THE

AMERICAN NATURALIST.
VOL. xiii. -APRIL, 1879. - NO. 4.

ANIMAL MUSIC, ITS NATURE AND ORIGIN.

BY XENOS CLARK, B.S.

THE songs of birds and the fewotheranimals that sing,have

almost exclusivelybeen treatedof in the world of sentiment,
where poet-naturalistsand nature-poetshave culled a wealth of
fanciesthatwill endure as long as there is human emotion,but
which count forlittlein the fieldof exact knowledge. They are
choice reading; a kind of pleasure gardens. The purpose here is
simply to bring together such songs as have been writtenin
musical notation,and from this compilation to make whatever
inductionsmay seem of scientificvalue to ornithologists,physiolo-
gists,psychologistsand theoreticalmusicians,whose studiestouch
this subject.
The young bird acquires his song by traditionalinheritance;
that is, each brood, endowed by physiological inheritancewitha
certainaptitude,learns,afterlong practice,by constantlyhearing
the song of its elders,the melody peculiar to that species,which
is in turnsimilarlytransmitted to the succeeding generation. In
conclusiveproof of this is the fact,that a young nestlingreared
by foster-parents of some other species will learn their song.
Hon. DaimesBarrington(i),1an earlyand discriminating observer,
says, I" have educated nestlinglinnetstinderthe threebest sing-
ing larks,the skylark,woodlark and titlark, every one of which,
instead of the linnet's song, adhered entirelyto that of their
respectiveinstructors." This process seems verydecisive,fora
titlark-linnet(a linneteducated by a titlark),well fixed in song,
which he kept forthreemonthswithcommon linnetsin fullsong,
borrowed no passages, but adhered to the titlark melody. It
'The referencesare made by Roman numeralsto the list at the end of the article.
VOL. XIII.-NO. IV. 15
210 Atilzlial1./sic, its iXatui-eavd Origi. [April,

is evident, therefore,that birds acquire their songs as infants

acquire a language, by instructionratherthan by instinct;and
thatthose of the same species sing alike forthe same reason that
childrenof one nationalityspeak alike, viz: thattheirinstructors
have a commontongue.
The next question is, how birds came originallyby the notes
which are peculiarto each species. Daimes Barringtonanswers
this also, saying substantiallythat scarcelyany two birds of the
same species sing exactlyalike; thereare,so to speak, " provincial
dialects" in differentdistricts,as well as individual mannerisms
and defects. All these minor differences, continuallyrenewed,
will be imitatedby the young birds,and passing fromthemto
succeeding generations,will be perpetuatedand grow to wider
divergencies. The loss of a parent at the critical period, also,
will compel the young bird to invent or copy fromotherbirds,
perhaps of different species. Had this explanationbeen thought
out a hundredyears later,in 1873, it would have been added that
of all these variations sexual selection would perpetuate the
most agreeable,so that, as Darwin says (II, p. 378), "It is nlot
difficultto imagine the steps by which the notes of a bird,pri-
marily used as a mere call, or for some other purpose, might
have been improvedinto a melodious love song."
The ultimate origin of melody is a more difficultproblem.
Darwin writes elsewhere (II, p. 569), " But if it be furtherasked
why musical tones in a certainorderand rhythmgive man and
otheranimalspleasure,we can no moregive the reason thanforthe
pleasantnessof certaintastesand smells." 'I will attempthere to
brieflyanswerthis question,reservingat present the fullerstate-
mentof a theory,which,very strangely,has never before been
hit upon, though Darwin in the paragraph preceding that just
quoted, and Helmholtz (HI, p. 553) have almost come upon it,
and then passed by.
A musical sound is compound in its structure,being reallya
group of simple tones heard sinmultaneously;in fact,a chord.
This group is composed of a ground tone or fundamental,
which
predominates,and of a number of overtones,that decrease in
intensityas they rise in pitch through a series of harmonic inter-
vals. Thus betweenthe ground-toneand over-toneNo. i is the
intervalof an octave; between Nos. i and 2, of a fifth;between
Nos. 2 and 3, of a fourth; between Nos. 3 and 4, of a major
third(see songs No. I). These intervals,the octave,fifth,fourth
 879.] Az 3s11csi,
Aninial its Naltu'c61an1d 01O-f
H/ 2 11

