
In addition to Balfour's notes on the Patagonian bow may be

mentioned an article by Lehmann-Nitsche^ in which he describes

the native method of playing the koolo.^ The performer sits upon

1. At Home with the Patagonians, p. 81, 1873, and fig. 8, p. 177. Dr. H.
Ten Kate in Amer. Anthropol., vol. 2, p. 93, 1898.

2. Lehmann-Nitsche, Robert. Patagonische Gesange und Musikbogen.
In Anthropos, vol. 3, p. 916, 1908.

3. There are two examples of the koolo in the Berliner Museum fur Volker-
kunde Collection. Nos. v.b. 96; v.b. 97.

NOTES 265

his crossed legs, holding the bow in his left hand with one end
pressed against his closed front teeth; in his right hand he holds a
slightly polished bone, pierced with four or five holes which, after
moistening with saliva, he gently rubs along the inner side of the
string, the hollow bone tending to increase the volume of the tone.
By raising the three middle fingers and pressing down on the string,
"four different, tender, humming tones" may be produced when the
bone is drawn across the strings. The native name of the whole in-
strument is kolo; the bow, ikcha; the strings far; the bone t'kchoo.
The general term for bow is kcha and for knocker, kchoo. The same
author quotes Spegazzini's^ description of the kooll{a): "This
musical instrument is one of the simplest and most remarkable I
have seen. It consists of two separate bows; in the first place a
little bow made of hard wood strung with a bunch of horsehair, and
in the second place a hollow bone, of an ostrich, with four or five
holes on one side. The instrument is played in this way: it is held
firmly by one end in the left hand and the other end is pressed
against the front teeth while with the right hand the ostrich bone is
slid up and down over the strings."

D'Orbigny- writing in 1839 of the Araucanians, mentions the
use of a five-holed flute which produced a monotonous nasal tone;
also a bow strung with horsehair which they rubbed with a large
bone of a bird, or with the same bone blew into a gourd.^

Lehmann-Nitsche describes still another form of bow mentioned
by Guinnard,* who refers to it as a "violin" composed of two horse
ribs formed like violin bows and strung with tightly stretched
horsehair strings which were moistened with saliva when in use.
In playing this instrument the performer rubs the two bows one
against the other. They serve indifferently as they happen to be
used for "violin" or for "bow." The one that serves as the in-
strument is placed between the closed teeth and held horizontally
in the left hand of the player, who moves the bow quickly to and
fro and obtains an indistinct note that is modulated by the unem-
ployed fingers of the left hand. A bow of this type, differing only
in that the bow placed in the mouth was made from the rib of a cow
while the other was of wood, was shown in Genoa at the time of the
four-hundredth anniversary of the discovery of America and

1. Spegazzini. Costumbres de los Patagones. Anales de la Sociedad
Cientifica Argentina, vol. 17, 1884, pp. 229, 234, 236.

2. D'Orbigny. Voyage dans I'Amerique meridionale, vol. 2, pp. 88-89.
Quoted by Lehmann-Nitsche in Anthropos, vol. 3, 1908, pp. 934-935.

3. cf. Note to No. 21 19 p. 236.

4. Guinnard. A Three Years' Slavery Among the Patagonians. London,
1871.

266 NOTES

described by Hamy,i who gives the native name as quinquer caline.
These were doubtless of Araucanian origin. Guevara^ mentions
the same bows made of willow and strung with horsehair, the native
name differing slightly, i.e., quinque cahue.

In the opinion of Lehmann-Nitsche, these complex forms found
in Patagonia are probably an original combination of old European
instruments, i.e., the large bow for the bass or cello combined with
some kind of a flute,^ especially as the Tehulches try to blow upon
the bone with which they rub the string — and the holes found in the
decorated specimens were originally not purely ornamental as they
are now. The only solution offered by this writer as to the origin
of this type is that the bow may have been imported by African
slaves who were brought there after the Spanish Conquest, and,
after the removal of the African influence, the bow was developed
and combined by the natives in different ways, resulting in a hybrid
form. The use of a bone in connection with the bow appears again
in the ha-hai-shim of the Yokaia Indians of California who use a
bone plectrum to strike the string of the bow that, like the bow of
the Araucanians, is held between the teeth. In this instance,
however, the bone in no way resembles a flute.

As to when or where the musical bow first made its appearance
on this continent, history gives us no clue other than that of trans-
mission from Africa through the West Indian slave trade; nor does
archaeological research afford the necessary proof of its use among
the aborigines. Recent excavations as well as those of the past
have produced only objects of pottery and bronze, with occasional
fragments of weaving, impossible to date, but which seem to cor-
respond to the predynastic period of Egyptian art (prior to 3400
B.C.). Such fragments of stringed instruments as have survived
in Egypt date from about 1600 B.C., although the use of harps as
early as 2700 is recorded in a relief of the Fifth Dynasty; but neither
in Mexico nor in South America have any traces of the string form
been found either in carvings or among the funerary objects ex-
humed. The same is also true with the Indian mounds north of
Mexico, those of the middle west and California producing only

1. Hamy. Etude sur les collections Americaines reunies a Genes a Toccasion
du IVe centenaire de la Decouverte de I'Amerique. In Journal de la Societe
des Americanistes de Paris, vol. I, 1895-96.

2. Guevara. Historia de la civilizacion de Araucania. In Anales de la
Universidad de Chile, vol. 104, p. 502. 1899.

3. The instrument thus developed, combining as it does a flute and a
stringed instrument, suggests a primitive form of the combination found
in Provence, the chirula and the tambourin a cordes, and as well the Eliza-
bethan pipe and tabor.

NOTES 267

instruments of bone or pottery. The appearance, therefore, of
the musical bow as an adjunct to tribal ceremonial can only be
regarded as a later stage of primitive culture evolved either by the
natives themselves or acquired by foreign contact, a question, as
Lehmann-Nitsche has well said, regarding the solution of which
literature leaves us still perplexed.

BIBLIOGRAPHY OF THE MUSICAL BOW

Balfour, Henry. The Natural History of the Musical Bow.

Oxford, 1899.
Brinton, D. G. The Comedy Ballet of Gueguence. Philadelphia,

1883.
Dixon, Roland B. The Northern Maidu. (In Bulletin of the

American Museum of Natural History, vol. 17, pt. 3.

New York, 1905.
Guevara. Historia de la Civili^acion de Araucania. (In Anales

de la Universidad de Chile, vol. 104. 1899.)
GuiNNARD, A. Three Years' Slavery among the Patagonians.

London, 1871.
Habel, S. The Sculptures of Santa Lucia. Consumalwhuapa

in Guatemala. (In Smithsonian Contributions to Knowledge,

vol 22, p. 31. Washington, 1878.)
Hamy, E. T. Etude sur les Collections Am'ericaines reunies a

Genes a I' occasion du IV^ Centenaire de la Decouverte de

I'Amerique. (In Journal de la Societe des Americanistes

de Paris, 1895- 1896.)
Lehmann-Nitsche, Robert. Patagonische Gesdnge und Musik-

bogen. (In Anthropos, vol. 3. 1908.)
LiSTA. Mis esploraciones y descuhrimientos en la Patagonia

1877-1880. Buenos Aires, 1880. Viaje al pais de los

Tehuelches. Buenos Aires, 1879. Una ra^a que desaparece

Los Indios Tehuelches. Buenos Aires, 1894.
Mason, O. T. Music in Honduras. (In American Anthropologist,

vol. 2, 1889.) Geographical Distribution of the Musical

Bow. (In American Anthropologist, vol. 10, 1897.)
Medina, Jose Toribio. Los Aborijenes de Chile. Santiago, 1882.
Moreno. Viaje a la Patagonia Austral, emprendido hajo los

auspicios del Gohierno Nacional 1876-1877. vol. i. Buenos

Aires, 1879.
Musters, G. C. At Home with the Patagonians, 1873. Unter den

Paiagoniern. Jena, 1873.
Orbigny, Alcide d'. Voyage dans I'Amerique meridionale. Paris.

Strasbourg, 1839-43.

268 NOTES

Parry, E. W. The Home of the Hulero. (In Outing Magazine,

Feb. 1894.)
RoNCAGLi, Giovanni. Da Punta Arenas a Santa Crui. (In
Bollettino della Societa Geografica Italiana. Sen II,
vol. 9, 1884.)
Sapper, Carl. Das Nordliche Mittel-Amerika. Brunswick, 1897.
Saville, M. H. a Primitive Maya Musical Instrument. (In

American Anthropologist, vol. 10, 1897). The Musical Bow

in Ancient Mexico. (In American Anthropologist, vol.

II, 1898.)
Seler, Ed. Mittelamerikanische Miisikinstrumente. (In Globus,

vol. 76, No. 7, 1899.)
Stedman, J. G. Narrative of a Five Years' Expedition against the

Revolted Negroes of Surinam. 181 3.
Spegazzini. Costumhres de los Patagones. (In Anales de la

Sociedad Cientifica Argentina, vol. 17, 1884.)
Ten Kate, H. Geographical Distribution of the Musical Bow.

(In American Anthropologist, vol. 11, 1898.)
Wallaschek, Richard. Primitive Music. London and New

York, 1893.
Anonymous. The Fiesta of the Pinole at Aiqueltan. (In The

Museum Journal of the University of Pennsylvania, vol. 3.

Philadelphia, 1912.)

INDIAN FLAGEOLETS

This form of musical instrument is found among several tribes,
especially on both sides of the Rocky Mountains. It is made of
a round stick of soft wood, generally cedar, which is split longitu-
dinally. The inside of each piece is hollowed so that when they
are again united two chambers are formed, separated by a diaphragm
or "languid" half an inch thick. The chamber is closed, excepting
a small air passage, less than a quarter of an inch in diameter, is
left in the inner end. On the face or outer section of the instrument
is cut a slot about one and a half inches long and one quarter of
an inch wide. This furnishes a rectangular opening into both the
inner and the outer chamber. The diaphragm has a shallow channel
cut on its upper edge and the face of the upper half of the instru-
ment, for a short distance above and below the slot, is made flat.
The outer tube or chamber is open at its further end and on the
face are bored six finger-holes. The two sections are tied together
with thongs and made air-tight with gum. A cap of cedar is fitted
on over the diaphragm and in its outer end is cut a vertical notch.
To form the lip of the whistle a piece of metal is bent around the

NOTES 269

instrument, its inner edge made sharp, and it is made so as to close
the lower portion of the rectangular slot to within about a quarter
of an inch of the lower face of the diaphragm. This is also cemented
and lashed with thong. Over this the cap is fitted so that the
bottom of the notch is nearly in line with the lower face of the
diaphragm, and the space between it and the upper edge of the dia-
phragm forms an air channel which directs the wind against the
sharp edge of the metal lip. In other flageolets the sheet metal
whose thickness forms the depth of the air channel is not used, but
the air channel is cut out in the wood of the flageolet.

— E. H. Hawley, U. S. Nat. Museum.

THE GHOST DANCE

This religious ceremony, associated with the Messiah doctrine,
originated among the Paviotso (Shoshonean) in Nevada about
1888. Its prophet was a young Paiute Indian whose reputation
was first established as a medicine man. In a delirium of fever he
believed himself transported to the spirit world where he received
a revelation from the God of the Indians to the effect that a new
dispensation was close at hand by which the Indians would be
restored to their inheritance. James Mooney,' who describes the
dance, states that the men and women with joined hands moved
slowly around in a circle facing toward the center, keeping time to
songs that were sung without any accompaniment. Hypnotic
trances were a common feature of the ceremonial. . . . The doc-
trine has now faded out and the dance exists only as an occasional
social function.

Alfred L. Kroeber,^ describing the accessories of the Ghost
Dance formerly practised among the Arapaho, mentions among
other things certain musical instruments, a drum and whistles,
which he describes as follows: The hand drum, about 18 inches in
diameter, "consists of a circular piece of skin stretched over one
edge of a hoop of wood, and brought around over its other edge.
The hoop is pierced with holes an inch or more apart; and a thong
passing through these and the skin on the inside and outside of the
hoop stretches the drum. From four opposite points of the hoop,
on the back or bottom, thongs extend toward the center, where
they are fastened together and wrapped with cloth, to afford a

1. Bur. Amer. Ethnol. Bui. 30, part I, p. 491; Ghost Dance Religion^
Bur. of Ethnol. 14th An. Rept. pt. II, 1892-93, p. 653. Wash. 1896I

2. The Arapaho. Amer. Museum of Nat. Hist. Bui. XVII I, pt. 4, pp.
349 ff-

270 NOTES

handle. This bottom, or inside drum, is said to resemble the sacred
wheel, because this is also crossed by two bisecting strings. The
inside of the hoop itself is painted dark green. The under side of
the skin is painted red. The inside of the drum is called haa'tetc
(the ocean). The upper side ... is also painted red and is said
to represent the sun. A large black figure denotes a buffalo-horn;
two smaller black marks about the size of fingers, represent man
and woman." There is also a larger drum, suspended from four
forked sticks, used in certain parts of the ceremony. The drum-
sticks sometimes have padded heads decorated in color, but as a
rule they are simply a piece of wood occasionally wound with cloth
at one end.

