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constitution of the ear and of the vocal chords, and their correlations with the laws of acoustics on the one hand and with the psychical laws of the relation to music to emotion on the other."

As Prof. Fillmore's paper is addressed to readers of his own time and race, his analysis of these songs is necessarily couched in terms which are used by us to characterize such phenomena as he observed. The application of these terms to the observed phenomena in these songs was not meant to imply that the Indian or any of the other folk whose songs were under consideration were conscious of the "tonality," "tonic chords", or "pitch-relations" which they used.

In the analysis of the examples nos.13 & 14, pp.309 and 310, which are referred to by his reviewer,Prof.Fillmore says of no.13;"The tones in this song can easily be accounted for on harmonic grounds, but not by a reference to any known form of scale. The question of tonality in all these songs is a question to be settled by the help of harmonic considerations and not otherwise. The case becomes stronger when we come to take into account the melodies which more or less plainly imply modulation." He gives no.14 as an example of the latter. This song starts with a series of tones,the relation of which corresponds to those of the group we class as belonging to the key of B flat, and passes on to tones we class as in the key of E flat, these are followed by tones we class as in the keys of ^[[G and]] F and the song closes with tones we class as in the key of C. These are undisputable facts of this song and they must be squarely met by the student of the development of music.

The discovery in these primitive songs of the use of that which we denominate "modulation" and"suspension," goes to prove that it is true wich music as with other forms of expression, language for instance, that man has used these forms long before the laws which governed his action were recognized and formulated. The fact that these forms were used by primitive son-makers makes it clear that these forms cannot now be regarded as the product of the schools or the devices of the masters but as natural melodic expressions of emotion,- a fact of scientific value.