A COURSE of illustrated lectures on "The Logical Evolution of Industries" will be given by Mr Harlan I. Smith, of the American Museum of Natural History of New York, to the normal domestic art students at Pratt Institute, Brooklyn, during the school year 1906-07. The purpose of the course is to acquaint these prospective teachers of handwork, with primitive arts and tools, that they may more adequately instruct elementary school children in the simple forms of the industrial processes of modern life. The students will prepare for these weekly lectures by a course of reading in the anthropological journals and in books on primitive peoples recommended by the lecturer. Essays on special topics will be prepared by the students from this reading and the lecture material, so that the value of the lecture course will be strengthened through individual student work.

THE SENATE of London University has received from Mr Martin White two further donations - one to provide a salary of £200 a year for Dr Edward Westermarck, university lecturer in sociology, for a further period of five years, the other an additional sum of £700 for the establishment for five years of two scholarships a year, each of the annual value of £35 and tenable for two years. In connection with Mr White's benefaction, special courses will be delivered during the session 1906–07, on ethnology by Dr A. C. Haddon, F.R.S., and on psychology by Dr J. W. Slaughter, Ph.D. (Clark).

REV. S. P. VERNER, who has recently returned from Africa, desires in these pages to disavow the sensational statements that have recently appeared in the public press respecting the African pygmy and Mr Verner's late expedition. Men of science have grown accustomed to such newspaper accounts of alleged discoveries and have learned to disregard them; others are requested to take no account of the stories alluded to, but to await an announcement which Mr Verner promises to make regarding his expedition, in a forthcoming issue of the American Anthropologist.

A NEW MUSEUM is to be built on Audubon Park Terrace, 155th st., west of Broadway, New York, for the American Numismatic and Archæological Society, of which Mr Archer M. Huntington is president. The edifice will be 39.8 feet front and 63.3 feet deep, of concrete construction. It will be three stories in the classic style, with Ionic columns. The main floor and the second story will be devoted to the library, the meeting halls, and exhibition galleries. The building is to cost $55,000.

THE FIRST MEETING of the California Branch of the American FolkLore Society during 1906-07 was held in South Hall, University of Cali

fornia, Berkeley, on September 11. Professor A. L. Kroeber spoke on "California Indian Myths and Songs," with illustrations on the graphophone.

DR J. WALTER FEWKES, of the Bureau of American Ethnology, Washington, will spend the autumn and winter in archeological researches in Arizona. Mrs Matilda Coxe Stevenson, of the same Bureau, has been engaged since spring in studying the natives of the pueblo of Taos, northern New Mexico.

WE LEARN from Nature that the museum of the University of Otago, New Zealand, has been enriched by the gift of a large series of ethnological objects from Mr and Mrs James Mills. The collection, which consists chiefly of weapons, mostly Polynesian, was made about twentyfive years ago.

DR ALEXANDER F. CHAMBERLAIN, of Clark University, will deliver the next course of popular scientific lectures at Weeks Institute, Clinton, Mass., on the first three Fridays of November, 1906. The subject is "The American Indians."

THE TITLE of honorary curator has been conferred by the Cincinnati Museum Association on Mr Philip M. Hinkle, who has undertaken the care of its collections relating to American archeology. With him are associated Mr Frederick W. Hinkle and Dr G. B. Rhodes.

DR KARL VON DEN STEINEN has retired from an associate professorship of ethnology in the University of Berlin and the curatorship of the Museum of Ethnology in order to devote his attention to scientific exploration.

AT A MEETING of the officers and council of the Norwegian Geographical Society, in Christiania, on May 19, the gold medal of the Society was awarded to Dr Carl Lumholtz for his scientific explorations.

WE REGRET to announce the death, at Berlin, on July 19th, of Dr Albert Voss, director of the department of prehistorics in the Königliches Museum für Völkerkunde.

PROFESSOR MARSHALL H. SAVILLE, of Columbia University and the American Museum of Natural History, has recently returned to New York after conducting explorations in Ecuador and Colombia during the summer.

INVITATIONS have been extended by the Ober-Bürgermeister of the city of Cologne, Germany, to attend the opening of the new Rautenstrauch-Foest Museums (Museum für Völkerkunde) on November 12th.