"Wooden whistles were made in connection with the Ghost
and Crow Dance. The whistles typical of the older tribal cere-
monies are of bone, often ornamented with a partial wrapping of
blue beads, and usually they have no feathers, other than a single
projecting plume, attached to them. The Ghost Dance whistles
are of wood, considerably larger, painted, often carved in relief
or outline, and ornamented with pendant feathers at the end."
One carved whistle illustrated by Kroeber (p. 351), is painted and
decorated with feathers. "The carving consists of a cross, which
is as usual the morning star, a vertical line from it representing its
course as it rises; above it, the figure of a person with a red upright
head-feather, representing the sun; above this, the thunder-bird.
A straight line issuing from its mouth represents ran; wavy lines
are ightning. Of the colors painted on the whistle, red is the blood
of humanity, blue the sky, and green the earth. The black and
white of the magpie-feathers attached to the whistle represent
clouds; and small plumes dyed red, and attached to these feathers
represent lightning Of the feathers on the whistle, those of the
magpie refer to the thunder-bird, on account of the swift flight of
this bird. The use of a primary wing-feather of this bird further
refers to the flight of the thunder-bird. The blowing of the whistle
when it is used represents thunder.

"Another whistle of wood painted green, is ornamented along
the upper side by a straight line which runs the length of the piece,
and has been painted red and blue. On the other side of the whistle
are four zigzag incised lines. The lines are symbols of roads.
Around the end of the whistle is a strip of otter-skin. From this
band an eagle-feather (stained reddish at the base and ornamented
there with a blue plume), a small barred feather, a few small trimmed
iridescent magpie-feathers much worn, a thong ornamented with
three small wrappings of red quills, and four thongs each orna-
mented with quill-work of one color, and tipped at the end with a

NOTES 271

feather or plume. Two of these quilled thongs are white, one
yellow and one red."

A third form is smaller than the others, free from carving,
painted red, and ornamented with a single large eagle-feather from
which a large section has been roughly cut off.

THE SUN DANCE

This dance, originally one of the great religious ceremonies of
the Plains tribes, was performed by the Arapaho, Cheyenne, Sik-
sika, Ponca, and Omaha of Siouan stock; the Pawnee of Caddoan
stock; the Kiowa; and the Shoshoni and Ute of Shoshonean stock.
Being utterly misinterpreted in official circles it has been for many
years opposed and is now extinct among the Dakota, the Crows,
and the Mandan of the Siouan stock and among the Pawnee and
the Kiowa. The ceremony, which abounds in symbolism, is held
during the summer, when the sun is brightest and among the Sioux
it is an annual event. It is performed, "in compliance with a vow,
generally made during the winter, but which may be made, however,
at other seasons of the year. The vow is in the nature of a pledge,
that the speaker will make provision for the erection of the lodge and
for the proper performance of the ceremony if the Man Above will
grant him his wish in regard to some particular matter. The occa-
sion for such vows differed among the tribes giving the Sun Dance,"
as in the case of sickness, lunacy, or dreams and formerly when an
individual was hard pressed on the warpath.^

" In the majority of tribes one of the most common rites of the
public performance is that of voluntary self-laceration or torture. The
two most common forms were (i) to attach the free end of a reata
that had been fastened to the center fork of the lodge, to a skewer
inserted in the loose skin of the breast, and (2) to drag around
inside the camp circle one or more buffalo-skulls by a reata the
other end of which was attached to a skewer inserted in the back.
In some tribes a small piece of flesh was cut from the arm or shoulder
of the dancer and was offered with tobacco seeds at the foot of the
center pole. The amount of torture performed seems to have been
greatest among the Cheyenne and Mandan. Torture in any form
was not tolerated by the Kiowa; indeed, the appearance of blood

I. Dorsey, Geo. A. Bur. Amer. Ethnol. Bui. 30, pt. 2, p. 649 ff.; Field Co-
lumbian Museum Pub. 75, Anthrop. Ser. IV. Chicago, 1903; Fletcher.
Amer. Ass'n. Adv. of Science, Proc, vol. 31, pp. 580-84, 1882; Pond.
Dakota Sun Dance, Col. Minn. His. Soc. II, pp. 234-38; Lynd, in Col.
Minn. His. Soc. II, pp. 166-67; Dorsey, J. Owen. A Study of the Siouan
Cults. Bur. of Ethnol. nth An. Rept. Peeso. The Cree Indians. In
the Mus. Jour. University of Penna. vol. 3, No. 3, p. 50 ff. 1912.

272 NOTES

at any stage of the ceremony was regarded by them as an ill omen,
and it is said sometimes to have caused the ceremony to cease.

"A form of sacrifice other than torture, consisting in the
offering of the cast-off clothing of children or adults to the lodge on
the last day, was practised by several tribes, especially those of
Algonquian stock."

The dance is held in a roofless or partially covered enclosure
called a "lodge," some 60 or 100 feet in diameter with an opening
toward the east, and an altar with its sand mosaic in the west.
In this dance, the paraphernalia consists of a buffalo-skull, pipe,
prayer sticks, etc., the principal feature being the center pole,
topped with the symbolic "nest of the thunder bird," which repre-
sents the sun or god,— the "Great Mystery," "Great Medicine," or
"Man Above." The musicians, seated about a large drum at the
southern side of the entrance, sing the Sun Dance songs to the
accompaniment of the bone whistle worn by the dancers. Among
the tribes where this dance is still performed it has degenerated
into more or less of a commercial or spectacular performance.

The symbolism associated with the rattle and drum used in
the Sun Dance is described by J. Owen Dorseyi as follows: "The
rattle is the same as that of a medicine man; it is scrotum shaped,
and had its origin from the Pleiades (the seven brothers and their
daughter. Splinter foot Girl), who are supposed to be within the
rattle, and who contain all of the ceremonial songs. It is said that
when the Man Above was awaiting a selection by the people,
Prairie-Chicken offered his body for a rattle. The body is reversed,
the head being the handle. His body contains also the Four-Old-
Men, Sun and Moon. These birds dance early in the morning,
sing songs, and scatter them, as if to dust themselves.

"The large drum used in the rehearsal, and during the singing
in the Offering Lodge, is spoken of as water and is said to come from
the rain clouds. By another informant it is said the drum is the
earth, which is the badger, and the drumstick is the pipe-stem.
The earth represents the female element and the pipe-stem the
male element; in other words, the connection of the people outside
of the Rabbit-pit. The parfleche or rawhide represents the ill luck
or famine and follows everything in the ceremony. It is purified
over incense and thrown among the Dog-soldiers who beat it with
sticks, thus killing it, and so occasioning joy and good feeling
among all and a victory for the Lodge-Maker. As it also personifies
a distressed person, it is raw, plain, not adorned."

I. Dorsey, J. Owen. The Arapaho Sun Dance; the Ceremony of the Offer-
ing Lodge. In Field Columbian Museum Pub. 75, Anthrop. Ser. 4, p. 42.
1903.

NOTES 273

THE CROW DANCE

The Arapaho believe that the so-called Omaha dance origi-
nated with the Pawnees and theOsages. . . . The Omaha brought
the dance to the Sioux. The Sioux brought the dance to the Ara-
paho and other tribes. They brought it in connection with the
tceak'can, a sacred bundle' offered to friendly tribes, and which,
if refused, would cause defeat in war. The Arapaho had the dance
until, at the time of the Ghost Dance, the older limitations as to
the kind and color of feathers and the accompanying regulations were
given up or modified, and the ceremony was called the "Crow
Dance."^

The following is an account in part of a Crow-Dance seen in
September, 1899, among the southern Arapaho: "The dance was
held in a confined camp-circle, near the north fork of the Canadian
River. The dancing-place was in the middle of this camp-circle,
the ground of which was not quite level. Two or three sides of the
dancing-place were surrounded by shelters of sticks and canvas.
The old and middle-aged men sat on the west; the dancers, to the
south and the north of the dancing-place, spectators standing be-
hind them. At the eastern end was the drum. . . . The drum
hung over four sticks; and about eight men sat crowded closely
together around it, singing, and all beating it in unison, with sticks,
the ends of which were wrapped in cloth. In beating the drum,
they moved their entire body."^

THE SNAKE DANCE

The Hopi, sometimes called Moki, are a branch of the Sho-
shonean linguistic stock occupying the six pueblos of Walpi, Mish-
ongnovi, Shumopovi, Oraibi, Hano, and Sichomovi^ on a reservation
in Northeastern Arizona. These people have an elaborate social
organization^ consisting of several phratries made up of numerous

1. A splendid collection of these sacred bundles is shown in the Mus. of
the University of Pennsylvania, Philadelphia, Pa.

2. Kroeber. The Arapaho, p. 363.

3. Idem. pp. 363-364.

4. The spelling of these names varies in different accounts.

5. Every Hopi man or boy is at one time or another initiated into one of
the following four fraternities: Agave (Kwan), Horn (Ahl), Singers (Tatao-
kani), or Wowochimtu (meaning obscure); by this membership he becomes
a member of the Soyal fraternity, which celebrates the winter solstice in
December at the six villages of Oraibi, Shepaulovi, Mishongnovi, Walpi,
Hano, and Shumopovi. A man can belong to any two of the above named
fraternities, but his initiation into one of them is an absolute condition for

274 NOTES

clans, each of which preserves its legends, ceremonies, and para-
phernalia. Of these clans the most important are the Chua (Snake)
people, supposedly the earliest to settle in Tusayan, and the
Lengya (Flute) people. The Snake fraternity was originally
united with the Ala (Horn) people who separated from them in
their southerly migrations and united with the Flute (Lengya)
people as the Ala-Lengya phratry. These two clans, the Snake
and the Ala-Lengya, control the Antelope and Snake fraternities
that possess the fetishes and other paraphernalia of the famous
Snake Dance. This ceremony, which is in reality a prayer for rain,
takes place in the month of August at the time of the ripening corn,
and is held by the Snake and Antelope fraternities in the Hopi
pueblos of Walpi, Mishongnovi, Shipaulovi, Shumopovi, and Oraibi
every two years.

The Snake legend which deals with the origin of the ceremony
"recounts that the children of the union of the Snake Hero and the
Snake Maid were transformed into snakes, hence snakes are re-
garded by the Hopi as their elder brothers and are thought to be
powerful in compelling the nature gods to bring rain. For this
purpose they are set free at the close of the ceremony. The snake
rite is thought to have been originally an observance of the ancient
Snake-clan, which furnishes the chief of the society. The ceremony
is believed to represent an agreement between the Snake and the
Antelope clans to hold joint celebration of their respective rites,
which no doubt conflicted when the clans originally came to live
together."! g^ch of these fraternities has its separate, under-
ground chamber (Kiva) where its priests meet and perform certain
secret rites which continue for eight days preceding the public
dance held on the ninth day. In all, the ceremonies may be said
to cover a period of twenty-four days, which are divided into six
groups of four days each. " The striking features of the complicated
secret rites are the gathering of snakes from the world-quarters, the
making of the sand altar, the snake washing, the snake drama,
and the races which occur on the mornings of the days of the public
'dance' of the Snake fraternity. . . . Two species of rattlesnake
and the bull and the whip snake are carried in the dance. The latter

his membership in the Soyal. To other societies, such as the Snake, Flute,
Marau, etc., even to more than one he may belong, whether he is a member
of one of those four fraternities or not. In this ceremony the dancers wear
bells and turtle-shell leg rattles, also the hoof rattle. The gourd rattle is
carried in the hand and the bone whistle, at certain points in the ceremony
blown in water, is used. They also employ the notched stick with the
gourd resonator, cf. Field Columbian Museum Pub. 55. Anthrop. Ser.
Ill, No. 1, p. 9, March, 1901.
I. Hough. In Bur. Amer. Ethnol. Bui. 30. pt. 2. p. 605. Wash. 1910.

NOTES 275

two are not venomous. The celebrants are rarely bitten by the
dangerous snakes, a fact due largely to careful handling and to the
'herding' to which the snakes have been subjected between the
time when they are gathered and the dance.''^ The picturesque
body painting and ceremonial apparel of the priests are described by
Dorsey and Voth^ in their account of the Mishongnovi ceremony in
1901. The description of the preparation of the Antelope priests
for the public dance is as follows:

"The young and middle-aged men, six or seven in number,
painted their arms from their elbows to their wrists white, and
their shoulders well down on to the breast were painted entirely
white. From these, two stripes were continued on each side of the
median line of the breast. These lines terminated in a band of
white four inches in width, which entirely circled the body at the
waist. The middle of the lower legs to the tips of the toes was
painted white with a band, also white, above and below the knee.

