UNIVERSITY OF CALIFORNIA PUBLICATIONS IN AMERICAN ARCHAEOLOGY AND ETHNOLOGY Vol. 15, No. 2, pp. 187-206 May 10, 1919 NABALOI SONGS BY C. R. MOSS AND A. L. KROEBER UNIVERSITY OF CALIFORNIA PRESS BERKELEY UNIVERSITY OF CALIFORNIA PUBLICATIONS DEPARTMENT OF ANTHROPOLOGY The following publications dealing with archaeological and ethnological subjects issued under the direction of the Department of Anthropology are sent in exchange for the publi- cations of anthropological departments and museums, and for journals devoted to general anthropology or to archaeology and ethnology. They are for sale at the prices stated. Exchanges should be directed to The Exchange Department, University Library, Berkeley, California, U. S. A. All orders and remittances should be addressed to the University of California Press. AMERICAN ARCHAEOLOGY AND ETHNOLOGY. A. L. Kroeber, Editor. Prices, Volume 1, $4.25; Volumes 2 to 11, inclusive, $3.50 each; Volume 12 and following, $5.00 each. Cited as Univ. Calif. PubL Am. Arch. Ethn. Pe ^ VoL 1. 1. Life and Culture of the Hupa, by Pliny Earle Goddard. Pp. 1-88; plates 1-30. September, 1903 $1-25 2. Hupa Texts, by Pliny Earle Goddard. Pp. 89-368. March, 1904 3.00 Index, pp. 369-378. Vol. 2. 1. The Exploration of the Potter Creek Cave, by William J. Sinclair. Pp. 1-27; plates 1-14. April, 1904 40 2. The Languages of the Coast of California South of San Francisco, by A. L. Kroeber. Pp. 29-80, with a map. June, 1904 - 60 3. Types of Indian Culture in California, by A. L. Kroeber. Pp. 81-103. June, 1904 ~ 25 4. Basket Designs of the Indians of Northwestern California, by A. L. Kroeber. Pp. 105-164; plates 15-21. January, 1905 .75 5. The Yokuts Language of South Central California, by A. L. Kroeber. Pp. 165-377. January, 1907 2.25 Index, pp. 379-392. ^ Vol. 3. The Morphology of the Hupa Language, by Pliny Earle Goddard. 344 pp. June, 1905 3.50 Vol. 4. Wl. The Earliest Historical Relations between Mexico and Japan, from original documents preserved in Spain and Japan, by Zelia Nuttall. Pp. 1-47. . April, 1906 50 2. Contribution to the Physical Anthropology of California, based on collec- tions in the Department of Anthropology of the University of California, and in the U. S. National Museum, by Ales Hrdlicka. Pp. 49-64, with 5 tables; plates 1-10, and map. June, 1906 75 3. The Shoshonean Dialects of California, by A. L. Kroeber. Pp. 65-166. February, 1907 1-50 - 4. Indian Myths from South Central California, by A. L. Kroeber. Pp. 167- 250. May, 1907 ~ 75 - 5. The Washo Language of East Central California and Nevada, by A. L. Kroeber. Pp. 251-318. September, 1907 75 V6. The Religion of the Indians of California, by A. L. Kroeber. Pp. 319-356. September, 1907 -60 Index, pp. 357-374. Vvol.5. 1. The Phonology of the Hupa Language; Part I, The Individual Sounds, by Pliny Earle Goddard. Pp. 1-20, plates 1-8. March, 1907 .35 2. Navaho Myths, Prayers and Songs, with Texts and Translations, by Wash- ington Matthews, edited by Pliny Earle Goddard. Pp. 21-63. Septem- ber, 1907 75 3. Kato Texts, by Pliny Earle Goddard. Pp. 65-238, plate 9. December, 1909 2,50 4. The Material Culture of the Klamath Lake and Modoc Indians of North- eastern California and Southern Oregon, by S. A. Barrett. Pp. 239-292, plates 10-25. June, 1910 75 5. The Chimariko Indians and Language, by Roland B. Dixon. Pp. 293-380. August, 1910 - - 1-0 Index, pp. 381-384. 2 nil rr *^ W J r a v v ni j nir ni J] jT r 1 >i pi ni | - J JJ p-J-* *jCJ it J-j -J-"*- -J-f-H Bagbagto bagbagto Lambik to Larabik to Lambi bi kan bi bi kan bi bi ka la nay 12. ALLA MABCIA [KANKANAY] ^ -. M A [w] z= y r I T Sa langi sa langi ya nut sa langi sa langi ya nut ANALYSIS OF MUSIC TONALITY AND SCALE These songs are simpler in rhythm and structure than the majority of American Indian songs, and, at least in transcription, at once give the impression of being nearer our own music in their melodies. Several of them follow the same melodic pattern so consistently as to suggest a fairly definite Nabaloi scale. In the difficult matter of determining the scales of primitive music, the commonest source of error is likely to be a mishearing