of this group. These glissandos are indicated
by oblique lines drawn beneath the tones covered by the slide.

In the second measure there is an almost inaudible tone at the end
of the glissando. It is indicated by a small, square note. Careful
listening to the record at this point shows that the singer really
leaves the principal tone E-flat and slides with a sudden dying-down
of volume. The abruptness with which the sound of the voice fades as it
starts the glissando, leaves the impression of E-flat still sounding.

One tone in this song is given on the inhaled breath. It is indicated
by a circle with a dot in the center placed beneath the note. This
tone was produced well back in the throat, while the singer sharply
inhaled the breath. This artifice, occasionally used by the Tinguian,
is seldom, if ever, heard in the singing of civilized peoples (for
other examples, see analysis of Record M, _Dang-dang-ay_).

This song, given by a woman, has not the well-marked motive development
shown in the other _Bogoyas_, sung by a man. However, we find two quite
distinct, prevailing ideas set forth. The first includes the whole of
the first measure and the first beat of the second. It seems to be
in the nature of a question which finds its answer in the remainder
of the second measure, and again in the third, and again in the
fourth measure. It is the same answer, but expressed each time in a
little different manner. In the fifth measure and carrying over into
the sixth, the questioning is heard again. Although put forth in a
different arrangement of tones, it is the same musical thought as that
expressed in the first measure. This time it is answered but once. The
answer takes parts of two measures. Now follows another query similar
to the first, and again comes the answer fully expressed in each of
the two concluding measures.

The principal interest in this centers around the B-natural, indicating
that the singer has a very decided appreciation of the half step
and of the upward leading tendency of a tone raised a semitone by
an accidental.

_Na-Way_

Record L. Sung at the celebration which closes the period of mourning
for the dead.

There are two voices heard in the record, probably women. In ten
of the measures there is a splitting up of the parts. In the first
measure of each of the second and third lines, and also in the third
measure of the third line, the difference in the parts is owing to
uncertainty of atta