cord M. Sung by women while pounding rice out of the straw and husks.

Only one voice can be distinguished in the record. It is that of
a woman.

Though strongly pentatonic in character, the song is cast in
the diatonic scale of F major. Metrically there is considerable
freedom. 3/4, 4/4, and 5/4 rhythms are thrown in with the most
haphazard abandon, yet it has the even pulsing which should dominate
a song of this character.

The song is in two rather distinct movements. The first, in spite
of the two triplets thrown in at the first and third measures, has
a straight-away motion which offers a striking contrast to the more
graceful, swaying second part which is mostly in triplets. The change
from one style to the other is made by the singer with no variation
in tempo. It is therefore admirably adapted to accompany the regular
falling of the pestles while beating out the rice.

Near the close of the song are two notes with [Sun] over them. These
were vocalized on the inhaled breadth (for other examples of Inhaled
Tones, see analysis of Record K, _Bogoyas_).

This song contains seven examples of the "Jog" (see _Definition
of Qualities_, p. 479). Those in the second part of the song are
the best defined. One of these is shown with open head. This jog is
given the most nearly like the Igorot manner of execution of any of
the examples found in these fourteen songs.

In general character, this song somewhat resembles the Boys' Part of
the _Da-eng_ ceremony (Record A).

_Kuilay-Kuilay_

Record N. Sung by women while passing liquor.

There is one singer only on this record. It is a woman. The song is
given in a lively, jolly, rollicking style.

It is cast in the F major scale. The melody has good variety. At
times it defines quite clearly the harmonic outline by following the
tonal framework of the tonic, dominant, or subordinant chords. Passing
tones are used more freely and naturally in this song than in any of
the others.

In the third measure of the fifth line, the singer very plainly
vocalizes a half step from F to E. The second and fourth lines also
show semitones, though these are not so distinctly given on the record
as the other example.

In the last measure of the third line there is a modulation into the
tonality of B-flat which carries through two measures.

In the fifth line are three accents which make the meter rather elusive
at that point. The two small notes shown at the beginning of the
third