and mis- recording of the actual pitches sung, due to an unconscious fitting of them to our scale. In the present case there is nothing to do but to accept the transcriptions at their face value; but as the scale which works out as the most prevalent is quite different from our own, it seems likely that the transcriptions are substantially reliable. Their melodic inaccuracies are unlikely to extend beyond a standard- izing of slight deviations or vaguenesses of pitch not exceeding a fraction of a semitone. Perhaps the most naive error in this connection, but one often committed, is to assume our scale as basic and decide on the key of each song according to the sharps and flats that happen to be written in its record. Recognition of this pitfall is sufficient to preserve from it. The problem of tonality, that is, whether a given type of primitive music has anything corresponding to our tonic or key-feeling is more fundamental and more difficult. Many primitive peoples evidently have much less feeling for tonality than we exact. When they possess some such sense, however slight, the question arises how they mark 196 University of California Publications in Am. Arch, and Ethn. [Vol. 15 the basal tone, whether by putting it at the end of the song as we do, or at the beginning, or by accenting or holding it. In general there is no method of determining the tonic and then proceeding to build the native scale upon it, since an assumption as to either scale or tonic really predetermines the other. The only feasible plan seems to be to proceed empirically by the method of trial and error; that is, to make every possible assumption as to both scale and tonic, and to accept as the native (though unconscious) system that one of the several eventuating schemes which shows the greatest coherence and applies most consistently to the total body of music known from the tribe. Some approach to such a scheme is often discernible after suf- ficient analysis and arrangement; and this framework within which the melodies incline to move, if it is not too irregular, is of course the primitive equivalent of our "scale." For the Nabaloi, the assumption of the last note of the song or melodic unit as being in some degree the tonic, seems to work out rather favorably. The table, in which for the sake of convenience all the melodies have been transposed as if they ended in C, shows that on the assumption that the tonic comes finally, six of the twelve songs fall into a scale (F) A[j B[? C E[> F G. This in turn consists of two halves, thus : subtonic, minor third, fourth, fifth = tonic, minor third, fourth, fifth. The total range of the scale is a tone more than an octave: the greatest observed range within any melody is less than an octave. There is clearly no feeling for the octave as an interval. The first three songs in the table, numbers 10, 2-4-9, 1, show this scheme quite rigidly. Moreover, they all begin a minor third higher than they end : that is, they open on the first note of the scale above the assumed tonic. Three other songs, numbers 12, 7, 8, begin differently and do not conform so strictly in range or choice of tones. But their notes fall within the same scale. The four remaining songs, numbers 5, 11, 3, 6, agree neither with the preceding six, nor with each other, except in one feature: they replace the minor third by the second. With allowance for this sub- stitution, and twice of that of A for A[? and once of E for F, three of them also fit the suggested scale. Number 3 is undoubtedly akin to number 7, as is shown by both beginning on the fifth below the final. Only number 6 stands wholly apart. It is possible that, Nabaloi intervals being less definitely fixed in 1919J Moss-Kroeber: Ndbaloi Songs 197 - O ~* CD p CD c o r*' Q ? o M CO h-> CK p Number of song t-> CO Ha H Ha p w. x* 3- 1' Ha s ' g, E - " 5- 5-" 2 n O* O p ^ CD m P *> P P P P P Wl II t, CD ^ HJ ^ B cr CO P P & cr cr cr P cr JT o 2-2 S Ha P rt- 2 " O ^ CD" H> 1-1 cs cs cs l-l o cr op B CD P ^ * of ce ca 2 * cs rr 2 "on *? 1 t:s I! 5 &* fc p o Qp^ (E &3 < c*~ M h-" O ^ CD CD 01 0t 0i 0i CD CD CD CD CD CD CD & 53- 01 CD ^. 