"The old men and the small boys had the extremities of both
arms and legs painted as were those of the middle-aged men de-
scribed. They also had around their waists a band of white, but
from this waist-band passed two zigzag lines which ran up to the
shoulder and then down the front surface of each arm where it
joined the band around the lower arm. in front of each leg was a
zigzag line terminating in a white band above the ankles.

"The chin of all of the priests, including the old, middle-aged
men, and the boys, was blackened with specular iron, its upper
boundary being a white line which passed over the lower tip of the
upper lip and extended from ear to ear. The costume of the Ante-
lope men differed greatly from that of the Snake priests. Around
the waist of the majority of the priests was the ordinary katcina
kilt and sash, both fastened on the right side. From behind and
thrust into the kilt depended a fox-skin.» Around the ankles were
katcina ankle bands and around the left wrist and both legs just be-
low the knees were strands of blue yarn, while over the right shoulder
and passing down under the left arm was a yarn bandoleer. ..."

1. Idem. pp. 604, 605.

2. Dorsey and Voth. The Mishongnovi Ceremonies of the Snake and
Antelope Fraternities. In Field Columbian Museum. Pub. 66. Anthrop.
Ser. III. No. 3. pp. 237, 248.

3. The costume of the Antelope priests bears a strong resemblance to that
of Tlaloc, the Mexican rain god whose sculptured figure appears in the
carvings of the Adoratorio at Palenque. While the Hopi priests wear a
gray fox-skin hanging <"rom the waist, the figure of Tlaloc has an animal
skin hanging from the shoulders and he holds to his lips a tube (flute?) from
which flames issue. Writhing serpents also appear in the background,
cf. Am. Antq. vol. 5, p. =0. 1883.

276

NOTES

The bodies of the Snake priests were blackened with soot from
the bottom of an old cooking-vessel. "The face was also painted
black, with a pink spot on the forehead, while the surface under
the chin was painted white. On the outer upper and lower arms,
the shoulders, the back of the shoulders, the center of the back,
over the navel, and on each side of the breast, was now daubed a
large pinkish colored spot. The legs above the knees were painted
black, while a pink spot was now placed on the outside of the leg
just above the knee. Over that portion of the face which had been
blackened was rubbed specular iron. The costume of the Snake
priests consisted of the tcuvitkuna (snake kilt), the totoriki (bando-
leer), huninkwa (a hollow stick with different kinds of feathers at-
tached to it), the nakwa ita (a bunch of owl feathers and a bunch
of eagle breath feathers, to the tips of which are tied bluebird
feathers), the mashmiaia (arm bands, made of the bark of a cotton-
wood root and worn on the upper arms), a sikahtay pukaat (fox-
skin), suspended behind from the belt, a wokokwawa (big belt),
which is a fringed buckskin sash and a pair of red moccasins with
fringed ankle bands. It should be remarked, however, that in a
few instances the one or the other of these objects was missing.
Each dancer also had a ngtimanmomokpii (meal bag) and a tcuwow-
ahpi (snake whip), and some had wrist-bands of various kinds."
The eagle bone whistle {ta-toyk-pi or totocqpi), the cane flute ter-
minating in a small bell made from the section of a gourd, the
whizzer or bull-roarer {towokingpiata), are used in the early part
of the ceremony, but at the public dance only the disk-shaped rattle
is used and the turtle-shell rattle with pendant hoofs worn by the
Antelope priests attached to the leg below the knee. The rattle is
made by stretching buckskin over a pair of circular disks, painted
white and attached to a wooden handle. This rattle is carried in
the right hands of the Antelope priests and marks the rhythm of
the dance.

"The Snake and Antelope priests form in two lines facing and
sway for a few minutes to the subdued chant of the Antelope chorus.
The weird music increases in volume, the lines undulate like the
gliding of a snake, the chorus grows louder, at intervals rising to a
shout accompanied with a violent gesticulation that makes the
flesh creep. The chant, which portrays the powers of nature and
is of incomparable grandeur, ceases, and the line of Snake priests
breaks up into groups of three — Carrier, Sustainer, and Gatherer —
who dance with halting steps around the plaza in front of the line
of Antelope priests. As each two come before the brush house in
which the snakes are concealed, the Carrier drops to his knees and
receives a snake which he grasps in his mouth and rising dances

NOTES 277

with his attendants circularly around the plaza three times when
he drops the snake on the ground. The Collector picks it up and
this is continued till all the snakes have been so honored, when
they are carried swiftly to the rocks below the mesa and set free to
inform the gods of the need of rain."i At the close of the ceremony
the priests purify themselves with quantities of a prepared drink
that acts as an emetic. "The Snake dance formerly must have
been widely distributed among the Pueblo tribes, as remnants of it
are found at Zuni, Laguna, Acoma, Sia, and Cochiti, and among
other Rio Grande villages. That it was practised in Mexico is
evidenced by a picture in Sahagun's Historia. The Yokuts of
California held a rattlesnake ceremony, Tatulowis, which was sim-
ilar in some respects to the Hopi dance." Stansbury also refers to
certain points of resemblance between the ritual of the Peruvians
and that of the Hopi in his paper on the Peruvian Asterisms and
their Relation to the Ritual.^

A festival similar to the Snake Dance of the Moquis was wit-
nessed by Antonio de Espejo^ at Acoma in 1582. He refers to it as
follows: "Hicieron nos un mitote y baile muy solemne, saliendo la
gente muy galana y haciendo muchos juegos de manos, algunos
dellos artificios con viveras vivas, que era cosa de ver lo uno y le
otro.'*

BIBLIOGRAPHY OF THE SNAKE DANCE

Baxter, Rupert H. The Moki Snake Dance. In American Anti-
quarian, vol. 17, No. 4, Good Hope, 111. July, 1895.

Bourke, Capt. John G. The Snake Dance of the Moquis of Ari-
zona. N. Y. 1884. The Snake Ceremonials at Walpi. In
American Anthropologist, vol. 8, Washington, April, 1895.

Coe, Curtis P. Moqui Snake Dance. In Moqui Mission Messen-
ger, vol. I, Nos. 8, 9.

Dorsey, George A. The Oraibi Snake Ceremony. In Field Co-
lumbian Museum Publication, No. 66, Anthrop. Ser. vol. 3,
No. 4.

Fewkes, Walter J. A Suggestion as to the Meaning of the Moki
Snake Dance. In Journal of American Folk-Lore, vol. 4,
189 1. The Snake Ceremonials at Walpi (assisted by A. M.

1. Hough, Walter. Mss. Notes.

2. of. Congres Internat. Americanistes 14, p. 593. 1904.

3. Relacion, p. 180. Translation. An Indian dance of great solemnity
was held for us in which the participants came out gaily attired and per-
formed many juggling feats, among them a trick with live snakes which
was very wonderful.

4. Bandelier. Paoersof the Arch. Inst. Amer. Ser. MI. pt. i, p. 149, 1890.

278 NOTES

Stephens and J. G. Owens). In Journal of American Eth-
nology and Archaeology, vol. 4, 1894. The Oraibi Flute
Altar. In Journal of American Folk-Lore, vol. 4, 1894. The
Oraibi Flute Altar. In Journal of American Folk-Lore, vol.8.
No. 31, Boston, October, December, 1895. (Notes on Walpi
Snake Dance of 1895.) A Comparison of Sia Tusayan
Snake Ceremonials. In American Anthropologist, vol. 8,
Washington, April, 1895. Tusayan Snake Ceremonies. In
Sixteenth Annual Report Bureau of Ethnology, 1894-1895.
Washington, 1897. Antelope Altar in the Snake Dance. In
American Anthropologist, vol. 10, 1897. The Snake Dance.
In Journal of American Ethnology and Archaeology, vol. 4,
Boston and New York, 1899. Notes on the Tusayan Snake
and Flute Ceremonies. In Nineteenth Annual Report Bureau
of Ethnology, 1897-1898. Washington, 1900.

Garland, Hamlin. Among the Moqui Indians. In Harper's
Weekly, August 15, 1896.

Hodge, F. W. Pueblo Snake Ceremonials. In American Anthro-
pologist, vol. 9, April, 1896.

Hough, Walter. The Moki Snake Dance. Chicago, 1898.

Masillon, C. Lts Indiens Moki et leur danse de serpent. In
Nature, vol. 24. Paris, 1896.

Politzer, J. H. Snake Dance of the Moquis. In the Flerald, New
York, Nov. 11, 1894. Mouthfuls of Rattlesnakes. In the
Examiner, San Francisco, October 21, 1894. The Moqui
Serpent Dance. In Republic, St. Louis, Nov. 7, 1894.
Among the Moquis. In Daily Traveller, Boston, Nov. 7,
1894.

Rust, H. N. The Moqui Snake Dance. In Land of Sunshine,
Los Angeles, January, 1896. Through Arizona's Wonder-
land. In Inter-Ocean, Chicago, July 26, 1896.

Stephen, A. M. Legend of the Snake Order of the Moquis as told
by an outsider. In Journal of American Folk-Lore, vol. i,
1888.

Stevenson, M. C. The Sia. In Eleventh Annual Report of Bureau
of Ethnology, 1889- 1890. Washington, 1894.

Taylor, E. B. The Snake Dance of the Moquis of Arizona. In
Saturday Review, vol. 41.

Voth, H. R. The Oraibi Summer Snake Ceremony. In Field
Columbian Museum Publication No. 83. Anthrop. Ser. 3,
1903.

Anonymous: The Moquis Serpent Dance. St. Louis Republican,
Nov. 7, 1894. Among the Moquis. Snake Dance of the
Moqui Indians, a religious drama and a prayer for rain. In

NOTES 279

Times-Herald, Chicago, October 13, 1895. The Snake Dance,
In Journal, Boston, August 28, 1895. A Moqui Snake Dance.
In Bulletin, San Francisco, Sept. 3, 1895; Evening Sun, New
York, Sept. 14, 1895. Snake Dance of the Moquis. In the
Herald, New York, Nov. 1 1, 1894; Bee, Omaha, Sept. 22, 1895.
An Indian Snake Dance. In Register, New Haven, Sept.
22, 1895. Weird Arizona Snake Dance. In Evening Gazette,
Boston, October 10, 1896; reprinted from the World, New
York. Amid Ancient Moqui Ruins. The Famous Snake
Dance. InTimes, Washington, Sept. 28, 1896. WiththeSnake
Dancers. In Call, San Francisco, January 31, 1896. Moqui
Snake Dances. In Scimitar, Memphis, October 21, 1896.
The Moqui Snake Dances. In Sun, New York, Oct. 4, 1896.
Hideous Rites. In Globe, Utica, October 10, 1896.

THE LENGYA OR FLUTE CEREMONIAD

This is one of the most important, as well as one of the most
complicated, ceremonies in the Tusayan ritual, and like the Snake
Dance, is closely associated with the worship of the elements — sun,
rain, and corn symbols figuring largely in the altars and their acces-
sories. Comparing it with the Snake Dance, Fewkes says: "The
same is true of the Snake Dance; but in both rites the cultus heroes
and clan mothers are special deities to which the supplications for
rain and corn are addressed. This is interpreted as a form of
totemism in which the ancestors of the clan take precedence. The
Sun as the father of all cultus heroes and the Earth as the mother
of all gods, ancestral and otherwise, necessarily form an important
part of the worship, which is traceable throughout both cere-
monies."^ The Flute observance is held at the same pueblos that

1. "In the flute legend we have an account of personages called the Deer
Youth and the Mountain Sheep Youth, who sought the houses of the sun,
one arriving at the hour of the summer solstice, while the other was delayed
until the sun went down in his house at the winter solstice. Wonderful
things were brought about by the use of a flute at that time. It is also
recounted how Tiowa invented the flute, and with it in the underworld
drew a maid to him and took her to the sun house, where she bore him
many children. Possibly the Flute youth and maid effigies represent two
of these ofTspring, especially as they are said to be the first of the Tubic
people, a clan or phratry associated with the Ala or Flute people. Other
clans likewise claim that their progenitors were children of Tiowa (Sun?)
and this maid (Muiyinwu?)."

Muiyinwu is the figure illustrated by Fewkes (Bur. of Ethnol. 19th An.
Rept. 1897-1898, p. 991. Wash. 1900), standing at the left of the Flute
maiden in the altar of the Blue Flute Society.

2. Bur. of Ethno!. 19th An. Rept. pt. 2. 1897-1898, p. 1005. Wash. 1900.

28o NOTES

have the Snake Dance and is celebrated at Walpi and Mishongnovi
on even years, and at Oraibi, Shumopovi and Shipaulovi on odd
years. That is, in 1896, which ends in an even number, Walpi and
Mishongnovi observed a Flute ceremony, and Oraibi, Shumopovi,
and Shipaulovi, the Snake Dance, the arrangement being reversed
the following year. The ceremony extends over a period of nine
days during the month of August, although a minor ceremony is
also held at some of the pueblos during the winter.

