The song is like a mournful chant. Throughout there is a peculiar wailing which leaves a strange, haunting impression. The music admirably suits the hour when it is used. It would be decidedly incongruous given in broad daylight. These untutored savages could hardly have conjured up a more typical tone-picture of the "shadowy valley" than the song heard on this record. The peculiarly weird character is due in large part to the swelling out and dying away of the tones on certain syllables. (For comparison to effects found in Igorot music, see "Swelled Tones" under _Definition of Qualities_, p. 479). _Sang-Sangit_ Record C. Sung during the evening following a funeral. In this record we hear but one voice--a man's. The song is cast in the minor scale of G, but whether the natural minor or the harmonic, cannot be determined, as the singer does not use the 7th of the scale. It is not pentatonic in character. The song is given in the recitative style. There are several verses which vary but little in the music, except for the changes in the reiterated staccato tones which are made greater or less in number to accommodate the difference in number of syllables. With the exception of those starting the glissandos or trills, the repeated tones were given with a very decided staccato punch. Much of the intonation is vague. In taking the glissandos shown near the middle of the top line, the upper tone is sung about half way between B-flat and B-natural. There is some abandon in the rhythm also. The group of six notes marked with an asterisk are trilled on the semitone interval. _Dawak_ Record D. The song of a medium when calling spirits into her (his) body. This song is doubtless the invention of the singer. It has that abandon which usually characterizes the songs of workers in the occult among primitive folk. The song is cast mostly in the relative minor (G-sharp) of the pentatonic scale of B-natural major. A-sharp does not belong to this scale. There are five measures, where this note appears, but in each instance the tonality of the phrase momentarily rests in D-sharp minor, the relative of the pentatonic major of F-sharp. A-sharp belongs to this scale, but B-natural does not. The singer, with his instinct for the five-note scale, avoids the B-natural until the tonality shifts back to the original key. The song is therefore classed as pentatonic in character. The melody is distinctly harmonic in structure, as nearly all of the successions are made up of triad intervals. Though the song runs but a minute and a half, the tempo changes eight times. The performer takes nearly every new tempo with a well-defined rhythm. There is considerable freedom shown in the first movement when the tremolos between B-natural and the G-sharp below are taken.