2a^' Ct> > 'V^ w. p rt- i 1 CD CD At*** 1 3* |!ol B- OS H, M. 01 Ha Ha Ha Ha Ha Ha Ha S' on H a 5' S re 3 3 M P, B 2. CD = q CO cr? CP? or? CT3 O Q- Hi CD "~t C5 pj CS *-S OR? CD CD CD OT 53" 53" <3~ First note H ^ P i'5 1 | (K! C5 O Ha o Semifinal F 3 5' ^ g 2 s " p ^" ** > h-" CO i i rfa.H-irf>.C,T^) I-"! l-'COh-'l-'COCOCO Second Minor third I-H S; cr p g ^ . : ! co co i r :. Major third a 3 > F QQ ^"^"^CD B & 1 1 CO to co co i co i ' i i i Fourth j a - - ' - f "I &. P' O * CD o ce C5 hg h-> CO 1 ' Semitone Second FREQUENCY KTWEEN Su< co i co en i to i co co co M M B CD ;S o * O S- H> 2 C5 H> I-" OS t 1 Cl en co i ' i co ; co i-> i i > i Minor third Major third Fourth Six semitones Fifth OF 3CESSIVE NOTE83 Descending M i i i i co i i co ! co i ! ! co co co co i i M co t-> ! ; i i 198 University of California Publications in Am. Arch, and Ethn. [Vol. 15 the musical consciousness than ours, the E|? of the first six songs and the D of three of the last four are a somewhat fluctuating attempt at the same interval ; or, that, the same interval being sung in all cases, it was sometimes apperceived as E[? and sometimes as D by the transcriber. In either event, the A and E could be similarly equated with the more regular Ab and F. Plausible as this interpretation appears, it is however possible that the finality of the tonic is only a tendency and not a rule in Nabaloi music. The lower part of the table shows the result reached when the notes of songs 5, 11 and 3 are arranged as, without correction, and without regard for "tonality," they will best fit the scale indicated by the preceding six songs. Except for the addition of D[? in num- ber 3, they fit this scale absolutely as soon as they are allowed to end on the note of the scale next above or below the ' ' tonic ' ' ; that is, are transposed so as to close with Eb or Bb instead of C. What is lost in regularity of signalization of the tonic, in this alternative interpretation, is therefore gained in regularity of adher- ence to scale. Of forty-three notes in the twelve songs, forty now fall in the scheme F-Ab-Bb-C-Eb-F-G, an ^ tne three exceptions are all between C and Eb. The assumption of the invariable coincidence of last note and tonic yields seven deviations from the scale. Which of the two interpretations is the more satisfactory, it is hard to decide. That one or the other comes near to representing the actual melodic basis of Nabaloi music, and that there is such a recognizable basis, is highly probable from the fact that more than half of the songs accord rigidly with the double hypothesis of a certain scale and of the relation of the closing note to that scale. This scale may oe described as lacking semitones, built up of intervals of a tone and a tone and a half, free from the concept or influence of the octave, and non-pentatonic. That it is more fluid than the scale of modern European music need not surprise among a primitive or semi-primitive people. It is at any rate the prevailing framework for a rather definite style. INTEEVALS The frequency of the several intervals between successive notes in the same ten songs is also shown in the table. It is interesting that whereas melodic ascents tend to be by small steps, descents are more sudden. Nearly half the ascents do not exceed a full tone at a time, 1919] Moss-Kroeber: Nabaloi Songs 199 two-thirds are within a minor third, the greatest leap upward is to the fourth. Of descending intervals more than three-fifths are greater than a tone, nearly half greater than a minor third, the fourth is the commonest interval after the second, and the fifth occurs. When the songs are grouped as previously, they differ much as they do in scale. ASCENDING DESCENDING SONGS Minor Major Minor Major Second third third Fourth Second third third Fourth Fifth 2-4-9, 1, 10 16 8 4 .... 