In the ceremonies witnessed by Fewkes at Mishongnovi in
1896, the two Flute clans were represented, the Cakwalenya (Blue
Flute) and the Macilenya (Drab Flute). At some of the pueblos
but one of these clans survives. The secret rites of these two organ-
izations were held in the ancestral rooms of the society, not in
kivas, as in the Snake ceremonies. The altars of the two clans
vary in details. In the altar of the Blue Flute clan at Mishongnovi,
described by Fewkes, the reredos had two uprights with a trans-
verse slat of wood at the top; the sides were decorated with rain-
cloud pictures, the usual semi-circular rain-cloud form within a
square outline, — resembling more or less the crude drawing of a
mediaeval castle, — from which depended parallel lines, the rain
symbol. The cross-bar had the semi-circular rain-cloud symbols
and from this were hung four zigzag sticks representing lightning;
these sticks are of the same outline as the serpentine figures that
appear in the sand mosaics of the Snake altar. The base of the
reredos was decorated with symbols representing maize and be-
tween the two uprights a ridge of sand supported a row of small
sticks and slats of wood. Before the altar were placed the statu-
ettes' of the Flute youth, Lentiyo, and maiden, Lenyamana (the
progenitors of the Flute Society), the former represented with a
flute held to his lips; rudely carved wooden effigies of birds; the
so-called flower-mounds of sand from which protruded wooden
sticks with bell-shaped ends, similar in outline to the flutes used
in the Snake Dance, — and other paraphernalia. The personnel of
the ceremony at Mishongnovi was made up of Flute chiefs^ who
wore the white ceremonial kilt with a knotted sash; two Flute
boys; four Flute girls, who were placed one on each side of the two
boys, and carried certain ceremonial objects. The dress and facial
decoration of the girls were identical with those of the Snake maid
in the kiva during the dramatization about the Antelope altar at
Walpi. They wore two white blankets, one as a skirt, the other
hanging from the shoulders, turquoise pendants in the ears, and
several necklaces, and a downy white feather was fixed in the hair
at the crown of the head. The dress of the Flute boys was the same
I. Bur. of Ethnol. 19th An. Rept. pt. 2, 1897-1898, p. 997. Wash. 1900.

NOTES 201

as that of the Snake youth at Walpi; each wore a feather m the
hair and a white ceremonial kilt over his loins, and like the girls
carried certain ceremonial objects in their hands. Besides these
there were standard bearers, a "bearer of the moisture tablet," a
"bearer of the Sun emblem," and a "warrior" who carried a bull-
roarer or whizzer, "which he twirled at intervals."

Of the flute used to accompany the songs that formed a part of
the ceremony at Walpi, Dr. Fewkes says: "The so-called flute
used in the flute ceremony is different from the instrument usually
known by that name, in that the person using it does not blow
across a hole in the side, but across a terminal opening, although
producing the tone by the same mechanical principle. To the
extremity of the instrument is attached a trumpet-like piece of
gourd, which is sometimes painted in many colors. The operator
fingers certain holes along the side of the flute while playing."^
The rhythm of the songs is also marked by the gourd rattles of the
priests, the Flute chief holding the pa-a-ya or moisture rattle."^
At certain intervals also the two whizzers were taken from the floor
and twirled. The music of the Flute ceremonial has been described
by Walter Hough^ as follows:

"To one hearing Indian music for the first time the sensation
was quite novel. The chorus of priests, rattle in hand, sang in
unison before the Flute altar, in a narrow, low room without win-
dows, generally augmenting the volume of sound.

"The time was set by the speaker-chief, whouniformly shook his
rattle eight beats in five seconds for all the songs and for each day's
songs with the accuracy of a metronome. There were three beats
in each measure. The pitch was low, the range limited, and the
deep, vibrant voices seemed to portray the winds, thunder, rain,
the rushing of water, and the elemental forces of nature.

"The notation is chromatic, not possible to be expressed on
any instrument save the violin or the specially constructed flutes
which later accompanied the singing. These flutes marred the
effect of the voices. They were played in unison on the octave
above the voices.

"In the general effect the music is minor, but frequently

1. This is the ordinary Hopi flute made from a tube of cane and finished
with the section of a gourd forming a bell-shaped terminal.

2. The pa-a-ya, or water rattle, consists of four gourd disks attached at
intervals to a rod which is crooked at the end, from which small shells are
suspended. Between the disks hooks are attached on an eagle-wing feather.
The four disks were said to typify the four underworlds. Fewkes. The
Walpi Flute Observance. In Jour. Amer. Folk-Lore, vol. 7, p. 272. ill.
on plate II. 1894.

3. Hough. In Amer. Anthrop. vol. lo, p. 162. 1897.

282 NOTES

major motives of great beauty spring out of dead-level monot-
onous minors. Sometimes a major motive is followed by a minor
counterpart of the same. There is much slurring and an occasional
reduplication comes in with great effect. A number of songs are
monotonous, with once in a while a strong staccato movement.
The closing song was spirited and may truly be called beautiful.
It consists of several legato verses, each closing with a turn, a rapid
vibration of the rattle, and a solemn refrain. In structure and mel-
ody it resembles a Christian hymn. The music reminds one of
the Gregorian chants, and to the listener some of the motives seemed
quite equal to those upon which Handel built his great oratorios.

"The Hopi are noted far and near over the pueblo region as
song-makers. It is a matter of surprise to travelers to find a cheer-
ful, happy, music-loving people amid the arid wastes of Tusayan.

"I have heard the music of both the Zunis and the Hopis and
know of nothing more effective than the singing by the priests at
this time (Flute ceremony). There was something in it which
was different from the ordinary Koko and Katcina music, and yet
there could be no doubt of its aboriginal origin. It was a concert to
which the most cultivated could not take exception. The voices
of the singers were good, and if the flutes did not give the best
accompaniment, the vocal part more than made up for their defic-
iency. Some one who has done me the honor of reviewing my
account of Zuni music has said that this music is strangely enough
not hideous yells or ear-splitting discord. I wish every one who has
not heard the best aboriginal music could hear the songs of the
Flute festival. I know very little about music and have no keen
ear for classical productions, but I found in this Indian singing
much which pleased me. It would be well to judge the musical
capabilities of the Indians by these weird and characteristic songs,
not by imaginary war-cries and discordant noises which form the
basis upon which Indians have too often been criticized."

BIBLIOGRAPHY OF THE FLUTE CEREMONIAL

Fewkes, J. W. A Few Summer Ceremonials at the Tusayan Pueb-
los. In Journal of Amer. Ethnol. and Archaeology, vol. 2,
No. I, p. 108, 1892.

The Ceremonial Circuit among the Village Indians of North-
eastern Arizona. In Jour. Amer. Folk-lore, vol. 5, p. 33,
1892. The Walpi Flute Observances. In idem, vol. 7,
p. 265, 1894. The Oraibi Flute Altar. In idem, vol. 8, p. 265,

1895. The Miconinovi Flute Altars. In idem, vol. 9, p. 241,

1896. Provisional List of Annual Ceremonies at Walpi. In

NOTES 283

Inter-Archiv. fur Ethnog, vol. 8, 1895. The Winter Solstice
Ceremony at Walpi. In Amer. Anthrop. vol. 11, pp. 65,
loi, 1898. The Winter Solstice Altars at Hano Pueblo. In
idem, pp.65, loi. A Group of Tusayan Ceremonials called
Katcinas. In Bur. of Ethnol. 15th An. Rept., 1893-1894,
Washington, 1897. Tusayan Migration Legends. In Bur. of
Ethnol. 19th An. Rept. 1897-1898, pt. 2, Washington,
1900.

THE PEYOTE CEREMONY

The peyote or mescal is a species of small cactus found among
the arid hills of the southwest. The "button" or downy center
of the plant is used for medicinal purposes and is chewed by the
participants of the peyote ceremony, upon whom it produces a sort
of spiritual exaltation. Among the Tarahumare and other Mexi-
can tribes the ceremony consists of a dance, but with the Plains
tribes it is usually performed as an invocation |in cases of illness,
and partakes more of the spirit of prayer and meditation. The
men gather about a sacred fire in the center of the tipi where
prayers are offered, and sacred songs, accompanied by the drum
and rattle, continue from early morning until the following day.
A feast is held at the close of the ceremony, cf. James Mooney,
in Bur. of Ethnol. Bui. 30, pt. 2, p. 237, Wash. 1910.

BIBLIOGRAPHY

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Squier, E. George, and E. H. Davis. Peru: Incidents of Travel and

Exploration in the Land of the Incas. New York, 1877.

Ancient Monuments of the Mississippi Valley. New York, 1848.
Smithsonian Publication.
Stacy, Reid. Some Zuni Ceremonies and Melodies. (In Music Lovers

Calendar, vol. 2, 1906. Published under the auspices of the College

of Music, Urbana, 111.)
Starr, Frederick. Indians of Southern Mexico. Chicago, 1899.

Popular Celebrations in Mexico. (In Journal of American Folk-Lore,
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Notes upon the Ethnology of Southern Mexico. (Reprint from Volume
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Steele, Joseph Beal. Narrative of a Visit to Indian Tribes of the Purus

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Steinen, Karl von den. Unter den Naturvolkern Zentral-Brasiliens.

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Stephen, A. M. Legend of the Origin of the Snake Order of the Moquis as

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Stevenson, Mrs. Tilly E. The Religious Life of a Zuni Child. (In

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BIBLIOGRAPHY 307

Stoll, Dr. Otto. Die Ethnologie der Indianerstdmme voti Guatemala.
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Stubel, A., W. Reiss und B. Koppel. Kiiltur iind Industrie sildamerikan-

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INDEX

NUMERICAL INDEX

GIVING THE PAGE ON WHICH THE DESCRIPTION OF ANY INSTRU-
MENT MAY BE FOUND FROM ITS NUMBER

NO. PAGE NO. PAGE NO. PAGE NO. PAGE

505 — 204 589 — 147 620 — 158 665 — 211

551 — 186 591 — 147 621 — 83 666 — 211

560 — 131 592 — 93 622 — 73 667 — 92

561 — 92 593 — 222 624 — loi 668 — 108
562 — 129 594 — 222 626 — 94 669 — 203
563 — 195 595 — 90 627 — 91 670 — 184
564 — 56 596 — 107 628 — 147 671 — 203
565 — 100 597 — 173 629 — 148 672 — 204

566 — 55 598 — 185 630 — 147 673 — 221

567— 57 599—174 631 — 142 674 — 222
568 — 153 600 — 107 632 — 221 675 — 210
569 — 174 601 — 174 633 — 129 676 — 210
570 — 153 602 — 186 634 — 174 677 — 220
571 — 171 603 — 175 635 — 194 678 — 219
572 — 86 604 — 107 636 — 108 679 — 80
573 — 124 605 — 169 637 — 194 680 — 86
574 — 127 606 — 169 638 — 170 681 — 78
575 — 124 607 — 170 639 — 150 684 — 222
576 — 119 608 — 170 642 — 209 685 — 228
577 — 127 609 — 170 645 — 218 686 — 245

