The tempo is mostly 108, but at the tenth measure the movement slows down to 80. At this point is shown a note with a large circle above. This tone was taken with a very wide open mouth quite in contrast with the one preceeding. The next measure following shows two tones taken falsetto. Like the Dawak, this song is probably the composition of the singer. Although very primitive in its general aspect, it has absorbed from some source a bit of modern influence. If the surmise is correct that the performer of this song is the same as the one who made the record of the _Dawak_, and if the two songs were made at distinct times with a considerable period elapsing in which other records were made, it would indicate, as is frequently the case among primitive singers, that this performer almost invariably sings at the same pitch. In other words, he has to some degree the sense of absolute pitch. _Bagoyas_ Record G. A song of praise and compliment sung by a guest at a feast or party. Words are extempore, but music constant. The singer is a tenor with considerable dramatic quality in his voice. The words of the song must be extemporized to suit each new occasion; so also, must the elemental tonal forms be extemporaneously combined, for the music must fit the words, and these will vary in rhythm and meter with each performance. The music may be considered constant, however, in that the form of each component motive is more or less fixed. The following five group-ingredients, used either in the pure form as shown, or with slight alterations, make up approximately one-half of the entire song. Reiterated tones and glissandos pad out between these and make up practically the remainder of the number. Turning our attention to the first of the above groups, which I have marked "M.M.1." (melodic motive), we find that it is used nearly a score of times throughout the extent of the song.