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The following scheme devised for obtaining accurate information respecting the music of different nations is probably without precedent.

In the year 1874 the British Association for the Advancement of Science resolved to issue a book of instructions for the guidance of travellers and residents in uncivilized countries, to enable them to collect such information as might be of use to those who make special study of the various subjects enumerated in the book.3 The subjects relate to manners and customs, arts, sciences, religion, war, social life, – in fact, to everything which throws light upon the stage of civilization attained by the people, and which the ethnologist may desire to ascertain. The book is for this purpose divided into a number of sections, each on a certain subject, on which it contains a number of questions. These are preceded by a short note explanatory of the subject. In order to render the questions as effective as possible, especial care has been taken that they should enter into all necessary details.4

Having been requested to undertake the section headed "Music," and to draw up a list of numbered questions in accordance with the plan adopted by the committee, I have endeavoured to direct the attention of those for whom the book is intended to the musical investigations which, in my opinion, are especially desirable; and I have occasionally interspersed among the questions a hint which may assist the investigator. It appeared to me unnecessary to give definitions of musical terms made use of in the questions – such as interval, melody, harmony, etc. – which are to be found in every dictionary of the English language. Some terms, however, required an explanation to render them fully intelligible to those travellers who are but little acquainted with music. Of this kind are, for instance, the names of the different musical scales. The English missionaries, traders, merchants, consuls, and other residents in foreign countries, seldom possess any available knowledge of music. Still, among the questions here submitted to them are many which they may be able to answer satisfactorily; while, on the other hand, it must be admitted, not a few can be properly replied to only by men of musical education and experience. However, what one person is unable to investigate another may do; and thus, perhaps, we may hope, in the course of time, to be supplied with reliable and instructive answers to most of the questions from different parts of the world.

Some of the questions may appear, at a first glance, to be of but little importance; it is, however, just those facts to which they refer which ought to be clearly ascertained before we can expect to discern exactly the characteristics of the music of a nation or tribe.

It will be observed that certain questions pre-suppose a somewhat advanced state of civilization – as, for instance, those referring to musical notation, instruction, literature, etc. There are several extra-European nations – as the Japanese, Chinese, Hindus, etc. – which have advanced so far in the cultivation of music as to render these questions necessary; and it would be very desirable to possess more detailed information concerning the method pursued by these nations in the cultivation of the art than is at present available.

The present scheme is quite as interesting to the musician, or even more so, than it is to the ethnologist. Professional musicians in general are, however, not likely to become acquainted with the instructions for musical researches published together with various other scientific inquiries by the British Association. It is for this reason that they are here inserted, since the present work has a better chance of coming into the hands of professional musicians than the anthropological publication. Howbeit, years must elapse before it leads to a practical result. The originator of the questions may never enjoy the advantage of receiving the answers; but he has, at least, the pleasure of preparing the way for an accumulation of well-ascertained facts which intelligent musicians of a future generation will know how to turn to good account.

"(Section LXVIII.) Music

"The music of every nation has certain characteristics of its own. The progressions of intervals, the modulations, embellishments, rhythmical effects, etc., occurring in the music of extra-European nations, are not unfrequently too peculiar to be accurately indicated by means of our musical notation. Some additional explanation is, therefore, required with the notation. In writing down the popular tunes of foreign countries, on hearing them sung or played by the natives, no attempt should be made to rectify anything which may appear incorrect to the European ear. The more faithfully the apparent defects are preserved the more valuable is the notation. Collections of popular tunes (with the words of the airs) are very desirable. Likewise, drawings of musical instruments with explanations respecting the construction, dimensions, capabilities, and employment of the instruments represented.

"Vocal Music:—

"1. Are the people fond of music?

"2. Is their ear acute for discerning small musical intervals?

"3. Can they easily hit a tone which is sung or played to them?

"4. Is their voice flexible?

"5. What is the quality of the voice? is it loud or soft, clear or rough, steady or tremulous?

"6. What is the usual compass of the voice?

"7. Which is the prevailing male voice – tenor, baritone or bass?

"8. Which is the prevailing female voice – soprano or alto?

"9. Do the people generally sing without instrumental accompaniment?