578 — 127 610 — 97 646 — 95 687 — 211

579 — '25 611 — 96 647 — 95 688 — 197

580 — 113 612 — 98 648 — 199 689 — 239

581 — 97 613 — 100 657 — 198 690 — 228

582 — 162 614 — 97 659 — 222 691 — 67

584 — 162 615 — 96 660 — 222 692 — 85

585 — 221 616 — 96 661 — 207 693 — 85

586 — 112 617 — 128 662 — 193 694 — 78

587 — 93 618 — 83 663 — 210 695 — 82

588 — 131 619 — 158 664 — 210 696 — 128

313

314 NUMERICAL INDEX

NO, PAGE

NO. PAGE

699 — 299

742 —

858

785-

829— 38

600 — 239

743 —

786 —

830— 38

701—239

744 —

787-

831- 38

702 — 232

745 —

788 —

832- 38

703 — 230

746 —

789-

833- 38

704 — 240

747 —

790 —

834- 38

705 — 243

748-

791 —

835- 31

706 — 244

749 —

792 —

836— 38

707 — 243

750 —

793 —

837- 38

708 — 242

751 —

794 —

838— 38

709 — 227

752 —

795 —

839- 38

710 — 241

753 —

796 —

1274—197

711 — 240

754 —

797 —

1283—155

712 — 241

755 —

798-

1 284 — 206

713 — 226

756 —

1 1

799 —

1285—237

714 — 231

757 —

800 —

1286 — 237

7«5— 235

758-

801 —

1287 — 237

716 — 228

759 —

802 —

1288— 28

717 — 225

760 —

803 —

1289 — 41

718 — 244

761-

804 —

1290— 39

719 — 245

762 —

805 —

I 29 1 — 22

720 — 245

763-

806 —

1292 — 16

721—245

764 —

807 —

1306 — 27

722 — 244

765 —

808 —

I3II— 4

723 — 230

766 —

810 —

I314 — 211

724— 9

767-

811 —

1315—235

725— 9

768 —

812 —

1347—187

726—173

769 —

8.3-

1348—188

727— 47

770 —

814 —

1351 — i88

728— 6

771 —

8.5-

1352 — 226

729- 8

772 —

816 —

.383- 8

730— 6

773 —

817-

1385 — 124

731— 7

774 —

818 —

1392— 44

732- 8

775 —

819 —

•397- 43

733— 7

776 —

820 —

1398— 43

734— 3

777 —

«3

821 —

1399— 42

735— 48

778-

822 —

1400 — 44

736- 8

779 —

823-

1401 — 75

737— 35

780 —

824 —

1402— 45

738— 45

781-

825-

1403— 42

739— 49

782-

826 —

1404 — 42

740— 49

783-

827-

1406 — 34

741— 49

784-

828 —

1407— 34

NUMERICAL INDEX

315

NO. PAGE 1

MO, PAGE

NO. PAGE

1408 — 34

715—237

"959-237

2059—113

1423— 35

1716 — 238

i960 — 125

2062 — 206

1424— 78

1717 — 238

1963— 97

2064 — 196

1425— 33

1718 — 238

1964 — 167

2065 — 207

1427— 33

1726— 41

1965— 99

2066 — 196

1428— 34

1727 — 205

1967—155

2117 — 238

1429— 34

[732- 18

1968 — 155

2119 — 236

1430— 34

■734- 30

1969 — 161

2136— 47

1431— 31

1735—120

1970—175

2161 — 97

1432— 33

740—194

1971 — 176

2224 — 207

'433- 33

745— 66

1972 — 184

2235— 77

1434— 35

746 — 1 08

1973 — 107

2236— 87

'435— 75

754— 50

1975 — 117

2237— 78

1436— 75

756— 168

1976 — 126

2238— 87

1437 — 221

823— 41

1977— 68

2239 — 80

1438— 34

827— 19

1978 — III

2240 — 67

1439— 33

829 — 50

1979— in

2241 — 81

1447 — 206

830— 28

1980 — III

2242 — 67

1453 — 246

831- 9

1981 — 112

2243— 67

1454—149

832— 28

1982 — 112

2244 — 68

1456 — 100

833— 29

1983 — 112

2245— 78

1457 — 225

834 — 246

1984 — 112

2246 — 67

1461 — 14

835— 42

1985 — 112

2247 — 81

1462 — 12

836— 46

1986 — 112

2248— 86

1463— 13

837- 46

1987 — 112

2249— 67

1491 — 6

838— 16

1988— 112

2250 — 68

1493— 44

839— 29

1989 — 113

2251— 71

1494— 39

840— 45

1990 — 27

2252— 68

1498 — 232

853—223

202 1 — 113

2253— 80

1505—233

939— 77

2022 — 1 14

2254— 79

1506— 68

940— 79

2023 — 1 16

2255 — 80

1509— 33

941 — 70

2024 — 148

2256— 79

1532 — 245

942— 76

2025— 98

2257— 85

1 54 1 — 102

943— 80

2026 — 142

2258— 99

1561 — 50

945 — 199

2043 — 148

2259— 95

1597 — 226

946—195

2044 — 141

2260 — 100

1618 — 245

948— 197

2047 — 204

2262 — 95

1652 — 21

953 — 204

2049 — 211

2263— 95

1653— 22

954 — 204

2050 — 240

2264— 97

1654— 44

955—204

2051—239

2265— 99

1676 — 21

956— 24

2052 — 239

2276 — 149

1713—238

957 — 239

2053 — 226

2365— 17

I7'4 — 237

958 — 239

2058— 118

2376 — 218

3i6

NO.

2377

2378

2379

2380

2381

2382

2383

2384

2385

2386

2432

2495

2506

2547
2548
2549

2593
2594
2595
2596

2597
2598
2599
2600
2602
2605
2606
2607
2608
2609
2610
261 I
2612
2613
2614
2615
2616
2617
2619
2620
2621
2623
2628

NUM ERICAL IN DEX

PAGE

— 217
-198

— 214

— 219

— 212

— 219

— 209
-187

— 69

— 219

— 216

— 205

— 84

— 79

— 70

— 68

— 72

— 66

— 71

— 85

— 5'
24
26

25
25
25
25
24
25
25
25
23
26

84
203

99
96
132

NO.

2629

2630

2631

2632

2636

2673

2674

2675

2676

2677

2678

2679

2680

2681

2682

2683

2684

2685

2686

2687

2688

2689

2690

2691

2693

2696

2697

2698

2699

2732

2733

2734

2735

2736

2737
2738
2756

2757
2758
2759
2760
2767
2771

PAGE

— 127

— 116

— 106

— 212

— 50

— 45

— 23

— 131

— 186

— 72

— 68

— 76

— 70

— 72

— 66

— 71

— 66

— 81

— 215

— 214

— 215

— 223

— 242

— 241

— 100

— 107

— 108

— 168

— 170

— 152

— 16

— 117

— 120

— 223

— 170

— 113
-187

— 176

NO.

2772-

2773-

2774-

2775-

2777-

2778-

2779-

2780-

2781 -

2782 -
2783-

2787-
2788-
2789-
2790-
2791 -
2792-

2793-
2794-
2795-
2802-
281 I -
2814-
2815-
2820-

2821 -

2822 -
2842 -
2847-
2848-
2851 -
2852-

2853-

2856-

2860-

2881 -

2884-

2886-

2887-

2889-

2890

2891

2924

PAGE
-179
-198

— 200

— 68

— 69

— 75

— 7<

— 9«

— 102

— 70
-218

— 223

— 223
-166
-151

— 160
-132
-147
-119

— 212

— 212
-186
-187

— 142
-105

— 220
-213
-186
-188
-188

— 148

— 225
-194

— 74

— 217
-186
-124

— 92

— 74

— 107

NO.
2925

2944
2950
2962

3248

3249

3250

325!

3257
3258

3259
3260
3261
3262
3263
3264
3266
3267
3268

3295-

PAGE

— 108

— 139

— 208

— 23

— 228

— 124

— 123

— 147

— 180

— 120

— 57

— 14

— 135

— 210

— 184

— 141

— 214

— 219

— 215

— 145

— 152

— 151
-138
-138

— 179

— 126

— 123

— 175

— 104

— 1 16

— 83

— 76

— 83

— 8i

— 70

— 76

— 71

— 76

— 187

NUMERICAL INDEX 317

NO. PAGE NO. PAGE NO. PAGE NO. PAGE

3296 — 185 3382 — 214 3464 205 3558 214

3297 — 118 3384 — 216 3465 — 206 3559 — 214
3298- — 127 3386 — 216 3466 — 205 3560 — 226

3299— 78 3387 — 217 3467 — 205 3572— 10

3300 198 3388 — 217 3468 — 206 3573 — II

3301 201 3394 — 154 3469 — 201 3574 — II

3302—199 3395 — 144 3470 — 201 3575— II

3303 — 207 3396— 87 3471—200 3584 — 121

3304—198 3399 — 236 3472—197 3585— 21

3305 — 204 3400 — 236 3473 — 201 3586— 21

3306 — 204 3403—154 3474—197 3587— 21

3307 — 207 3406 — 99 3475 — 196 3588 — 21

3308 — 197 3407 — 166 3476 — 196 3590 — 229

3309 — 196 3408 — 121 3477 — 197 3591 — 228
3310 — 206 3412 — 22 3478 — 197 3592 — 227
3311—205 3413—23 3483 — 217 3593 — 228

3312—200 34'4— 23 3484 — 217 3594 — 233

3314—120 3415—23 3485—217 3597—172

3315 — 201 3416 — 24 3486 — 215 3598—124

3316 — 193 3418 — 26 3487 — 215 3604 — 218"

3317 — 193 3419 — 26 3491 — 149 3605 — 218

3318 — 195 3420 — 24 3492 — 152 3606 — 218

3326 — 129 3421 — 26 3511 — 246 3607 — 218

3327 — 208 3422 — 26 3519 — 217 3608 — 218

3328 — 208 3423 — 239 3521 — 119 3609 — 218

3329 — 208 3424' — 236 3524 — 244 3610 — 214

3330 — 208 3425 — 236 3534 — 141 3615 — 141

3332 — 198 3426 — 240 3535 — 159 3620 — 203

3333 — 198 3427 — 240 3536 — 160 3621 — 246
3341—171 3428 — 239 3537—167 3622— 13

3342 — 171 3429 — 241 3538 — 160 3623 — 13

3343 — 172 3430 — 236 3539—157 3625— 30

3344 — 101 3431—235 3540-155 3626—141

3345 — 108 3432 — 235 3541 — 126 3627 — 42
3346-139 3433 — 235 3542 — 217 3650—22
3361—232 3434 — 239 3543 — 216 3655 — 171
3362—231 3442 — 91 3544 — 216 3657 — 26
3363—227 3443— 91 3545—217 3665—237
337c— 14 3444—91 3547—187 3666—113

3371 — 126 3460 — 206 3554 — 218 3667 — 162

3372 — 180 3461 — 209 3555 — 214 3668 — 128
3380 — 216 3462 — 209 3556 — 215 3675 — 116
^381 — 214 3463 — 206 3557 — 216

INDEX

Abnaki Tribe, 162

Acocotl, 63

Acorn Lipper, 175

Ade aghal, 1 54

Adidlol, 120

Adok, 15

Aeolian Harp, 243

Africa

Stringed Instruments, 16, 243
Wind Instruments, 109
Vibrating Membranes, 138
Sonorous Substances, 184, 168,
179. 243

A-ga-shak, 94

Aghal aghal, 1 54

Agong, 24

Aht Tribe, 81

Ah-yah (Ai-ya), 169, 170

Akhal aghal, i 54

Akheshga aghal, 1 54

Algonquian Family

Wind Instruments, 109-1 11,113,
1 14, 115, 1 16, 1 17, 128
Vibrating Membranes, 129, 141,
142, 145, 146, 149, 151, 152
Sonorous Substances, loi, 157,
162, 167, 168, 172, 173, 180

Alibamu tribe, 128

Al-te-qiia-hi, 1 58

Ambnuba, 23 1

American Folk Instruments, 185-188

Angklang, XV, 10, 1 1

Angklung. See Angklang, 12

Angkoeng. See Angklang, 12

Antara, 234

Apache, 264

Apache Tribe, 88, 105-109, 120, 123,
124, 126, 127, 138, 141, 149,
151, 154, 155, 176, 177

A-pagola, XVII

Aping, XVI, 21

Arapaho Tribe, loi, 109, 129, 136,
162, 180

Area, 240

A r ghoul, 235

Armadillo Guitar, 194

Arpa, 28, 29, 260

Asa'beltga^hi, 135

Asa'dad'estl'o, 135

Asia

Stringed Instruments, 16
Wind Instruments, 8, 18, 19,
40, 48, 60, 85, 109, 225
Vibrating Membranes, 138
Sonorous Substances 35, 181,
184, 231

A-tchi-a-kwe-a-wa tchi-mon-ne, 166

Athapascan Family

Stringed Instruments, 105-109
Wind Instruments, 109, 120,
123, 124, 126, 127
Vibrating Membranes, 129, 132,

'35. 138, 139. >4i. 144. "45.