and third,which thus occur in everymusical sound we hear, and

which existed as physical peculiaritiesof vibratingbodies long
beforeany livingbeing came upon the earth,are also at the basis
of human and, I hope to show, extra-humianmelody. It is a
verysuggestivecoincidence,too thorough-goingto have occurred
by chance. The thought at once arises that the peculiar,com-
pound, harmonic structureof musical sounds (more accurately,
ofthe vibrationswhichproduce them)has in some way impressed
itselfupon the auditorymechanism; so that melody,gradually
growingunderthe guidance of the ear thus modified,has been
moulded intoa musical form similar to that possessed by the
group of harmonically-related tones which we have seen to com-
pose the sounds indicated.
This seems veryprobable. For since each terminal nerveof
the thousandsin the cochlea respondsto a givensimple tone,the
group of such tones forminga musical sound will excite a cor-
responding group of nerves, which will of course be related
amongst themselves as are the exciting tones amongst them-
selves ; that is, they will be serially octaves, fifths,fourthsand
thirds apart. Every nerve will, therefore,have always been
stimulatedin companywithcertainothers,at harmonic intervals
fromit; and it is inevitablethatthe incessantand long continued
repetitionof this cooperate activityshould have resulted in sonic
anatomical or functionalbond; a pathway, as it were,leading
fromeach memberof the group to everyother. The p-ogr-ess o1f
an/ymnelodly'will be easiest a/lotigthlisharmonlicpat/lmz'ay,wrn by'
this'physical strutcture
of soundly.
For this reason it seems to me, musical tones in.a certain
order give man and other animals pleasure.' Take the case of
some primitive bird of the type fromwhich the various Insessores
have diverged (singing birds belong chieflyto this Order). For
innumerable years the harmonic structure Of sound vibrations
had been impressingitselfupon the auditorymechanismof his
ancestors,segregatingthe terminalnerves,or whateverthe audi-
toryunitsmightbe, into groups,and hlabituating the membersof
each group to concerted activity. He, in turn, inheriting that
1 The word jieasure has been a stuml)]iflgblock. Were the conmicretes of which it
is the al)stract always expressed, thus-"1 I feel an ealsy performance of some funec-
tioo; or a general nervous stinolation aand exaltation ; or an im-1pulseto continue
this sensation or action "-ere this-done, many <scemingr (lificulties of physio-psy,-
chology wonld vanish.
2I2 Asinimal its Aolx-e an-adO-ikiii.
z1J/sic, [April,

modifiedmechanism,began to sing,at firsta single note. When

this grew wearisome and for remedythe pitch was altered,true
song arose. But the change of pitchcould hardlyhave been at
haphlzard; the firstnote excited a nervebelongingto a certain
coherent group, and it was a necessary alternativethat the next
note should excite some other nerve, either withinor without
that group. If within,the combination had occurred mil-
lions of times; if without,perhaps. not once. I cannot doubt
that the change was within the group; was harmonic; indeed the
overtonesof the firstnote had already slightlystimulated the
relatednerves,so that their fainttremorextended,as it were,an
invitationto touch them more firmly. The invitationwasfol-
lowed, and then other similar ones, and finallythe song grew
harmonic,because it followed the easy, preestablishedpathway,
risingand fallingoctaves,fifths,fourthsand thirds firm one to
anotherof the many-groupednerves. He sang to please himself
or his mate,and the most pleasing combinationof notes wvasthat
mosteasily heard; the combinationproducingleastfriction and se-
curingthemosteconomicalactionofthesound-receiving apparatus.
In this brief exposition all details are neglected, and even
inexactness admitted where rigorous truthof statementwouIld
consume too much space. The more technical treatmentof the
theory,ifit can be called that,belongs to physiologicalacoustics,
in which province many facts tend to its support. The further
evidence that can be appropriatelypresentedhere, consists of
certain statisticalproofs gathered fromthe bird songs which
occupy the last pages of this article,and it seems very con-
clusive.
There are four hundred and six intervalsin the thirty-eight
bird songs. Of these,all below the major third may be consid-
ered as a " fillingin "-material forruns,trills,etc.; theynumber
one hundredand eighty-four.
The major third and the intervalsabove it are the true pro-
gressive steps followed by the bird's ear in the long leaps of his
song; thereare of these two hundredand twenty-two. The fol-
lowing table will shoxvthe details:
Interval. Ala 3d. 4th. Dinml.5th. sth. 'Mi. 6th.| 6th iDiin7 7th 8th.
No. of tones . . 2 2'2 3 3,? 4 4' 5 5S | 6