8139 12, 7, 8 5544 24234 5, 11, 3, 6 8228 11 6131 It is clear that the songs that adhere most closely to the prevailing Nabaloi scale are also the ones that are most given to the use of the typical ascending and descending melodic intervals. The ascending major chord C-E-G occurs in songs 1 and 8, the minor C-Eb~G in 2-4-9 and 5. EHYTHM AND STEUCTUKE The rhythm of these Nabaloi songs presents no difficulties; their structure is very simple. They consist of an unvarying and perhaps indefinite repetition of a snatch of melody never more than eight or ten measures long. In all but one instance (number 3, which is very brief), the melody consists of either two or three themes or phrases, or units, which are closely similar. Numbers 1, 5, and 11 contain the unit three times. All the others are of double unit type, although numbers 8 and 12 repeat the process within the unit. These may therefore be construed as built on a plan of four units, though for number 12, at least, ' ' two plus two ' ' seems a better interpretation. Generally the two or three recurrences of the unit show only simple variations in rhythm. Melodically the tendency is toward singing the recurrence with lower notes or at least with a lower close. There seems to be no feeling for the kind of climactic effect brought about by the introduction of a slightly higher note or two after a number of repetitions of the theme a device employed by many of the Indians of California, most of whose songs follow the same plan of monotonously repeating a melody consisting of two, three, or four variations of a brief theme. The Californians, however, evince less inclination to work the general course of their songs melodically down- 200 University of California Publications in Am. Arch, and Ethn. [Vol. 15 wards; so that in this feature the Nabaloi are more in accord with the spirit of most primitive music, in which this trait is said to be conspicuous. On the whole there are probably few peoples who have attained to the same degree of civilization as the Nabaloi, whose songs, if the present examples are representative, are so consistently regular in their simplicity of structure. Number 1 was recorded with its first measures written as two bars in common time, and its last note prolonged over an additional three- fourths note. The words, however, indicate a tripartite division of the melody, and the rewriting of this as presented is also more con- vincing musically. The ending at Y does not match as closely with that at Z and at the termination of the melody as is usual ; but a very similar handling occurs in number 5. Both these songs might be construed as built on the plan (a -(- &) + &; that is, as bipartite with the addition of a coda. The only other tripartite song, number 11, is merely a -4- a -f- a: the three phrases are identical, and it is the words rather than the air that indicate the complex a -(- a -f- a and not the mere unit a as the melody. It therefore follows that there is some doubt whether any Nabaloi songs are to be considered as basically constructed on the scheme of three repetitions of the unit. Numbers 2, 4, and 9 prove to be but a single melody, although they were separately transcribed and their words are distinct. The air is typical in structure, rhythm, scale, and intervals. Number 4 has been recorded a fourth lower than 2 and 9 but is unquestionably the iden- tical melody. The second note of the second measure is F in the recorded text, which has already been noted as an error of transcrip- tion for E. Number 3, which belongs to the Kankanay, or at least has the words in that dialect, is the one song of the group that does not fall into natural divisions. It has already been noted as irreconcilable with the usual scale. If its one B could be read as B[>, it would con- form. The text repeats the words orangak olid ~bay~bay before going on to another ' ' stanza. " It is therefore possible that only half of the melody has been given. The tripartite division of number 5 and similarity of structure to 1 has already been mentioned. It might be added that the break at Y comes in the middle of a word, so that its actuality is not wholly certain. In the record, the last two measures were written as a single four-fourths bar, but the parallelism of parts justifies the version presented. 