"10. Have they songs performed in chorus by men only, or by women only, or by both sexes together?

"11. When they sing together, do they sing in unison, or in harmony, or with the occasional introduction of some drone accompaniment of the voice?

"12. Is their singing in regular time, or does it partake of the character of the recitative?

"13. Have they songs for solo and chorus, – or, with an air for a single voice, and a burden (or refrain) for a number of voices?

"14. Describe the different kinds of songs which they have (such as sacred songs, war-songs, love-songs, nursery-songs, etc.), with remarks on the poetry.

"Instruments:—

"15. What are their instruments of percussion (such as drums, castanets, rattles, cymbals, gongs, bells, etc.)?

"16. Have they instruments of percussion containing sonorous plates of wood, glass, stone, metal, etc., upon which tunes can be played? and if so, write down in notation, or in letters, the tones emitted by the slabs.

"17. Have they drums with cords, or some other contrivance by means of which the parchment can be tightened or slackened at pleasure?

"18. Have they drums with definite tones (like our kettle-drums)? and, if so, what are the tones in which they are tuned when two or more are played together?

"19. Any open hand-drums with one parchment only (like our tambourine)?

"20. Are the drums beaten with sticks or with the hands?

"21. What wind-instruments (trumpets, flutes, etc.) have they?

"22. Any trumpets with sliding tubes (like the trombone)?

"23. How are the flutes sounded? is there a plug in the mouth-hole?

"24. Any nose-flutes?

"25. What is the number and the position of the finger-holes on the flutes?

"26. What tones do the flutes yield if the finger-holes are closed in regular succession upwards or downwards?

"27. If the people have the syrinx (or Pandean pipe), ascertain the series of musical intervals yielded by its tubes.

"28. Do the people construct wind-instruments with a vibrating reed, or some similar contrivance, inserted in the mouth-hole?

"29. If they have a reed wind-instrument, observe whether the reed is single (like that of the clarionet) or double (like that of the oboe.)

"30. Have they a kind of bagpipe?

"31. What musical instruments have they which are not used by them in musical performances, but merely for conveying signals and for such like purposes?

"32. Have they stringed instruments the strings of which are sounded by being twanged with the fingers?

"33. Any stringed instruments twanged with a plectrum?

"34. Any stringed instruments beaten with sticks or hammers (like the dulcimer)?

"35. Any stringed instruments played with a bow?

"36. If there are stringed instruments with frets on the neck (as is the case with our guitar), note down the intervals produced by the frets in regular succession.

"37. What are the substances of which the strings are made?

"38. Is there any peculiar contrivance on some of the instruments in the arrangement and situation of the strings?

"39. Are there stringed instruments with sympathetic strings (i. e., strings placed under those strings which are played upon. The sympathetic strings merely serve to increase the sonorousness)?

"40. What are the musical intervals in which the stringed instruments are tuned?

"41. Do the people possess any musical instrument of a very peculiar construction? If so, describe it minutely.

"42. Give the name of each instrument in the language of the country.

"43. Describe each instrument, and give illustrations, if possible.

"44. Give some account of the makers of musical instruments; of the woods, metals, hide, gut, hair, and other materials they use; of their tools, etc.

"45. What are the usual adornments and appendages of the musical instruments?

"Compositions:—

"46. On what order of intervals is the music of the people founded? Is it the Diatonic Major Scale (like c, d, e, f, g, a, b, c)? Or the Diatonic Minor Scale (in which the third is flat; like c, d, e flat, f, g, a, b, c)? Or the Pentatonic Scale (in which the fourth and the seventh are omitted, thus c, d, e, g, a, c)? Or some other order of intervals?

"47. Is the seventh used sharp (c-b), or flat (c-b flat)?

"48. Does the superfluous second occur in the scale?

(In the example c, d, e flat, f sharp, g, a flat, b, c,

└──┘ └─┘

the steps from the third to the fourth, and from the sixth to the seventh, are superfluous seconds.)

"49. Does the music contain progressions in semitones, or chromatic intervals?

"50. Are there smaller intervals than semitones, such as 1/3 tones, 1/4 tones?

"51. Are there peculiar progressions in certain intervals which are of frequent occurrence in the tunes? If so, what are they?