Absolute No.. 58 5 5| 6o I2 _ 4 __ 20

Proportional No. 26 per ct 25 per ct 2 pot Ct. a2 per ct 6 per ct. 4 per et. per ct.| . . . 9 per ct.l
I 879.] A ilzbial iT/h'sicits 2lJrtuit' zl0i O6rz;r-. 2 1

These resultsare as pregnantas theyare simple. The perfect

fifths,fourths,thirds and octaves have a marked predominance,
theirproportionof the whole n1 umberbeing respectivelytwenty-
seven per cent.,twenty-five percent.,twenty-sixper cent.and nine
per cent.,or taken all four together-, eighlty-seven per cent. as
against thirteenper cent.of the remainingfiveintervals. Nearly
all the songs illustratethis pronouncedharmoniccharacter; that
of the song sparrow(Nos. I8-22), forexample, in whichthe best
intervalslie betweenthe trills,is verygood. Indeed, the veryfact
thatvarious keys are selected in whichto writebirdSongTSis proof
that they rest on the same basis as human music. And the
immense preponderance of harmonic intervals seems sufficient
answerto whatevermay be said about the difficulties and possi-
ble inaccuraciesattendanton the writingof these songs.
There are some curious observationson the singingof birds in
concertwhich seem to show that they have an " ear formusic."
Daines Barrington(i) says that,as testedby trainedears, a dozen
singingbirds of different kinds in the same room made no dis-
agreeable dissonance. And Mr. Augustus Fowler writesme that
in a meadow wheremanyred-wingred black-birdsare congregated,
one may "hear theirfamiliarnotes pitchedto the same key; not
a discordantnote is utteredbecause the intervalsare thirds,fifths,
etc." In a concertof male goldfinclhes, when they sing- for anl
hour together," althoughone may pitch his tune and commence
singing,the othersfollowing,begin theirtuneson the same pitch,
and to an unpracticedear, or to a casual observer,their notes
seem discordant,when theyare in perfectunison."
WhVhat fewsongs of other animals than birds can be gathered,
point even more strongly in the same direction. Darwin (ii, p.
567), speaking of the Hylobaltesagilis,anl ape allied to man,says,
"This gibbon has an extremelyloud but musical voice. Mr.
Waterhouse states(xvi), ' It appeared to me that in ascendingand
descendingthe scale, the intervalswerealways exactlyhalf-tones,
and I am sure thatthe highestnote was the exact octave to the
lowest. The quality of the notes is verymusical; and I do not
doubt that a good violinistwould be able to give a correct idea
of the gibbon's composition,excepting as regards its loudness.'
Mr. Waterhouse then gives the notes. Prof. Owen, who is a
musician,confirmsthe foregoingstatement. This gibbon is not
the only species in the genus which sings,for my son, Francis
Darwin, attentivelylistened in the zoological gardens to I1. ltvt-
21I4 lzmaAzisw, its lValte eaczdOrzginl. [April,

