AUSTRALIAN NATURAL HISTORY Published Quarterly by the Australian Museum, College Street, Sydney Editor: F. H. TALBOT, Ph.D., F.L.S. Annual sub cription, $2.20 posted Assistant Editor: P. F. COLLIS Single copy, 50c (55c posted) \'OL. 16, 0. 9 MARCH 15, 1970 CONTENTS PAGE CAN WE APPRECIATE ABORIGINAL MUSIC-Catherine J. £/lis 289 MUSEUM'S MUSICAL INSTRUME 'TS ON PAPUA A D EW GUINEA STAMPS-}. P. White.. 294 FARMING TilE SEA-J. M. Tlwmson 295 THE CABBAGE WHITE BUTTERFLY-}. V. Peters 300 AUSTRALIAN CRABS-D. J. G. Griffin 304 COLLECTING REPTILES A 'D AMPHIIJIA S IN EW Gut EA-Fred Parker 309 THE PRODUCTI0:-1 OF HORIZO, TAL HIGH-TIDAL SHORE PLATFORMS-Normal/ K. Sanders 31 5 BOOK REVIEWS .. 293, 308, 314, 319 MEET OuR Co TRIBUTOR 320 e FRO 'T COVER: The Eastern Brown Snake ( Demansia textilis) attains a length of up to 7 feet, and is one of our deadliest snakes. It is found in a wide variety of habitats in eastern and southeastern Australia, generally preferring open, drier country to the wetter sclerophyl forests. lt is a fas t-moving, timid snake which will normally avoid contact with humans but which may become very aggressive if provoked, adopting the attitude shown in the photo. The sen itive tongue, which is an important sense organ in snakes, is always active when a nake is alarmed and may be extended, quivering, for long periods. The Eastern Brown nake is usually some shade of grey or brown above, though occasional specimens are almost black. The belly is usually cream with irregular orange spots and blotrhes. BACK COVER: A radiogr2ph of a Butterfly Fish (Citaetodon ltawensis), trawled in 70 fathoms off Wollongong, New South Wales. X-rays are used in the study of fish to examine the bones of the skull, ''ertebrae, and caudal skeleton in particular; vertebral counts can be made and counts of unpaired fins verified. Occasionally a fish in the stomach contents will show up in an X-ray. [Photos: C. V. Turner] Can We Appreciate Aboriginal Music? By CATHERINE J. ELLIS Lecturer, Department of Music, University of Adelaide, South Australia MPATHY with a singer and his song is the only means by which we may learn toE appreciate the music of a tribal people. The listener who takes the trouble to achieve this experience will find it a rewarding one. It may seem a strange possibility that a study of music can make clear for us the changes that are occurring in the society of which that music is an expression. Music is a very personal experience, but also one which is shared by society. Through song the noblest aspirations or the greatest fears may find individual expression, and may, at the same time, be shared by all. The history that music recounts is not a collection of coldly­ observed facts, but a portrayal of the emotional struggles of those involved in events of consequence to them. J t does not, however, become available to us until we have learned how to appreciate the music through which this history is recorded. Despite the subjective account it supplies, the importance of artistic expression, par­ ticularly in song, must not be overlooked in the understanding of any people. lt is possible, by listening carefully and sympa­ Europ�anization in music: Douglas Carter. of thetically to the songs performed by any Murray Bridge. South Australia particular group of people, to achieve an intimate understanding of the thoughts of these people. ot only do the musical problems. They range from the pathetic fo rms in use indicate areas of thought not utterances of a despondent Aborigine: necessarily manifest in any other activity of Every nation has a flag, except the old black coon. the group, but the texts of the songs can l wish l was a white man. instead of an old black prove most enlightening. One of the reasons coon for this is pointed out by Merriam (1964): to the cynical comments: " ...in song the individual or the group can apparently express deep-seated feelings White fella put the fences across the country, Jacky sits and laughs all day. not permissibly verbalized in other contexts"', He don't care what become of the country, and again: " ... one of the outstanding Rut Jacky like to take it that way. features [of song texts] is the fact that they provide a vehicle for the expression of ideas These Europeanized songs are conveying and emotions not revealed in ordinary dis­ inside thoughts on the pressing problems course". that confront the detribalized Aborigine. The music of these songs has nothing about it which is new to us. The songs themselves, Europeanized songs however, cannot be appreciated unless time There are many Europeanized songs in the and trouble are taken to be a sympathetic current repertoire of detribalized part­ listener, and to share with the singer his Aborigine performers which highlight social feelings