The Bongo, in their way, are enthusiastic lovers of music; and although their instruments are of a very primitive description, and they are unacquainted even with the pretty little guitar of the Niam-niam, which is constructed on perfectly correct acoustic principles, yet they may be seen at any hour of the day strumming away and chanting to their own performances. The youngsters, down to the small boys, are all musicians. Without much trouble, and with the most meagre materials, they contrive to make little flutes; they are accustomed also to construct a monochord, which in its design reminds one of the instrument which (known as the “gubo” of the Zulus) is common throughout the tribes of Southern Africa. This consists of a bow of bamboo, with the string tightly strained across it, and this is struck by a slender slip of split bamboo. The sounding board is not, however, made of a calabash attached to the ground, but the mouth of the player himself performs that office, one end of the instrument being held to the lips with one hand, while the string is managed with the other. Performers may often be seen sitting for an hour together with an instrument of this sort: they stick one end of the bow into the ground, and fasten the string over a cavity covered with bark, which opens into an aperture for the escape of the sound. They pass one hand from one part of the bow to the other, and with the other they play upon the string with the bamboo twig, and produce a considerable variety of buzzing and humming airs which are really rather pretty. This is quite a common pastime with the lads who are put in charge of the goats. I have seen them apply themselves very earnestly and with obvious interest to their musical practice, and the ingenious use to which they apply the simplest means for obtaining harmonious tones testifies to their penetration into the secrets of the theory of sound.