During the Louisiana Purchase Exposition at St Louis in 1904 I made a careful study of the native music in the Philippine section, receiving in my work the cordial encouragement and cooperation of Dr Albert Ernest Jenks, ethnologist in charge of the exhibit. For many years I have been a student of Indian music and expected to find some similarity between the music of the two races, but a few hours among the Filipinos showed that their music belongs to a period of development more primitive than that of the American Indian, and that it lies very near the beginning of musical expression.

My first inquiry was for the music of primitive worship, but at that time no trace of this had been found among either the Negritos or the Igorot, while the Moros, being Mohammedan, had passed the primitive religious state. I believe that continued study would have discovered religious music among these people, but my time was limited and I was unable to make the investigation.

Another phase of primitive music which I did not hear was the industrial music. I was told that in the Islands both the Negritos and the Igorot sing as they plant the rice, but this music was not available for study at St Louis.

For these reasons the very important subjects of religious and industrial music are not considered in this paper either directly or in their bearing on general musical development, but I believe that the music which I heard and analyzed is characteristic of a period of development preceding that of worship or of toil.

During my stay at St Louis I collected observational data from which I have formed certain hypotheses concerning the origin and development of music, and I take the liberty of summarizing the data and stating these hypotheses at the beginning of my paper in order that the method of grouping the facts in the paper itself may be the more apparent.

Four villages were closely studied: the Negrito, the Igorot, the Samal Moro, and the Lanao Moro, these being the most primitive tribes, and entirely distinct in culture and customs. In the last three named I found vocal and instrumental music cultivated as separate arts, the songs being without accompaniment, while in the Negrito village the rhythm of one of the songs was marked by handclapping and a hiss as well as by a stroke on a gong; the former being, of course, a more rudimentary accompaniment than the gong because it is a more direct physical response to the rhythmic physical impulse.

I found but two forms of melody-producing instruments in use, the others being percussion instruments which were used in producing a variety of rhythms.

With one exception the songs which I heard were improvised in both words and melody. This was my conclusion from close observation which later was confirmed by an interpreter. Prominent among these improvised songs were those of love and of grief, which formed an interesting subject for study as they were without rhythm in the usual sense of the term. The expression of any living thought contains a certain rhythm, whether that expression be in a free poetic form or in esthetic prose, yet it is often impossible to measure that rhythm by any metrical unit. It is a vibration which we feel but cannot analyze. We seem to realize that its unit is too large for us to grasp. Such was the rhythm of the Moro love songs and the Negrito dirge.

There is undeniably a phase of primitive music in which the idea to be expressed is so simple and the mental and physical states are so perfectly balanced that the musical expression of the idea takes the simple rhythm of the physical organism. This phase was prominent in the Philippine villages; but it was my privilege to hear also the songs which arose from primitive emotions, and the rhythm of

these was as free and unrestrained as the elemental natures from

which they sprang.

In the Philippine villages I found four forms or musical expression, which I have arranged in what seems to me the probable order of development, though this must remain a matter of speculation : Ist, instrumental music; 2d, unaccompanied, improvised song; 3d, accompanied, improvised song; 4th, a repeated melody with instrumental accompaniment.

First. Assuming a state of content to be the primary condition of humanity a content without ambition, struggle, or aspiration -the regular banging upon something that resounds is a natural expression of the physical organism. When this state of content changes to excitement the banging becomes more emphatic and the rhythmic unit is developed by a stronger accent upon alternate beats, expressing the physical agitation. When the mental element becomes a factor the rhythm used is triple as well as double, while in his "mystery songs," with their groping toward the supernatural, the American Indian uses rhythms of 5 or 7, often alternating these with measures of 2, 3, or 4 counts. All this indicates that primitive rhythm is a means of expression, being directly affected by the idea. in the mind of the performer.

Second. Next in order I have placed the unaccompanied improvised song, believing that the release of the voice as a means of expression comes first through emotional impetus. A child gives vocal expression to its emotions before it develops the faculty of speech. In Lord Monboddo's Origin of Language (vol. 1, p. 469) Dr Blacklock says:

The first language among men was music: before our ideas were expressed by articulate sounds they were communicated by tones varied according to different degrees of gravity and acuteness.

From my own study and observation I believe that the beginning of vocal music is a call or cry, and that when this is consciously prolonged, repeated, and elaborated because it is found at satisfactory means of expression, the art of vocal music is born. I am strongly inclined to the opinion that vocal music originates in the love call, and that its second phase is the cry of the second. emotion grief. After these would come the instinctive search for a supernatural cause, with the introduction of the religious ele