1919] . Moss-Kroeber: Nabaloi Songs 201 Number 6 has much the narrowest melodic range of any song in the collection, falling within a minor third. Rhythmically it belongs to the type of 2-4-9 : the two shortest notes in the unit immediately preceding the long final. Like that air, it is recorded in common time ; but, as this arrangement makes the point of division Z, which is indicated by the words as well as the structure, fall in the middle of a bar, it would probably be better to regard each unit part as com- posed of three two-fourths measures. In the original transcription, the last note of the song is made to extend over most of an additional bar. Number 7 is peculiar in that the two parts are parallel in duration but not in content. The first half consists of a measure three times repeated without variation, and serving as a kind of introduction to the melody proper in the second half. This is perhaps the reason why the second half, contrary to Nabaloi custom, moves on a higher level of pitch. Number 8 has as its melodic content the notes of the major chord, but with the middle one as initial, final, and fundamental. It breaks at Z, and each part is again halved at W. The second and third quar- ters are identical. The result is that the two halves of the song are not symmetrical, or tend to be so inversely. The phrasing of the words does not coincide with the phrasing into either halves or quarters of the music. This is the only piece in the collection with suspended accent, that is, a pause coming where stress is expectable. Number 10, which is "regular" in scale, consists of two halves which are rhythmically identical, with the second throughout moving a tone lower in pitch. Number 11 is presented as recorded, in eight two-fourths measures. Words, rhythm, and pitch however show that the natural divisions fall at the points Y, and that the three resulting parts are identical. That is, the song stanza consists of three repetitions of a phrase of five-fourths duration, accented on the second of the five. The accented note is the highest in pitch. This is the only instance of a song or theme commencing on an up-beat, except for the grace notes in the following. Number 12, which is not strictly a Nabaloi song but from the neighboring Kankanay, repeats its first part identically in the second, except for lowering all but the final note one tone. This is the exact plan of number 10. Triple time, triple grouping of accents or measures into the unit, and triple grouping of units into the stanza or song, are all less com- 202 University of California Publications in Am. Arch, and Ethn. [Vol. 15 mon than double or quadruple arrangement in this series of melodies. Three-fourths time is always accompanied by double or quadruple phrasing of the accents or of the theme units, and vice versa. There are several songs that do not follow triple arrangement at any point in their scheme. But these either divide dichotomously until the quadruple measure is reached, or group double measures in fours. In short, there is not a single song in the collection that adheres con- sistently to a twofold, threefold, or fourfold grouping of its various time units. This condition is perhaps due to an unconscious avoidance of exaggerated symmetry, which might quickly pall in music so simple and regular as this. The stanza or air of all the songs varies only from 12 to 15, 16, 18, or 24 quarter notes in duration. Units in stanza 3 2 (2) 3 2 2 4 2 3 2 That the rhythms of this music are not specialized is shown by the fact that there is not a single case of a change of time and only one of an approach to syncopation. Trochaic rhythm prevails heavily over iambic. Song 1 Rhythm of measure 2 Accents in unit 3 2-4-9 4 2 3 3 4 5 2 3 6 7 (2) 3 (3) 3 8 3 2 10 4 2 11 12 (5) 2 (1) 4 The characteristic traits of Nabaloi-Kankanay vocal music may be outlined as follows: 1. A scale of full tone and minor third intervals. 2. Non-recognition of the octave, the compass of all songs being less than this interval, and the fundamental usually near the middle of the compass. 3. A treatment of this fundamental somewhat suggesting that of our tonic. 4. Tones in their actual succession in the melody generally not over a minor third apart, and never beyond the fourth ascending and the fifth descending. 