ciscus whilst singing a cadence of three notes, in true musical

intervalsand witha clear musical tone."
The Rev. S. Lockwood writes in the AMERICANNATURALIST
(vi) of a most interesting singing mouse, Ilesperouzys cognatus,
and fortunately gives the music, writtenbyhis son (Song No. 39).
"
He says, Althougflhshe had no ear fortime,yet she would keep
to the key of B (two flats)and strictlyin.a major key. Her soft
clear voice fallsan octave withall the precisionpossible,thenat
the wind up it rises again into a very quick trillon C sharp and
D. When singing whilst turningin her wheel,and suddenly
thrownon her back by its stoppage,as if in surprise,she would
roll offfour or five notes in a higher octave, and in a greatly
increasedloudness of voice.'
In answer to some inquiries,Mr. Lockwood kindlywritesme
as follows: " Octaves, fifthsand thirdswere usually selected for
the long intervalsof Hespe-onlzs' song. I have had and still
have singing guinea pigs, C(aviaz cobaia. What is said of my
Hesperotzys is in the main true of the Caviar. There are other
rodents that sing, Jlius inusculus, or house mouse; the rat, 17I7'zs
roattus; the white-footed mouse, Hesperonzys leuicop.us; the wood-
chuck, Ar-ctomls momzax,and the squirrels.' Recent numbersof
Natur1te (viii) contain brief
(VII) and the Peopular-Science Zilont/ily
accounts of singing mice. That in the formerconfirmssome
curious phenomena observed by Mr. Lockwood-the singing of
an air withan accompaniment,and the influenceof frightas well
as joy in startingthe song.
It is doubtfulwhethertrue music is produced by any inverte-
brates. There seems to be no provision in the ear for the exact
discrimination of pitch,and the sounds are instrumentalrather
thanvocal,being generallyproduced by stridulation. Some refer-
ences, however,are given with the othersto what has been writ-
ten on this subject (xxii to xxvi, see also IT, pp. 274, 289, 30I).
For assistance in iny work of collecting and studyinganimal
songs I am much indebted,especially to Mr. Wilson Flagg, Prof.
E. R. Sill, Dr. Elliott Coues, Rev. S. Lockwood, Mr. H. A. Pur-
die, Mr. Robert Ridgway,MlissAlice Bacon, Mr. H. D. Minotand
Dr. P. L. Hatch. It was necessary that the work should be
largely one of compilation, for the material had never been
brought together before. Thus the attempt has much of a
pioneercharacter,and my chiefhope is to directattentionto this
importantfield of study,where acute observationis verymuch
I879.3 Antimal 9Inesic,its Zca//rlt
and 014<1/i't. 2 15