and thoughts. Ausrralian Narural Hisr01·y Page 289 Men at Oonadalla, South Australia, singing their section of a history song Thi is equally so with the fully tribal to do so. When we are confronted with music of the Australian Aborigines. The Aboriginal music, which often uses musical difficulty here is greater for us; we face an forms quite alien to our ears, we cannot unfamiliar musical system which conveys initially appreciate the beauty of sound unfamiliar concepts. Those musical intervals which is obviously experienced by the which do not coincide with any used in our participants; if we also lack an understanding own musical system will initially be regarded of the significance of the performance. then by us as "out of tune". This problem may it is necessary to say that we cannot appre­ bother the more musical a great deal: before ciate the music at all. they can understand the tonal language in History songs use in a musical system. they find it very Tribal music conveys at least two quite difficult to understand what is taking place in the musical communications ari ing from the different type of history. One is spoken about by the performers, and forms the basis system. In the case of the tribal music from of the religious beliefs. The other i less Central and South Australia (the area to obvious, and can be found only after careful which this discussion will be restricted) the cientific evaluation of the distribution of element of the music most familiar to the non-Aboriginal is rhythm. musical forms used in diffe rent areas. Of the latter it need only be said here that in ot many people have the opportunity of South Australia at least two distinct musical hearing or seeing an Aboriginal performance cultures have been found. one in the south­ in its natural setting. Of those who do have east of the State, the other strongest in the this opportunity, few understand what is northwest. For detailed discussion of this, taking place. The performers themselve see Catherine J. Ellis' "Aboriginal Songs of find it difficult to convey anything at all of South Australia", Miscellanea Musico/ogica. the significance of 1 he occasion. particularly Vol. I (Adelaide. 1966). pp. 137-190. or the as they mu t u e a fo reign language. Engli h. ame author's "Folk Song Migration in Psge 290 March. 1970 Aboriginal South Australia", Journal of the observer may well fa il to recognize extreme International Folk Music Council, Vol. XIX sections of the one song-line as conforming (1967), pp. 11-16. The firsttype of history to the same musical pattern, but that they contains those songs performers themselves do conform has been repeatedly stressed by call "history songs''. performers and shown by a number of History songs recount events in the lives detailed analyses. The concept differs from of the totemic ancestors, in their journeys, our experience of melodic sameness; it their meetings with other totemic ancestors, consists of repetitions of sections of melody their good fortunes or their misfortunes at fo r a set proportion of the time the total various places. There are different forms of verse takes to perform. For example, the any one history; it may be told as an melodically unifying element of a particular explanation of the life of the ancestor, or it bandicoot song-line from the north of South may be sung in a series comprising many Australia consists of a division of each verse short verses, each of which tells about a into five segments, the exact notes of which particular event or place associated with the are not clearly defined, but rather the ancestor; or the performance may be a full particular range which must be covered, and ceremonial one which includes portrayal of whether it is covered in ascending or des­ relevant events in the performance of dances cending progressions, are clearly defined. accompanied by the singing of the appro­ Each verse lasts for approximately 30 seconds, priate verses. The song associated with any and this total duration is divided between the one totemic "line" will have the one melodic segments so that the proportions remain in form throughout. This means, in the case the ratio of 4: I : 2: I : 2. (The exact of very long "lines'' of song, where the duration of each segment is actually con­ ancestor is reputed to have crossed thousands trolled by the structure of the rhythm, of miles of territory, that the characteristic which changes continually from verse to melodic fo rm will be found in areas with verse. Nevertheless, the proportional du­ differing languages and musical techniques. ration suffices as a non-technical explanation Because of the latter differences, an outside of the process.) Preparatory dancing while other women are away being painted for a main dance, the designs of which .