ker metal, and has a more
bell-like and usually higher-pitched tone. I measured several gang'-sa
in Bontoc and Samoki, and find the co-ong'-an about 5 millimeters
thick, 52 to 55 millimeters deep, and from 330 to 360 millimeters in
diameter; the ka'-los is only about 2 to 3 millimeters thick. The
Igorot distinguishes between the two very quickly, and prizes the
co-ong'-an at about twice the value of the ka'-los. Either is worth
a large price to-day in the central part of the area -- or from one
to two carabaos -- but it is quite impossible to purchase them even
at that price.

Gang'-sa music consists of two things -- rhythm and crude harmony. Its
rhythm is perfect, but though there is an appreciation of harmony as
is seen in the recognition of, we may say, the "tenor" and "bass"
tones of co-ong'-an and ka'-los, respectively, yet in the actual
music the harmony is lost sight of by the American.

In Bontoc the gang'-sa is held vertically in the hand by a cord passing
through two holes in the rim, and the cord usually has a human lower
jaw attached to facilitate the grip. As the instrument thus hangs
free in front of the player (always a man or boy) it is beaten on the
outer surface with a short padded stick like a miniature bass-drum
stick. There is no gang'-sa music without the accompanying dance,
and there is no dance unaccompanied by music. A gang'-sa or a tin
can put in the hands of an Igorot boy is always at once productive
of music and dance.

The rhythm of Igorot gang'-sa music is different from most primitive
music I have heard either in America or Luzon. The player beats 4/4
time, with the accent on the third beat. Though there may be twenty
gang'-sa in the dance circle a mile distant, yet the regular pulse
and beat of the third count is always the prominent feature of the
sound. The music is rapid, there being from fifty-eight to sixty full
4/4 counts per minute.

It is impossible for me to represent Igorot music, instrumental
or vocal, in any adequate manner, but I may convey a somewhat
clearer impression of the rhythm if I attempt to represent it
mathematically. It must be kept in mind that all the gang'-sa are
beaten regularly and in perfect time -- there is no such thing as
half notes.

The gang'-sa is struck at each italicized count, and each unitalicized
count represents a rest, the accent represents the accented beat
of the gang'-sa. The ka'-los is usually beaten without accent and
without rest. I