At prayer time, a conch blown at the temple-gate summons the members to their devotions. After making three prostrations to the head, they take their places, according to precedence, on the benches, seating themselves cross-legged and _vis-à-vis_, as choir and anti-choir. When a bell, rung by the master of the ceremonies, gives the signal, all commence muttering in a low tone a preparatory act of devotion, as they unrol on their knees the rubrical form of the day. After this short recitation is an interval of profound silence. The bell rings again, and then rises a psalmody of responsive choirs, in a grave and melodious tone. The Tibetan prayers, broken usually into verses, and composed in a style of rhythmic cadence, lend themselves with marvellous effect to concerted recitation. At intervals of repose, fixed by the rubrics, the instrumental band executes a piece of music. In the Tartar choirs this is described by Huc as a confused and stunning jumble of instruments, all the performers emulous in din. Turner, however, in a similar description of the service, speaks more respectfully of the Tibetan instrumental music. According to the latter authority also, the Tibetans possess a musical notation. Their instruments are generally on a large scale;--sliding trumpets from six to ten feet long, which Moorcroft describes as of very deep and majestic intonation; kettle drums; cymbals, highly mellow and sonorous; gongs, hautboys; a large shallow drum, mounted on a tall pedestal: these, with the human tibia and the sea-conch, compose their religious band.