"52. Do the tunes usually conclude on the tonic (the key-note, or the first interval of the scale), or, if not, on what other interval?

"53. Do the tunes contain modulations from one key into another? If so, describe the usual modulations.

"54. Are there certain rhythmical peculiarities predominant in the music? If so, what are they?

"55. Is the time of the music generally common time, triple time, or irregular?

"56. Are there phrases or passages in the melodies which are of frequent re-occurrence?

"57. Have the airs of the songs re-occurrences of musical phrases which are traceable to the form of the poetry?

"58. Have the people musical compositions which they regard as very old? and do these compositions exhibit the same characteristics which are found in the modern ones?

"59. Are the compositions generally lively or grave?

"60. Describe the form of the various kinds of musical compositions.

"Performances:—

"61. Have the people musical bands or orchestras?

"62. Which are the instruments generally used in combination?

"63. Which are the instruments commonly used singly?

"64. What is the number of performers in a properly constituted band?

"65. Is there a leader of the band? How does he direct the performers?

"66. Does the band play in unison or in harmony?

"67. If vocal music is combined with instrumental music performed by the band, is the instrumental accompaniment in unison (or in octaves) with the voice, or has it something of its own?

"68. Is the tempo generally fast or slow?

"69. Are there sudden or gradual changes in the tempo?

"70. Are there changes in the degree of loudness?

"71. Do the musicians, on repeating a piece, introduce alterations, or variations of the theme?

"72. Do they introduce embellishments ad libitum?

"73. Mention the occasions (religious ceremonies, social and public amusements, celebrations, processions, etc.) on which musical performances take place.

"74. Are there military bands? and how are they constituted?

"75. Is music employed to facilitate manual labour?

"76. Are there songs or instrumental compositions appertaining to particular occupations or trades?

"77. Have the people a national hymn or an instrumental composition which they perform in honour of their sovereign or in commemoration of some political event?

"78. Describe minutely the musical performances in religious worship, if there are any.

"79. Have they sacred dances performed in religious ceremonies, at funerals, etc.?

"80. Any war-dances, dances of defiance, etc.?

"81. Any dances in which they imitate the peculiar movements and habits of certain animals?

"82. Are there dances accompanied by musical instruments, by singing, or merely by rhythmical sounds such as clapping of hands, snapping of fingers, reiterated vociferation, etc.?

"83. Give a list of all the dances.

"84. Endeavour to ascertain whether the rhythm of the music accompanying the dance is suggested by the steps of the dancers, or vice versâ.

"Cultivation:—

"85. Do the people easily learn a melody by ear?

"86. Have they a good musical memory?

"87. Are the children taught music? and if so, how is it done?

"88. Are there professional musicians?

"89. Any performers who evince much talent?

"90. Any minstrels, bards, reciters of old ballads?

"91. Any professional improvisators?

"92. Are there professional musicians of different grades?

"93. Who composes the music?

"94. Do the musicians follow other professions besides music?

"95. Are the ministers of religion also musicians and medical men?

"96. Have the people some kind of musical notation?

"97. Have they written signs for raising or lowering the voice in singing, for giving emphasis to certain words or phrases, or for similar purposes? If so, describe the signs.

"98. Do they possess treatises on the history, theory, etc., of music; instruction books for singing, and for playing musical instruments, etc.? If so, give a detailed account of their musical literature.

"99. Have they musical institutions? Give an account of them.

"100. How do the people appreciate their own music?

"101. What impression does the music of foreign nations produce upon them?

"Traditions:—

"102. Are there popular traditions respecting the origin of music?

"103. Any myths about a musical deity, or some superhuman musician?

"104. Any legends or fairy-tales in which allusion to music is made? If so, what are they?

"105. Any tradition about the invention of certain favourite musical instruments?

"106. Any tradition or historical record respecting the antiquity of stringed instruments played with a bow?

"107. Any records respecting their sacred music?

"108. Is music believed to possess the power of curing certain illnesses?

"109. The power of enticing and taming wild animals?

"110. Are there popular tunes, or certain rhythmical figures in the tunes, which, according to tradition, have been suggested by the songs of birds?

"111. If there is anything noteworthy about music which has not been alluded to in the preceding questions, notice it."