149, 151, 154. 155

Sonorous Substances, 101, 176,

177, 179
Aiidir, 46
Aisa'iol, 86
A-wuvu, 48
Axacaxtli, 203
Ayacachtli, 189, 191, 213
Ayani aghal, 1 54
Ayarichic, 234, 235
Aztecs, 62, 63, 196, 199

Babaling, 46
Baghal, 154
Bagpipe, 79

3'9

320 INDEX

Balalaika, 56
Bandoline, 194
Bandore, 185
Banduria, 23, 24
Bangsi, 8, i 5
Banjo, 185, 186, 187
Banjore, 185
Bannock Tribe, 176
Barinibo, 26
Basket Drum, 132
Baton. 102
Bear Totem, 69
Behaling, 46
Bedoeg, 10

Beet' SOS, 86 '^

Beilabelja Tribe, 82, 87
Bells

Bolivia, 241

Borneo, 21

Java, 13

Mexico, 204, 205, 207, 208, 209

Peru, 239, 240

Philippine Islands, 26
Benong, 5
Benta, 263
Berbaltng, 46
Bereck hah, 131
Bibe-gwon, 123
Biho, 30
Bzo/fl, XVI, 14
Bismarck Archipelago

Stringed Instruments, 42

Wind Instruments, 42

Vibrating Membranes, 44

Sonorous Substances, 44
Bitci, 122

Blackfeet Tribe, 142, 169
Blikan, XVI, 16
Bolivia

Stringed Instruments, 240

Wind Instruments, 240

Sonorous Substances, 241
Bomba, 241
Bonang, 5

Baroeng, 13

Penemboeng, 13

Peneroes, 13
Bone Clappers, 188
Bone Whistles, 86, 109, 110, iii,

112, 113, 116, 124, 214, 227, 276
Bora, 46, 178
Borneo

Stringed Instruments, 15

Wind Instruments, 18

Vibrating Membranes, 20

Borneo

Sonorous Substances, 2 1
Box Drum, 102
Brazil

Stringed Instruments, 242

Wind Instruments, 244

Vibrating Membranes, 246

Sonorous Substances, 246
Breath Feather, 1 15
Bribbun, 45
British Guiana

Wind Instruments, 227

Vibrating Membranes, 229

Sonorous Substances, 230
Buebalabala, 38
Bull-roarer

Africa, 178

America, 122, 176, 178, 179,

180, 276, 281

Australia, 43, 178

Greece, 178

New Guinea, 30

New Zealand, 178

Sumatra, 15
Bumhuni, 263
Buncacan, 30
Buzzer, 180

Cacha, 221
Cache, 2 1 3
Caddoan Family

Vibrating Membranes, 139

Sonorous Substances, 165
Caja, 240
Calliope, 187
Camalpa, 194, 260
Caracasha, 245
Caracol, 202
Caramba, 264
Carimba, 213, 264
Cecoq, 94, 97
Celebes, 22
Central America

Costa Rica, 212

Guatemala, 210

Honduras, 21 1

Nicaragua, 212
Ceremonials. See Dances
Chaco Indians, 246
Chanares, 233
Chan-caa go-okowan, 130
Chan-changa-wipoya-s' a, 1 30
Chan-changa-iuga, 130
Charra, 184
Chaurara, 235

INDEX

321

Chayna, 63, 233

Charango, 244

Chau-i-ya-jung-uk, 94

Chau-i-yuk, gi

Cha-yakh (r), 91

Chegah-skah-hdah, 150, 173

Chelempung, XV, 4, 5

Cheyenne Tribe, 114, 153, 169, 271

Chilchil, 213

Chhilchiles, 233

Chichicouas, 136

Chichigouane, 161

Chichikoue, 161

Chickiqnois, 161

Chile, 241

Chimmesyan Family, XIX, 56, 65,

Sonorous Substances, 96-99
Chinookan Family, 161
Chippewa (or Ojibwa) Tribe, 125,

141, 142, 145, 146, 151, 152,

167, 168, 172
Chirimia, 182, 192, 225
ChiTimova,2\^
Chirula, 266

Cholo-Quechua Indians, 233
Chon-che-a-ha, 131
Chorote Indians, 137
Choionka, 61

Chotonka-chania-ki-yapt, 1 27
Chul, 2 1 3
Churinga, 46
Churu, 235
Cici'gwan, 149, 151
Cither, 243
Cittern, 55

Clallam Tribe, 102, 145
Clappers, XX, 22, 29, 94, 188, 239
Claracarsha, 184
Clarinet, 84
Classification, 58, 249
ClifT Dwellers, 177
Coc, 2 1 1
Cocoloctli, 189
Cocopa Tribe, 166
Cocoon Rattle, 175
Colo, 264
Colombia

Wind Instruments, 225

Sonorous Substances, 226
Comanche Tribe, 88, 167
Conch-shell Trumpet, XX, 25, 34
Concow Tribe, 1 17
Cora Tribe, 105, 261, 262
Cornstalk Fiddle, 187

Costa Rica

Stringed Instruments, 212
Wind Instruments, 214
Vibrating Membranes, 219
Sonorous Substances, 220

Courting Flute, 61

Cornet, XVI

Cowunhegun, 160

Co-ya-tanka, 1 1 1

Cqueppa, 237

Creek Tribe, 148

Cuba

Vibrating M£mbjranes,^2i
Sonorous Substances, 22>>>^2>'

Culang, 26

Cup mouthpiece types, 109

Cuyvi, 233

Dalles Tribe, 161
Dances

Arawak Indians, 232

Bear, 183

Buffalo, 140, 158

Crane, 1 18

Crazy, 153

Crow, 1 15, 270

Deer, 134

Devil, 131

Dog, 119, 153, 173

Fire Ceremony, 145

Flower, 145

Flute Ceremonial , 179, 279

Ghost, 88, 115, 143, 180, 269,

270

Great Feather, 156

Green Corn, 158

Mexican, 200, 202

Micmac, 160

Northwest Coast, 257

Pinon, 172

Snake, 157, 166, 169, 171, 172,

176, 177, 178 , 273, 280

Star, 133

Sumatra, 15

Sun, 1 13, 1 14, 154, 271

West Indian, 222

Wichita, 105

Woodpecker, 145

Zuni, 157, 166
Dakota. See Siouan
Daraboukkeh, 138
Darubiri, 30

Delaware Tribe, 134, 157
Demong, 5
Dew-claw Rattle, 100, 173

322

INDEX

Dilni, 120

Dimuggemuck, 46

Dja sakid, 1 5 1

Djekayue'ta, 94

Djimpai, XVI, 16

Djin-kaqueta, 94

Djin-kaxcta, 94

Djoering, 15

Do/z, 10

Double-beating reeds, 1 5, 77

Drums, XVII, XX, 125

American Indians

Northwest Coast, 87-94
United States, 129-149

Bismarck Archipelago, 44, 45

Borneo, 20, 2 1

Brazil, 246

British Guiana, 229, 230

Costa Rica, 219

Fiji Islands, 41

Guatemala, 210, 211

Java, 9, 10

Mexico, 189, 201, 208

New Caledonia, 40

New Guinea, 28, 29

New Hebrides, 39

New Zealand, 51

Philippine Islands, 26

Sumatra, 15

Ebero, 46

Eeh-na-de, 131, 155

Eeh-tech-ka, 140

Engkruri, 19, 20

Ensuling, 18

Eskimauan Family, XIX

Stringed Instruments, 56
Vibrating Membranes, 88, 90,

Sonorous Substances, 99, 100,

loi, 179
Europe

Stringed Instruments, 56, 266

Wind Instruments, 43, 84, 109,

182
Excoletes, 213

Fiddle, 105, 187
Flageolet, 182
Flote Cocolodli, 201
Flute Legend, 279
Flutes and Whistles
American

Indians, Northwest Coast,

66 ff.

Flutes and Whistles

Indians, United States, 109
Bismarck Archipelago, 43
Bolivia, 240
Borneo, 18
Brazil, 244
British Guiana, 227
Celebes, 22

Ceremonial, 110, 179, 279
Chile, 241
Chinese, 18
Colombia, 225
Costa Rica, 214
Courting, 1 10
Fiji Islands, 41
Guatemala, 210
Human bone, 51
Java, 22

Mystery, 123, 124
New Caledonia, 40
New Guiana, 27
New Hebrides, 36
New Zealand, 50
Nicaragua, 212
Nose, XVII, 7, 18, 40, 48, 50,

Peru, 235

Philippine Islands, 24, 26

Sandwich Islands, 48

Solomon Islands, 32, 33, 34

Sumatra, 15

Transverse, 15, 24, 27, 34, 40,

43. 243

Vertical, 18, 22, 32, 33, 36, 37,

120, 123-127, 236, 245

Warbling, 121
Folk Instruments

Stringed Instruments, 185

Wind Instruments, 187

Sonorous Substances, 188
Foon, 48
Fusa, 240

Ga-di-so-liu, 104
Gad-sta-wen-drah, 1 58
Galevu Kauhaumumu, 32

Ngungu, 31

Soniruka, 32
Gama, 29
Gambang, 5
Gamhang Gangsa, 4, 14

Kayu, 4, 12, 14
Gambas, 16
Gamelan, 4, 5, 8, 9, 12, 13, 14

Choro Bali, 5

INDEX

323

Catnelan

Goedjin, 5

Kodak Ngorek, 4

Manggang, 4

Miring, 5

Pelog, 4, 3, 8, 12, 14

Sakaten, 5

Salendro, 4, 5, 8, 9, 12, 14
Gandang Boeloe, 1 3
Gandang. See Gendang.
Ga-no-go-o, 141
Ga-no-jo-o 141

Ga-non-gah Gasda-we-sa, 139, 160
Garadap, 1 7
Garoede, 20
Garoeding, XVI
Garsitig, 8

Gasnonk Gasda-we-sa, 160
GflM, 90

Ga-udjau, 90-95, 103
GflM Pz7z Pz7j, 32

Gendang, 13, 20
Gender, 3, 14

Barang, 14

Baroeng, 14

N^w, 14

Penemhoeng, 14

Peneroes, 14
Genggong-sakai, 30
Ghost-dance, 88, 113, 143, 180,

269, 270
Giriding, 2 1
Gissang, 8
Gongs

Borneo, 21

Java, 5, 13

Philippine Islands, 26

Solomon Islands, 35
Gor^, 36, 37
Go/. 5^e Eagle Clan
Gourd Banjo, 183
Gourd Mandoline, XX, 187
Gourd Rattle, 123, 166-170
Gourd Trumpet, 109, 243
Gros Ventres Indians, 173, 180
Guendang, 3

Guiro, XXI, 183, 204, 221, 222
Guitar, XVi, XXI, 23, 47, 37, 193,

212, 243
Gulieng, 18
Gyo, 181

Ha-hai-shim, 104, 259, 266
Hah-whoothes, 152

Haida Indians, 36, 65, 68, 69

Wind Instruments, 68-70, 73-

Sonorous Substances, 94, 97, 9?
Hako Ceremony, 166
Half-stopped Pipes, 72, 73, 76
Hamatsa Tribe, 73
Hano, XVI II, 48
Hanska-hiigo-kah-ho-kah, 150, 174
H arch ah, 6
Harp

Brazil, 242

Central America, 210

Mexico, 193

Philippine Islands, 22, 23
Harpa, 193, 260
Hateikuucan, 180
Hati-ku-tha, 180
Hda-hda-siuta-hada, 1 50
He-ha-kha-io-io, iii, 119
He koanan, 3 1
Hippocampus, 37
Higun guky, 1 14
Hna-hna-io-io, 1 19
Hokea, 23 1
Hokeo, 30

Ho-ko-na-ma-na, 169
Horn, 213

Hoof Rattle, 100, 138, 173, 274
Hool, 263

Hooyeh. See Raven Clan
Hopi or Moki Tribe, 101, no, 121,

122, 132, 147, 138, 162, 166,

167, 170, 179, 180, 182, 184,

273
Horns

Brazil, 245

New Caledonia, 40

New Guinea, 27

Philippine Islands, 24, 25
Htagano, 94
Huancar, 233, 234
Huancartinya, 234
Htiaylla, 233
Huayra-puhura, 233, 236
Hue'huetl, 200, 202, 203, 213
Huek'oa, 66

Huichol Tribe, 105, 181, 260
Huitiil, 191, 192
Huitiilopochili, 201
Hula. XVI 11, 49
Hula Drum, 49
Hulahula, 49
Hula ka laau, 49
Hupa Tribe, 144, 145

324

INDEX

Iaten, 94, 95

Imigluti (im-ig-luk-ta), 179

Impai, 17

Inverted double reed, 81

Ippaki-ni, 85

Ira, 240

Iroquoian Family

Wind Instruments, 109,126-128
Vibrating Instruments, 88, 141
Sonorous Substances, 156-158,
160, 167, 168, 184

Jaina, 63

Jamamamadi Indians, 100
Jaranita, 193, 194
Java

Stringed Instruments, 3-7

Wind Instruments, 7-9

Vibrating Membranes, 9

Sonorous Substances, 10
Jemez Tribe, 158, 182
Jews' Harp, XVI, XVII

Borneo, 21, 22

Bismarck Archipelago, 45

Fiji Islands, 41 ,

Java, 14

New Guinea, 30

New Zealand, 51

Philippine Islands, 26

Solomon Islands, 35
Juco, 213
Juk-jang-go, 23 1
Jul, 195

Kaba, 28, 29

Kachapi, 3, 4

Kaekeeke, 49

Kah-to-to-hay, 174

Kaigani Tribe, 69

Kai-ye-ye, 175

Ka-ka-a-wen the-la-kwi-we, 1 58

Ka-ka-a-wen tchi-mon-ne, 166

Kalah, 35

Kalove, 31, 47

Kang tung, 109

Kasapi, 16

Katambong, 2 1

Katana, 170

Katchawa, 166

Kaur, 36

Kecher, 5

K'el-hitaga'ngo, 97, 98

Keluri, 19

Kelyau, 95

Kelyaut, 93

Kampoel, 5

Kena-kena, 235

Kendang, 5, 9

Kenong, 5

Kentun, 89, 90

Keresan Family

Wind Instruments, 121
Sonorous Substances, lot, 167

Kcrilong, i 5

Kesapi. See Ketjapi

Ketipung, 5

Ketjapi, XV, 3, 4, 10, 15

Kettle-drum, 125, 138, 139

Ketuk, 5

Keionta-hoka, 1 50

Khore, 36

Ki-gu-i-lu-li-ag-i-ag-ok, 56, 57

Kigulu, 3 1

Kilaut, 89, 90

Kilowty, 90

;<'w-A;o, xvni,48

Kiowan Family, 88, 164

Kiringhic, 208

Kis-wih-na-k' ia-te-la, 137

Klamath Tribe, 176

Kleddi, 19, 20

Klurai, 19

K'oak'omolakula, 66, 82

Kodili, 30, 106

Koh'lo, 264

K'ojon, 21 1

A'o^fl cancega, 131

Kol-chai-ak, 101

A'0/0, 265

/Co/oi'e', XVII

Koluschan Family, XIX, 63, 65
Stringed Instruments, 55-58
Wind Instruments, 83
Vibrating Membranes, 90, 91