needed; for the comparativesciences hold the keys to all ques-

tions of origin,and theirmethodis simplythe intelligentnoting
and collatingof the facts of Nature. Allegiance to this method
in the fieldof animal music has even at this early stage resulted
in two encouragingstartingpoints for futurework-a statistical
demonstrationof the harmonic character of animal, especially
bird,song; and Matheoryfor the origin of melody,whetherhu-
man or extra-human,which besides the usual basis of physiologi-
cal acoustics,employs the law of modified,inherited,selected and
adapted structure,i. e., the law of evolution.
BIBLIOGRAPHY.
I. The Hon. Daines Barrington, " Philosoph.Transact," I773, P. 249.
IIo Darwin, " The Descent of Man," Appleton& Co., 1875, 2d ed.
III. Helmholtz," The Sensationsof Tone as a PhysiologicalBasis for the
Theoryof Music," trans.by A. J. Ellis. Londoll, 1875.
IV. JamesSully," Sensationand Intuition." London, 1874, 7th essay.
V. GrantAllen,M.A., " Physiologrical TEsthetics."London, I877. Hearing.
VI. Rev. S. Lockwood, "A Singing Hesperomys,"AMERICAN NATURALIST,
Vol. v, 1871, P. 76I.
VII. " SingingMice, Nature,NOV.8, I877, P. 29.
VIII. " SingingMice," byHenryLee, Pop. Science AontklyVol. XIV,I878, p. 102.
Ix. White's "Natural Historyof Selborne."
X. Kircher,"Musurgia"-Notes of nightingale,quail and cuckoo.
XI. Wilson Flagg, "Birds and Seasons of New Encgland,"Boston,1875. This
containsall correctsongsof thoseprintedin Atl/antzicllIoWnt1i/, IS58.
XII. " Music of Nature,"by Gardiner. London, 1832.
XIII. " Book of Nature," by Good, p. I89. Hartford,1853.
XIV. JohnBlackwall, Mem. Lit. and Phil. Soc. of Manchester, 2d Series,Vol.
IV, 1824,P. 289.
XV. " OrnithologicalDictionary,"1833,I. 475.
XVI. Given in W. C. L. Martin's" General Introduc.to Nat. Hist. of Marum.
Animals,"1I84I, P. 432; Owen, " Anat. of Vertebrates,"Vol. iii,
p. 6oo.
XVII. J.E. Harting,"The Birds of Middlesex." London, I866. Numeroussongs.
XVIII. Kennedy. NVA4bhandi. baier. Akad. (P/it. Abhandi.), I797, P- I69.
XIX. Savart (Frioriep's Notizenzni.s.wz.),1826,pp. I and 20.
XX. Brehmand Hausmann, aZibunannia. I855, PP. 54, 96, i8i.
XXI. 70ou1-.fziir 0Orn.,I855, P. 348, I856, P. 250.
XXII. "The Songs of the Grasshoppers,"by S. H. Scudder, AMERICAN NATU-
RALIST, Vol. II, I868, p. II3.
XXIII. " Stridulating Crustaceans,"Natuire, May, I878, PP. 53 and 95.
XXIV. Insect Music, Landois' Das Azisland, XLIII (1870), PP. 429 and 430.
XXV. Stridulationof Scorpions. See " AnnualRec. of Science" (Baird), 1S77,
P. 282.
XXVI. Stridulation
of Butterflies,
See " Annual Rec. of Science" (Baird), 1877,
P. 309.
XXVII. language et chant des oiseaux,par M. F. Lescuyer. (Paris, J.B. Baillirec
et Fils.)
XXVIII. Ii CavtoDegli, Uccelli,note di fisiologiae biologia zoologica in rapporte
alla scelta sessuale e alla lotta per lesistenza raccolte du Luigi
Paollucci, Professoridi Storia Naturale nel R. InstitutoTecnico
di Ancona. (Milano, 1878, pp. I30.) This is an elaborate and
philosophical memoir treatingof animal song in many separate
aspects. The notes of insects,batrachians,reptilesand birds are
given in musical notation,and elaboratelydiscussed. No less than
twenty bird songs are thus written on the gamut, and the peculiar mel-
odic qualityof sixty-eightmore tabulated. We hope to reviewthis
important workin a succeedingulimberof the NATURALIST.
2 I6 i/s Naltur1e
Animal AMiusi, and Orzgin. [April,
There are so many possible arrangements for these songs that it seems best to
group them according to source, all from one writer in succession. No addition is
mnadein any case to the original text; the names, vulgar or scientific,or both, are
given without change. No. I is the fundamental C Nvithits overtones (iii, p. 33).

Ga-rdiner's " 'Music of Nature " 23. Peabody Bird, Frinhgillaalbicollis

(Nos. 2-4). (This is a corrected song, sent me
2. Lark, England. by Mr. Flagg.)
24. Virec-" The Brigadier."
3. Nightingale. Wood Sparrow, Iliruindo bicolo;-.
3. Nighingae.25.
4. Robin. 26. Whippoorwill, Caprimuigis vocif.
erus.
"'rhe Birds of 'Middl.asex " by J.E. 27. Chewink, Fr-ingila ei//ir-o
gz/4ah1-
flartingC(Nos- 5-IS).
Ns 5.-5).
//7.
llartna .Ss'lvia 28. Chickadee, ParutspSazistris.
5. Blackoap, cdre~icai~il. 29; Golden Robin, Ider-us' Ballimizore.
6. Willow Warbler, Sylvia /VchCi~U7. 30. Green Warbler. Sylvia virens.
7. Yellow-Hammer, Eibei-iza cib- 31. Quail, Perdix Virginianta.
r-inellez. 32. Skylark (caged). Sent me by Mr.
8. Ring Plover. Flagg.
9. Peewill. My Garden," by Alfred Smee.
10. Oystercatcher. London, IS72.
11. Little Ring Plover. 33. Reed Warbler.
12. Whimbrel. 34. Thrush.
13. Curlew. 35. Blackbird.
1.4. Dunlin.
36. Baltimore Oriole. Call and reply.
15. Swan. Haipei-s'
lg. Sept., '76.