1918] Moss-Kroeber : Nabaloi Songs 203 5. Very simple and regular rhythms. 6. Themes including not over four accents, more frequently only two or three. 7. Elaboration of the theme into the stanza or air proper by its repetition two, three, or occasionally four times, sometimes without change, sometimes with only a lowering of pitch, sometimes with change in both rhythm and pitch, but never with considerable alter- ation. 8. Identical repetition of the stanza or air, as many times as the words demand, to form the song. COMPARISONS OTHER NABALOI SONGS Since the above was written, two farther Nabaloi 5 songs have come to the attention of the author. These are given by Otto Scheerer on page 149 of volume n of the Philippine Ethnological Survey Publica- tions. They are : 13. Andoa- ak chi Kayapa, andoa-ak chi Kayapa 14 Kmibal kimbal dyo /L /* ! J 1 J 1 r rt\ i if ,-, J 1 Mr. Scheerer repeats each of these melodies once or twice, desig- nating them as ' ' second line of the same song. ' ' But his ' ' lines ' ' are identical, except for two minor variants. Thirteen in the second line replaces the accented D in the third measure by C. Fourteen runs as given the second and third times, but in its first line has F instead of A in the fifth note. I suspect both of these departures from the reproduced text to be misprints. s C. R. Moss has heard these airs sung at Itogon in the southern part of Benguet. 204 University of California Publications in Am. Arch, and Ethn. [Vol. 15 Assuming as before that the last note is the foundation of the scale used, and transposing to C, we find the melodic framework to be : 13 ab bb c eb f g 14 bb c eb f in short, exactly that previously determined as typical of Nabaloi music. The consecutive intervals conform less closely; but as these must needs be more variable than the scale, a discrepancy would only be of moment if very marked or based on a considerable series of speci- mens. For the two songs together they are : Ascending Descending Second 2 7 Minor third 1 3 Major third 1 1 Fourth 2 2 Fifth 1 The only new interval is the ascent to the fifth. The first measure of 14 is identical with the first of number 7, except for the longer final note. The approach to the "tonic" final is through the note most com- monly used in the preceding songs: a full tone below. Major third below 8 Second below 1, 2-4-9, 3, 7, 13, 14 Second above 5, 6, 11 Minor third above 10, 12 4 Thirteen is presented as first published, but divides at Z into two balancing parts. This plan yields two units of seven quarter notes each ; or more probably, of two measures in three-fourths time, with the last note prolonged. This analysis dissolves the apparent synco- pation in the third bar. Fourteen is very brief and does not subdivide. It is clear that these two songs, independently noted by another observer at some years' interval, agree thoroughly in scheme with those already analyzed, and thus tend to corroborate both the accu- racy of Mr. Francisco's transcriptions and the legitimacy of the interpretations offered. 1919] Mos#-Kroel)er: Nabaloi Songs 205 OTHER GROUPS The only other Filipino music known to the authors is published by Miss Densmore in the American Anthropologist for 1906. 6 She gives a transcription of one "Igorot" song, which must be admitted to be as thorough a rhythmic and structural chaos as she says it is. Its tones are C, D, E, G, A. The three lowest and the two highest evidently form two levels which are felt to be distinct, although the melody leaps back and forth between them, rising from C to G and A, and falling from G to all three of the lower tones. By assuming E as the fundamental, we can transcribe this air to fit externally into the Nabaloi scale: A[>-Bt)-C-Eb-F. But this does not meet the spirit of the song, and seems arbitrary. Whatever structure the song may have is also certainly of a different type from the structure of the simple Nabaloi songs. Miss Densmore also gives two Negrito songs. The first, Amba, is a brief theme, consisting essentially of a reverse progression of the scale