_Conclusion_.--I have long been of the opinion that the music of different peoples should be given more consideration by scientists in their endeavor to trace cultural relationships. In years gone by, ethnologists have attached too little importance to the bearing which music has on their science. I am of the opinion that every peculiarity, even to the smallest element that enters into the make-up of a given melody, has some influence back of it which has determined the element and shaped it into combination. It is not unlikely that a thorough study of the music would reveal these influences, and through them establish hitherto unknown ethnological facts. I believe that a careful study of a large number of the songs or instrumental pieces of a people will reveal a quite definite general scheme of construction which can be accepted as representative of that people alone; and if such an analysis be made of the music of many peoples and the findings so tabulated that the material will be comprehensible to ethnologists trained to that branch of musical research, many interesting and instructive side-lights will be thrown on the question of tribal relationship. I realize that to examine exhaustively and then tabulate the characteristics found in the music of just one of the many peoples of the globe would be something of an undertaking; but nevertheless I believe the work should be undertaken in this large way, and when it is, I am sure the results will justify the experiment. I appreciate that there is an intangible something about music, which may prove baffling when it comes to reducing it to cold scientific symbols and descriptions. Take, for instance, quality of tone. Each one of us knows perfectly the various qualities of the different speaking voices of friends and acquaintances, yet how many of us can so accurately describe those qualities to a stranger that he also may be able to identify the voices among a thousand others. The tabulation of such elusive qualities would have to be in very general terms. Such indefinable characteristics would, to some extent, have to depend for comparison upon the memory of those workers who had received first-hand impressions. It would be something like a present-day musician identifying an unfamiliar composition as belonging to the "French school," the "Italian school," or the "Russian school;" and yet, this same musician might not be able to point out with definiteness a single characteristic of that particular so-called "school." Though I have held these opinions for several years, I am more than ever convinced, since examining these few Tinguian records, that something really tangible and worth while can be deduced from the music of various primitive peoples, and I trust this branch of ethnology will soon receive more serious recognition.