With the Hawaiians musical phrasing was arranged to fit the verse of the mele, not to express a musical idea. The cadencing of a musical phrase in Hawaiian song was marked by a peculiarity all its own. It consisted of a prolonged trilling or fluctuating movement called _i’i_, in which the voice went up and down in a weaving manner, touching the main note that formed the framework of the melody, then springing away from it for some short interval—a half of a step, or even some shorter interval—like an electrified pith-ball, only to return and then spring away again and again until the impulse ceased. This was more extensively employed in the oil proper, the verses of which were longer drawn out, than in the mele such as formed the stock pieces of the hula. These latter were generally divided into shorter verses. MUSICAL INSTRUMENTS The musical instruments of the Hawaiians included many classes, and their study can not fail to furnish substantial data for any attempt to estimate the musical performances, attainments, and genius of the people. Of drums, or drumlike instruments of percussion, the Hawaiians had four: 1. The _pahu_, or _pahu-hula_ (pl. x), was a section of hollowed log. Breadfruit and coconut were the woods generally used for this purpose. The tough skin of the shark was the choice for the drumhead, which was held in place and kept tense by tightening cords of coconut fiber, that passed down the side of the cylinder. The workmanship of the pahu, though rude, was of tasteful design. So far as the author has studied them, each pahu was constructed with a diaphragm placed about two-thirds the distance from the head, obtained by leaving in place a cross section of the log, thus making a closed chamber of the drum-cavity proper, after the fashion of the kettledrum. The lower part of the drum also was hollowed out and carved, as will be seen in the illustration. In the carving of all the specimens examined the artists have shown a notable fondness for a fenestrated design representing a series of arches, [Page 141] after the fashion of a two-storied arcade, the haunch of the superimposed arch resting directly on the crown of that below. In one case the lower arcade was composed of Roman,-while the upper was of Gothic, arches. The grace of the design and the manner of its execution are highly pleasing, and suggest the inquiry, Whence came the opportunity for this intimate study of the arch?