C-D-E-F-G-A. This is not like anything Nabaloi. The semi- tone interval F-E (the two tones adjoin in the melody) is practical^ without Nabaloi parallel. In its repetition, the theme is rhythmically embellished; in this process, A becomes A-B^-A and A-B A, and F becomes F-GJj-F and F-G-F. This device is also not Nabaloi, if the present transcriptions are accurate. The second Negrito song, Uso, seems also to be based on a simple theme, but this is not adhered to after its first statement. The range of tones is C-D-E-F-G-A-B-C-D, or considerably more than in any known Nabaloi song. Again the semitone appears. The theme ends in the second measure on stressed G, which is reaccentuated in the fifth and sixth measures. If this G is assumed as the fundamental and transposed to C, the scale becomes F-G-A-B^-C-D-E-F-G, with the same pivots F-C-G as in Nabaloi, but more crowded filling. It may be added that both songs begin on an up-beat, which is uncharacteristic of the Nabaloi style. It is clear that neither the ' ' Igorot ' ' nor the Negrito songs of Miss Densmore show much resemblance to Nabaloi music. The same author gives also the approximate tones of three sets of Moro gongs, each set being played as an instrument. It is probable that the Moro are unable to control or modify the pitch of these gongs, and must therefore put a set together as best they can from such pieces a New series, vin, 611-632, 1906. 206 University of California Publications in Am. Arch, and Efhn. [Vol. 15 as are available. It is also unsound to compare the notes of a musical instrument with the tones sung by the unaccompanied voice, particu- larly when the manufacture of the instrument is not under thorough mastery. Still, a collocation may be attempted. Transposed to show as C the note on which the melodies usually end, the tones of the gongs are : Nabaloi song scale F Ab Bb C Eb F G Samal Moro gongs FG Bb C F G A C Samal Moro gongs C GAbA BC GB Lanao Moro gongs CCJF A CD FG The compass of the instrument is in every case greater not only than that of any one Nabaloi song, but than the abstracted Nabaloi scale. At the same time, the scheme is not so very different, if allow- ance is made for the probable inability of the composer of each instru- ment to secure all his gongs of precisely the pitch he may have desired. Thus, lower G in the first Samal set may have been accepted as an approximate substitute for Afc>, the same G in the second set in place of F, the upper B in place of C. It is true that this is speculation; but the recording of the tones of a considerable number of such gong instruments might well throw some light on the intervals of native Filipino vocal music, and would in any event be of interest in itself. Transmitted, March 14, 1918. UNIVERSITY OF CALIFORNIA PUBLICATIONS - (CONTINUED) ^ Vol. 7. * 1. The Emeryville Shellmound, by Max TThle. Pp. 1-106, plates 1-12, with 38 text figures. June, 1907 1.25 / 2. Recent Investigations bearing upon the Question of the Occurrence of Neocene Man in the Auriferous Gravels of California, by William J. Sinclair. Pp. 107-130, plates 13-14. February, 1908 35 V 3. Porno Indian Basketry, by S. A. Barrett. Pp. 133-306, plates 15-30, 231 text figures. December, 1908 1.75 * 4. Shellmonnds of the San Francisco Bay Region, by N. C. Nelson. Pp. 309- 356, plates 32-34. December, 1909 ,.. .50 U 5. The Ellis Landing Shellmound, by N. C. Nelson. Pp. 357-426, plates 36-50. April, 1910 75 Index, pp. 427-443. Vol. 8. /I. A Mission Record of the California Indians, from a Manuscript in the Bancroft Library, by A. L. Kroeber. Pp. 1-27. May, 1908 25 j 2. The Ethnography of the Cahuilla Indians, by A. L. Kroeber. Pp. 29-68, plates 1-15. July, 1908 75 * 3. The Religion of the Luisefio and Diegueno Indians of Southern California, by Constance Goddard Dubois. Pp. 69-186, plates 16-19. June, 1908 1.25 4. The Culture of the Luiseflo Indians, by Philip Stedman Sparkman. Pp. 187- 234, plate 20. August, 1908 50 -. 