Science has long busied itself with race origin. It has approached the problem from every side, and has accomplished so much towards its solution as to afford grounds upon which to base the assumptions that the diverse types of mankind, as they now exist, are each physically, morally, and mentally the outcome of conditions of which climate, soil, and degrees of isolation have been the most potent factors; and that these branches which have spread out to cover the world spring from one common family trunk. Even within the limits of historic time migrations have been caused either by climatic changes or by the dissensions incident to over-population. When the savages of the South Sea Islands became detached, and whether of their own volition or through a dispensation of Providence, which caused the Pacific Ocean to isolate them from less pestiferous humanity, will never be known. It must, however, have taken place after the idea of at least limited tone expression had taken a firm hold on mankind and had become a transmittible instinct, for these savages evince little more disposition or capacity for originating than the more intelligent species of animals. I cite these people and their lyric status to mark the lowest ebb in things human and musical of which we have any knowledge. Their music and habits are alike crossed by the line which separates the human from the animal, and it is needless to say which quality contributes the larger portion. Their songs are, like their language, ejaculatory, showing little exercise of reason in their forms, and voicing the baser emotions solely. Rude rhythms are the only features that attest their origin in musical impulse. Music in its course of evolution had necessarily to pass through this primitive stage. In more congenial environments it passed on and out, but these barbarians, being neither emotionally nor intellectually capable of imparting the impetus requisite to the development of finer and broader significance, have for thousands of years used their present crude forms. Their stage comes in touch with music's line of evolution at a period countless years before David sang. From a letter in response to my inquiries as to the musical status of these barbarians, written by Count Pfeil, who has most closely observed their customs during twenty years spent in exploring the dark continent and these darker islands, I infer that their barbarism has grades analogous to those that exist in the culture of civilized nations.