/("owj? c^o^, 35

Koollia), 265

/<'o5, 66

A'o-^a, 1 01

Koulin-iaugau, 21

/Cwe", 38

Kowelniss, 23 1

Krena, 225

Krilaet, 90

Kromo, 5

Kromong, 5

Krummhorn, 79, 109

/Cwa quateni, 95

Ku-ku-mi-agach-shun, 66

Kulanapan Family, 104

Kulepa ganei, XVI 11, 44

INDEX

325

Kumpul, 5
Kut-hoi-yeh, 90
Kwakiutl Tribe

Wind Instruments, 65, 72, 74,

75,87

Vibrating Membranes, 90

Sonorous Substances, 94, 95,

102

Lacandone Tribe, 137, 263
Lain-ah, 121
Lakat, 1 01
La-la-kanti, 132
La/ii, XVil, XVIII, 41,42
Lateral retreating reeds, 84
Lena-ka-chin-tihu, 122
Lepos-le-qua-be, 158, 170
Li-ba-li-ha-ba, 175
Linguistic Families, 251
Lira, 82
Lunut, 44
Lute, XV

Macaroni, 21 1

Machichiquois, 161

Macuil-xochitl-xochi-pitti, 205

M adwawechegance, 146

A/az, 37

Maidu Tribe, 115, 176, 260

Mai-ya, 137, 202

Makah Tribe, 81, 90

Makkoriaa, 88

Mam-ma-lie, 46

Mandan Tribe, 131, 140, 155, 271

Mandoline, 187

Maori Flute, XVI 11, 34, 50

Maricopa Tribe, 134

Marimba, 211, 223, 243

Marimbachi, 264

Mariposan Family, 176

Marouvane, XV, XVI, XX, 15

Maruga, 183

Maskoki Tribe, 148

Masset Tribe, 85, 86

Mawahellis, 105, 264

Maya Indians, 137, 263

Maia-rhda-rhda-bda-bda, 150, 174

Maia-hda-hda, 150

Mbi-ta-ni-tanga, 40

Medicine Man. See Shaman

Meijiwi^, 19, 109, 225

Menatse, 90, 95, 103

Menomini Tribe, 1 5 1

Mescal Rattle, 164

Metses, 65, 66

Mexico

Stringed Instruments, 193
Wind Instruments, 195
Vibrating Membranes, 201
Sonorous Substances, 203

Micmac Indians, 128, 149

Mide Ceremony, 146, 151

Midewigan Ceremonial, 146

Mijue Mijue, XVI, 14

Mike, 35

Mirambura, 46

Mission Indians, 100, 109, 111-113

Mitchichigouane, 161

Mitigwakik, 139, 146

Mittigwukeek, 125

M'kul, 208

Mi wok Tribe, J76

Mixes, 137

Moki Tribe. See Hopi

Moko moko, 1 3

Moose Call, 128

Mo-sha-yes-ai-ya, 158, 170

Mo-si-li-li, 122, 170

Mouth Organ, 19, 20

Muet, XX, 243

Mu-shi-la, 170

Muskhogean Family

Wind Instruments, 109
Vibrating Membranes, 148

Musical Bow, XVII, XVI II, XX,

258

Brazil, 242, 263, 264

Central America, 212, 264

Formosa, 104

Guatemala, 264

Lencas, Honduras, 263

Mexico, 189, 190, 194, 264

Mosquitia, 264

New Hebrides, 36, 264

Nicaragua, 264

North American Indians, 104,

258

Patagonia, 264

Sandwich Islands, 47, 48

San Salvador, 264

Solomon Islands, 30, 31

South America, 264

Yucatan, 264

Mystery Flute, iii, 123, 124

Nacaltquauitl, 191
Nafiri, 8
Najojh, 101, 155
Nakaantan, 180
Nambe Tribe, 148

326

INDEX

Napo-kashka-ia-sake, 1 50
Napo-kashka-yu-dhe, 150, 174
Napo-shampidah-hah, 150, 175
Nau'alag, 65
Navaho Tribe, lor, 109, 120, 132,

•33. '34. 135. 139. >54. «77. >79
Nfz, 60
Nff^, 35
N ex-no, 65
Nez Perces, 101
Nguru, 50
Nipagahiman, 152
Nodiwu, 178
Nootka Tribe, 66, 67, 81
Nose Flute

Fiji Islands, 41

Java, 7

Hawaii, 48

New Caledonia, 40

New Zealand, 50, 51
Notched-stick Rattle, XXI, 134,180-
185, 189, 203
Nulla nulla, 88
Nushagagmiut Tribe, 93

Oboe, 84

Ogh-tum, 131

Oglala Tribe, 113, 118, 127

Ohe-hano, 48

Ojibwa. See Chippewa

Oolalla, 74

Ollita, 213

Omichichaua^ili, 189, 191

Omaha Tribe, 105, 163

Omitl, 191

Oneida Tribe, 126

Onio-sa-ka-sta-we-sa, 168

Oolomba, 46

Open Pipes, 73, 77

Ophecleide, 84

Orang bukii, 3 1

Osage Tribe, 161, 171, 273

O^ee, 40

Oiomatl, 205

Pa-a-ya, 122, 170, 281
Pachaquatl, 191, 193
Pagola, 3 1
Paha hula, 23 1
Pahu, 49

Pa-hut-a-saka, 153
Pa Ipu, 50, 23 I
Paiwari Feasts, 230
Pa-len-a, 122
Paloea, 15

Pam-pu-ni-wap, 184

Pandurina, 240

Panpipes, XVI, XVII, XVIII

Bismarck Archipelago, 42

New Hebrides, 38

North America, 187

Solomon Islands, 31-33

South America, 240, 241
Papago Tribe, 121, 123, 124, 125
Passamaquoddy Tribe, 156, 157
Patcikyopi, 180, 184
Patola, 3

Patshal. See Potlatch
Pattala, 10

Pawnee Tribe, 139, 273
Paihuta-saka, 1 50
Pe-hda-hda, 150
Pen-ahh, 231
Penneros, 5
Penobscot Tribe, 162
Pih-be-gwun, 1 10, 125
Piman Family

Stringed Instruments, 261, 262

Wind Instruments, 121, 123-

125

Sonorous Substances, 134, 159,

166, 168
Pincollo, 233, 234
Pipigwon. See Pih-he-gwun
Pito, 199, 203, 213, 225
Pochette, 244
Pokonchi, 2 1 1
Pomo Tribe, 104, 120
Poo-do-parana, 244
Poo-ma-ka, 90
Poo-min, 90
Poongi, 225
Posuru, 104
Potlatch, 66, 255
Pottery Drum, 135, 136, 138, 222

Rattle, 171, 205-209, 222

Trumpet, XXI, 237, 246

Whistle, 195-203
Psaltery, XV, 3, 4
Pueblo Indians, 105, 147
Puepava, 38

Pu Hi, 49

Pujunan Family (Maidu)

Stringed Instruments, 105, 260
Pulik, 48
Puniu, 48
Pupu galaga, 31, 33
Pupu horu, 31, 33
Pur-pi-shuk-pi-po-ya, 147
Puiorino. XVIII, 50

INDEX

327

Putura putura, 34
Puiutii, 245
Putu, 32

Qaiyum, 137
Que-goot, 124
Qiunaquena, 234
Quena, 234, 240
Qiiepa, 234
Qiie^al-coail, 206
Quijonga, 212, 213, 264
Quill Rattle, 161
Qiiiquiiili, 189
Quinque cahue, 266
Quinque caline, 266

Rabeljo, 244
Radoh, 15
Radyok, 104
Ranat, 10
Ratok, 104
Rattles

Bismarck Archipelago, 44

Borneo, 2 1

Central America, 211, 220

Mexico, 189, 203-209

New Hebrides, 39

North America, 123, 125, 149-

184, 188

South America, 226, 230, 232,

233, 240, 246

West Indies, 221-223
Raven Clan, 56
Reha, 6

Rebab, XV, 5,6, 13, 15
Rebat, 6
Rebana, 15
Reed pipes

Arabia, 19

Borneo, 19

China, 15

Double-beating reeds, 77

Egypt, 19, 82

Europe, 79, 84

Fiji Islands, 41

India, 1 5

Indians, Northwest Coast, 77-

United States, 109, 128
Inverted double reeds, 81
Lateral retreating reeds, 84
JVIechanically blown, 87
Retreating reeds, 81, 82, 84
Ribbon reeds, 86, 109
Single-beating reeds, 80

Reed pipes

Terminal retreating reeds, 82
Twin terminal retreating reeds,
83

Rhombus, 176, 177

Rikua, 159

Rodiung, 22

Rudieng, XVI, 22

Rura, 37

Safe. XVI. 16

Sah-we-goot, 123

Salishan Family, XIX, 145

Salompret, 8

Sam-po-na, 195

Sanja, 240

Sapakwilla, 74

Sapeh, 16

Sawn, 5, 12

Sawn allele salendw, 12

demoeng, 12

demoeng salendro, 12

Peking, 12

Peking salendro, 12

selento, 12

ijeloering, 12
Sauks and Fox tribes, 128
Saiong, XVI, 15, 16
Schalmei, 43
Selantan, 5
Seneca Societies

False Face, 160

Grand Medicine, 167

Women's, 156
Seneca Tribe, 126. 141. 156. 157,

160, 167
Serdam, 1 5
Serdum, 8
Sernei, 16
Sewene, 15, 18
Seroendam, 1 5
Serunai, XVI, 17
Shakee-icha-koka, 1 50
5/)^^ 5/;a/t, 233
Shakuhachi, 60
Shahaptian Family (Nez Perces)

Sonorous Substances, loi
Sha-quoi-a-ya-ka-ch-na, 170
Shastan Family, 1 17
Shell Rattle, XVII
Shell Trumpet, 25, 34, 202
She-sha-gwan, 155
She-she-gwun, 123
She-shee-quoi, 150, 155
Shi'shi', 154

328

INDEX

Shi sha, 94

Sho. XVI

Shoh-k' on-ne , 121, 122

Shoshonean Family, XIX

Wind Instruments, 1 1 1, 113, 121
Vibrating Membranes, 129, 142
Sonorous Substances, 176

Shugh, 161

Shukk-shukk, 161

Sia Tribe, 167

Signal Drum, 10, 42

Silinguit, 18

Single-beating reeds, 80, 109

Siouan Family

Wind instruments, 109, 113-
116, 1 18-120, 124, 127, 128
Vibrating Membranes, 130, 131,
140, 142, 145, 150, 152, 154,

155

Sonorous Substances, 171, 173,

'74
Sisa, 94
Sistrum, 168
Skaga shi-sha, 94, 96
Sk-a'-na, 64, 65
Skidi Pawnee Tribe, 139
Skittagetan Family, XIX

Wind Instruments, 65, 68, 69,
70, 73-82, 84-87
Vibrating Membranes, 90
Sonorous Substances, 94, 97, 98
Sobaipuri Tribe, 121
Social Organizations, 65
Socling. See Souling
Sohe-de-dan, 94, loi
Sona, 1 5

Sonorous Substances
America

Central America, 62, 210
Costa Rica, 220
Guatemala, 21 1
Honduras, 211
North America

Eskimo, 99, 100, loi, 179
Folk Instruments, 188
Indians, Northwest Coast,
94-103, 159
Chimmesyan
Tsimshian, 96, 97, 98,

99 ^,. .