5. Notes on Shoshonean Dialects of Southern California, by A. L. Kroeber. Pp. 235-269. September, 1909 35 ^ 6. The Religious Practices of the Diegueno Indians, by T. T. Waterman. Pp. 271-358, plates 21-28. March, 1910 80 Index, pp. 359-369. Vol. 9. !. Yana Texts, by Edward Sapir, together with Yana Myths collected by Roland B. Dixon. Pp. 1-235. February, 1910 2.50 '2. The Chumash and Costanoan Languages, by A. L, Kroeber. Pp. 237-271. November, 1910 35 v 3. The Languages of the Coast of California North of San Francisco, by A. L. Kroeber. Pp. 273-435, and map. April, 1911 1.50 Index, pp. 437-439. 1 Vol. 10. Kl. Phonetic Constituents of the Native Languages of California, by A. L. Kroeber. Pp. 1-12. May, 1911 .10 * / 2. The Phonetic Elements of the Northern Paiute Language, by T. T. Water- man. Pp. 13-44, plates 1-5. November, 1911 45 ^3. Phonetic Elements of the Mohave Language, by A. L. Kroeber. Pp. 45-96, plates 6-20. November, 1911 65 v - 4. The Ethnology of the Salinan Indians, by J. Alden Mason. Pp. 97-240, plates 21-37. December, 1912 1.75 ^5. Papago Verb Stems, by Juan Dolores. Pp. 241-263. August, 1913 25 ^6. Notes on the Chilula Indians of Northwestern California, by Pliny Earle Goddard. Pp. 265-288, plates 38-41. April, 1914 30 \t 7. Chilula Texts, by Pliny Earle Goddard. Pp. 289-379. November, 1914 1.00 Index, pp. 381-385. * Vol. 11. 1. Elements of the Kato Language, by Pliny Earle Goddard. Pp. 1-176, plates 1-45. October, 1912 2.00 2. Phonetic Elements of the Dieguefio Language, by A. L. Kroeber and J. P. Harrington. Pp. 177-188. April, 1914 10 3. Sarsi Texts, by Pliny Earle Goddard. Pp. 189-277. February, 1915 1.00 4. Serian, Tequistlatecan, and Hokan, by A. L. Kroeber. Pp. 279-290. Febru- ary, 1915 10 5. Dichotomous Social Organization in South Central California, by Edward Winslow Gifford. Pp. 291-296. February, 1916 05 6. The Delineation of the Day-Signs in the Aztec Manuscripts, by T. T. Water- man. Pp. 297-398. March, 1916 1.00 7. The Mutsun Dialect of Costanoan Based on the Vocabulary of De la Cuesta, by J. Alden Mason. Pp. 399-472. March, 1916 70 Index, pp. 473-479. UNIVERSITY OF CALIFORNIA PUBLICATIONS- (CONTINUED) VoL 12. '1. Composition of California Shellmounds, by Edward Winslow Gifford. Pp. 1-29. February, 1916 30 * 2. California Place Names of Indian Origin, by A. L. Kroeber. Pp. 31-69. June, 1916 _ 40 3. Arapaho Dialects, by A. L. Kroeber. Pp. 71-138. June, 1916 70 K4. Miwok Moieties, by Edward Winslow Gifford. Pp. 139-194. June, 1916 55 v 5. On Plotting the Inflections of the Voice, by Cornelius B. Bradley. Pp. 195- 218, plates 1-5. October, 1916 25 V 6. Tubatulabal and Kawaiisu Kinship Terms, by Edward Winslow Gifford. Pp. 219-248. February, 1917 SO 7. Bandolier's Contribution to the Study of Ancient Mexican Social Organiza- tion, by T. T. Waterman. Pp. 249-282. February, 1917 35 8. Miwok Myths, by Edward Winslow Gifford. Pp. 283-338, plate 6. May, 1917 _ 55 9. Calif ornia Kinship Systems, A. L. Kroeber. Pp. 339-396. May, 1917 ..._ 60 v'10. Ceremonies of the Porno Indians, by S. A. Barrett. Pp. 397-441, 8 text- figures. July, 1917 45 v 11. Porno Bear Doctors, by S. A. Barrett. Pp. 443-465, plate 7. July, 1917 25 Index, pp. 467-473. Vol. 13. 1. The Position of Yana in the Hokan Stock, by E. Sapir. Pp. 1-34. July, 1917 1 35 2. The Yana Indians, by T. T. Waterman. Pp. 35-102, plates 1-20. February, 1918 .75 3. Yahi Archery, by Saxton T. Pope. Pp. 103-152, plates 21-37. March, 1918 .75 4. Yana Terms of Eelationship, by Edward Sapir. Pp. 153-173. March, 1918 .25 Vol.14. 1. The Language of the Salinan Indians, by J. Alden Mason. Pp. 1-154. January, 1918 1.75 2. Clans and Moieties in Southern California, by Edward Winslow Gifford. Pp. 155-219, 1 figure in text. March, 1918 75 3. Ethnogeography and Archaeology of the Wiyot Territory, by Llewellyn L. Loud. Pp. 221-436, plates 1-21, 15 text-figures. December, 1918 2.50 4. The Wintun Hesi Ceremony, by S. A. Barrett. Pp. 437-488, plates 22-23, 3 figures in text. March, 1919 75 Vol. 15/M. Ifugao Law, by R. F. Barton. Pp. 1-186, plates 1-33. February, 1919 2.00 2. Nabaloi Songs, by C. R. Moss and A. L. Kroeber. Pp. 187-208. May, 1919 .20 Vol. 16. 1. Myths of the Southern Sierra Miwok, by S. A. Barrett. Pp. 1-28. March, 1919 30 2. 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