Koluschan or Tlmgit, 99,

100, lOI

Salishan
Clallam, 102
Shuswap, 159

Sonorous Substances
North America

Skittagetan or Haida,94,

97, 98, 103

Wakashan, 95

Kwakiutl, 95, 99, 102,
103

Nootka, 95, 96, 97, 100
Indians, United States, 155

Algonquian
Abnaki, 162
Arapaho, 101, 162, 180
Chippewa or Ojibwa,
167, 168, 172
Delaware, 157, 160
Passamaquoddy, 1 56,

157

Athapascan

Apache, 176, 177
Navaho, loi, 177, 179

Caddoan

Pawnee, 163, 166

Chinookan
Dalles, 161

Iroquoian
Cherokee, 158
Seneca, 156, 157, 160,
167, 168
Tonawanda, 156

Keresan, loi
Sia, 167

Kiowa n, 164

Moquelumnan
Miwok, 176

Piman, 168

Pujunan
Maidu, 176

Shahaptian

Nez Perces, loi

Shoshonean
Bannock, 176
Comanche, 167
Hopior Moki, loi, 158,
162, 166, 169, 170, 179,
180, 182, 184
Utes, 177, 183, 184

Siouan, 173, 174, 175
Omaha, 103, 163, 173
Osage, 161, 171
Yankton, loi, 173

Tanoan
Tewa, 171

Yukian, 173

Yuman
Cocopa, 166

INDEX

329

Sonorous Substances
North America
Zunian
Zuni, 158, 166, 167, 169,
170, 177
Mexico, 1 01, 171, 203-209
West Indies
Cuba, 221

Porto Rico, 222, 223
South America
Bolivia, 241
Brazil, 100, 246
British Guiana, 230-233
Colombia, 226
Paraguay, 101
Patagonia, 161
Peru, 239
Venezuela, 226
Oceanica

Australia, 45
Malaysia

Borneo, 21, 22
Java, 10-14
Philippine Islands, 26
Melanesia

Bismarck Archipelago, 44
Fiji Islands, 41, 42
New Guinea, 29, 30
New Hebrides, 39
Solomon islands, 34, 35
Polynesia
New Zealand, 51
Sandwich Islands, 49
Souling, XV, 5, 7, 8, 18, 22
Soyalanna Drama, 109
Sqa'na. See Sk-a'na
Squana. See Sk-a'na
Srunai. See Serunai
Srunen, 5
Staccados, 12, 13
Stamping Sticks. See Ambnuba
Stopped Pipes, 66-72, 74-76
Stringed Instruments
Africa, 16, 243
America, 55, 104

Central America, 210
Costa Rica, 212, 213
Guatemala, 210
Nicaragua, 212
North America
Eskimo, 56

Folk Instruments, 185-
187

Indians, Northwest
Coast, 55

Stringed Instruments

North America

Koluschan or Tlingit
Yakutat, 55, 56, 57
Indians, United States
Athapascan

Apache, 105-109
Kulanapan or Porno,
104
Piman
Cora, 261

Huichol, 101, 259,
261, 262
Tepehuane, 261
Pujunan
iVlaidu, 105, 260,262
Mexico, 184, 203-209
South America
Brazil, 242
Bolivia, 240
Venezuela, 226
Europe, 56, 266
Oceanica

Malaysia, XV, 3-27
Borneo, 15-18
Java, 3

Philippine Islands, 22,23,
24

Sumatra, 14
Melanesia, XVI, 27-46
Bismarck ArchipeIago,42
New Guinea, 27
New Hebrides, 36
Solomon Islands, 30, 31
Polynesia, XVI II, 47-52
Sandwich Islands, 47
Suling. See Souling
Sundance, 113, 114, 154,271
Syrinx, 236

Tabu, 42

Tah'ca, 131

Tahona, 221

Talamanca Indians, 219

Takelma Tribe, 121

Tamborine a cordes, 266

Tanoan Family

Wind Instruments, 121
Sonorous Substances, 171

Tappers, 174

Tarahumara Indians, 171, 283

Tarawangsa, XV, 4, 6, 7, 10

Taro-patch-fiddle, XVI II

Ta-sha-gae, 173

330 INDEX

Ta-toyk-pi. See Totoqpi

Tawahegun, 146

Tawito'l, 261

Tayaeyun, 123

Tcha-he-he-lon-ne, 121, 122

Tcu-vitkuna, 171

Tecciitli, 189

Tehuelche Indians, 138, 141

Tenchuy, 203

Tepehuaje, 192

Tepehuane Tribe, 261, 262

Teponaitli, XX, 189, 191, 192, 202,

208, 213
Te'qaisk, 66

Terminal Reeds, 82, 83
Terricoty, 178
Tetiilacatl, 191
Tewa Tribe, 171
Teweigan, 147

Thle-a-kwi-an-nak'u-tchi-we, 1 58
Thlin-thlin-no-nie, 105, 195,259,264
Thunder Bird, 56
Time markers, 29, 46, 49
Tingkahs, 1 5
Tinne Tribe, 91
Tiny a, 233
7z/>/a, 23, 212, 243
Tirricoty, 46
Ti-l^u, 18
Tjalang, 10

Tjelempoeng. See Chelempung
Tlaloc, 275
Tlalpan-iieuetl, 189
Tlamatototl, 191, 192
Tlapan-huehuetl, 192
Tlapitialli, 189
Tlaxixtli, 193
Tlingit. See Koluschan
Toltecs, 63

Tonawanda Tribe, 156
Tonkawa Tribe, 152
7o^/, 261

Tortoise-shell drum, XXI, 189, 211
Totem, 69, 100
Totoeqpi. See Totoqpi
Totoqpi, 1 10, 276
To-uxsiget, 65
Towokingpiata, 178, 276
Toiacail, 192
Twana Tribe, 145
Transverse Flutes, 15,24, 27,34,40,

Trawangsa. See Tarawangsa
Tree drum, 39
Triih-kun-pi, 182, 184

Trumpets

Funeral, XXI, 246

Gourd, XXI, 109

Horn, 109

Human bone, 109

Peruvian, 237

Pottery, XXI, 109, 237, 246

Shell, 202

Wooden, 109, 228
Tsa-heyikhad, 132
Tsal-eet-quash-to, no
Tsa yanshtqi, 132
Tsa yasetqi, 1 32
Tse ko-ka-la, 65
Ts'e-kokyala, 66
Ts'etsaeqa, 66
Tshan-jak, 56
Tsimshian Tribe, 69
Tsin-ce'nr, 179
Tsooyanchin, 173
Tuang-tuang, 231
Tuba, XVI
Tjihri, 225
Tiiksi, 158
Tunamo, 261
Tunkul, 202
Tun-tong, 231
Turdum, 45
Turtle-shell Rattles, loi, 123, 155-

160, 274
Tuscarora Indians, 131
Tii-ditindi, 176, 178
Tiilinilli, 205
Tiit-idoall, 105-108, 138

Ukeke, XVIII, 47, 104, 259

Ukeke laau, 48
Uj^iMWe, XVI II, 47

ty/r ty/z, 49

Uilacapititli, 189
Umcimga, 264
U-muk-pi, no, 123, 179
(7:)^/^, 32, 33
Ute Tribe, 177, 183, 184

Vertical Flute, 18, 22, 32, 33, 34,

36, 37, 120-127, 245
Vibrating Membranes
Central America

Costa Rica, 219

Guatemala, 210
North America

Eskimo, 88, 90-94

Indians, Northwest Coast,

87-94. 159

INDEX

331

Vibrating Membranes
North America

Athapascan (Northern)

Tinne, 91
Koluschan or Tlingit, 90

Chilkat, 91
Salishan, 90, 91, 92
Skittagetan or Haida, 90
Wakashan
Kwakiutl, 90
Makah, 90
Indians, United States, 129

-'55

Algonquian

Arapaho, 129, 149.

153. 154
Cheyenne, 153
Chippewa or Ojibwa,
141, 142, 145, 146,
151, 152
Delaware, 134
Menomini, 151
Micmac, 149
Siksika

Blackfeet, 131
Athapascan (Southern)
Apache, 128, 129, 141,

151. •54. '55

Hopi or Moki, 147

Hupa, 144, 145

Navaho, 132, 135, 139
Caddoan

Pawnee, 139

Wichita, 143
Iroquoian

Seneca, 141

Tuscarora, 131
Kiowan, 88
Muskhogean

Creek

Maskoki, 148
Pueblo. 5^^ Athapas-
can and Zunian
Salishan

Clallam, 145

Twana, 143
Shoshonean

Hopi or Moki, 147
Siouan, 131, 142, 145,
150

Mandan, 131, 140, 155
Tanoan

Nambe, 148
Tonkawan

Tonkawa, 152

Vibrating Membranes
North America
Zunian
Zuni, 148
Mexico, 201-203
South America

British Guiana, 229
Brazil, 246
Venezuela, 138
West Indies, 221
Oceanica

Malaysia
Borneo, 20
Java, 9, 10, 15
Philippine Islands, 26
Melanesia

Bismarck Archipelago,44
New Caledonia, 40
New Guinea, 28, 29
Micronesia, 52
Polynesia
Sandwich Islands, 48
Violin, XVII, 24, 42, 195, 244
yuhudendung, 36

Wabeno, 145

Waga-moo, 131

Wailaki Tribe, 117

IVakan-chan-cha-gha, 131, 142

Wakashan Family, XIX, 65, 90

IValega, 131

IVa-mnu-ha, 150

Wand rattle, loi

IVarimha, 263

IVasko, 91

Water Drum, 136, 139, 140, 141

IVat-sa-piia, 227, 228

Wazhaze Tribe, 171

iVhi, 43

Whirr, 45

Whistles mechanically blown, 73, 74,

75
Whistle Flute. See Flutes
Whistling Jar, XXI, 237, 238, 239
Whistling Top, 8
Whizzer, 179
Wiapsiana Indians, 227
Wichita Tribe, 143
IVilmnrra, 45, 46
Wind Instruments
America

Central America

Costa Rica, 214-219
Guatemala, 210-241
Nicaragua, 212

332

INDEX

Wind Instruments
America

North America

Folk Instruments, 187,
188

Indians, Northwest
Coast, 58
Athapascan (North-
ern), 83
Koluschan, 83
Skittagetan or Haida,
68, 69, 70, 73-76, 82,
84-87
Masset, 86
Wakashan

AhtorMakah,8i
Bellabella, 82, 87
Hamatsa, 75
Kwakiutl, 72, 75
Nootka, 67, 81
Indians, United States
Algonquian, 109, 111,
113, 125, 128
Abnaki

Penobscot, 128
Arapaho, 109, 114,
115

Cheyenne, 1 14
Chippewa, no, 125
Micmac, 128
Athapascan (South-
ern)

Apache, 120, 123,
124, 126, 127
Concow, 1 17
Hopi or Moki, no,
122

Navaho, 109, 122
Wailaka, 1 17
Caddoan, 1 14
Iroquoian, 109
Cherokee, 1 10
Seneca, 126
Keresan, 121
Kiowan, 1 14
Kulanapan

Porno, 120
Muskhogean, 109,119
Choctaw, 1 19
Creek, 1 10
Seminole, 1 19
Shastan, 1 17
Shoshonean, 113, 121
Mission, 109, 11 1

Wind Instruments

North America

Siouan or Dakota, 109,
1 10, 113, 115, 1 19, 124
Oglala, 113, 1 18, 127
Omaha, 1 10
Winnebago, 1 10, 1 19,
120
Tanoan, 121
Takilman
Takelma, 121
Yukian, 1 16
Yuman, iii
Zunian

Zuni, 1 10, 1 15, 121,
122
Mexico, 195-202
South America

Argentine Republic, 240
Brazil, 244, 246
British Guiana, 227
Chile, 241
Colombia, 225
Paraguay, 246
Peru, 235-239
Venezuela, 226
Oceanica

Malaysia

Borneo, 18-20
Celebes, 22
Java, 7

Philippine Islands, 24, 25
Melanesia

Bismarck Archipelago,42
Fiji Islands, 40, 41
New Caledonia, 40
New Guinea, 27
New Hebrides, 36-39
Solomon Islands, 3 1-34
Polynesia
New Zealand, 50
Sandwich Islands, 48
Winnebago Tribe, no, 119, 120
IVis guirra, 223
IVi-towe, 129
iVohhilcong, 45
Wokokwava, 171
IVuntits-u-runtha, 1 3 1

Xdeit, 121
Xylophone, 12-14

Yadok, XVI, 15, 16
Yakutat Tribe, 56-58
Yang kong, XVI, 15, 16
Yankton Tribe, 173

INDEX

333

Yapurutu, 244

Ye-he-he-ai-ya, 170

Ye-nuf-hesse, 1 3 1

Yokaia Tribe, 266

Yu, 181

Yukian Family

Wind Instruments, iii
Sonorous Substances, 175

Yung-uh-sho-na, 101, 158

Yung-wey-sha-na, 158

Zacapa, 235

Zampona, 235

Zaniee, 243

Zapotec pottery, 207, 208

Zhegunpi-hopi, 180, 184

Zourna, i 5

Zummarah, 19, 41, 225

Zunian Family

Wind Instruments, 115, 122

Vibrating Membranes, 135, 136,

147, 148

Sonorous Substances, 157, 158,

166, 167, 169, 170

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