37. Golden Oriole, Or-iolus gSalblza of

Birds and Seasons of New Enig- Australia. Science Gossiyp,April,
land," by Wilson Flagg (Nos. I878.
I6-3I). 38. California Meadow Lark, Slur-
16a. Song Sparrow, Theme. nellan eglectz. Three songs kindly
171). " " Brisk. (The notes givenme by a gentlemanfamiliar
marked guttural seem to be per- withmusic.
formedby a rapid trillingoftheeeMouse,
39. Vesper
Iee4/eioays cog-
notes with their octaves), a/s
40. Vesper Mouse, Ilesperoamys cog-
18c. Song Sparrow, Joyful. nalus.
19'1. " " Plaintive. The two above songs, 39 the Wheel
20e .. c" Fervent. Song, 40 the Grand Roll, are
21f " " Subduedantdquer- given by Rev. S. Lockwood,
uIou1s. AMIERICAN NATURALIST, Vol. v,
22g. Brilliant. 7I, P. 764.
879.] Aniimal7Ahisic, its Nalure anzd Orz,'rin. 2 I7

1. OVERTONES OF C.
t4 2-+ 4--

L i_ _ _ _ _ _ _ _ _ _

C C' GI C" E"/ G" bB C,/ A"' E"'

2. LARK.

ff1-
--^F---
OEI--
I

F-t---t-
v_ _ _ _ __t-t
_ _ _ _ _ _ __ _ 9 9

-t
s_
J- _-_e s_ _ J _ r_#_ _ _ _,

3. NIGHTINGALE.

_ - E_ __ _ _ _ -__ _ _ _ _ _ _ _ _ Ir
____~e-SS-/___

4. ROBIN.

v~~~~.
- _ _ _ _ _ _ _ _ _ _ _ _ _ _

5. BLACKCAP
8va. altt.

6. WILLOW WARBLERh

8va. alt.
t _- 4A
h%__s
_ __
_~~~~~~~~~~~N
218 Animal Ailsic, its iVatii-c and Orig,1in. [April,

7. YELLOW HAMMER.

8. SRING PLOVER.

-
~T:
Luzz 4zzz-z L-zzuhz,

9. PEEWILL.

47~ 4-~
__
~ ~
__
~ _
4-_
~ ~ _
~ $
4-

10. OYSTER-C ATC H ER .

11. LITTLE RINGC'N

PLOVER.
8va.

_ZIT7 --_- -

1-2. WHIMBREL.
I I
4- 4- 4- t4-= 4- 4- 4- 4- 4-

_ _ _ _

13. CURLEW.
 879.] Aninial AIusic, its iVNatul alld Orig-ni. 2 I9

14. DULIN.

r t: K 7 z z: -
$Oi-$-
T- -- -

5. SWAN.

.N~ __ _ - _ i_

16. a SONG SPARROW.

_-t
x - _--__
__ __ --i----
_ _ _ _ _ _ _ _ -

17. b SONG SPARROW.

__ ___ ___^ qu~tbnal.6 $ __ l _ _

__o
_ -oo->--0- ----
- - 4- - L-

18. c SONG SPARROW.

__
----*- ;
-- =5 G=-----b-->=>twoo
._ _Z _~i

19. d SONG SPARRtOW-

F=-S-t2-t=->--D--S'-- F z--FS---o~0-H-' zii

220 Aniimal 1)1//sic,
its Autaureaznd Originz. [April,

20. e SON5GSPARROW.

4 4-o.

21. f SON-G SPARROW.

fr fr f 4- 4-

22. g SONG SPARROWA.

2S3. BIRD.
P'LjtEABODY

24. YTIREO.

S- - f -
-_ -- _ _ _ _

hE ]--
=__ ___ _ --

25. WIOOD SPARROWA.

26. WHIPPOORWILL.
X ,#L w f t t~~~4
^
1879.] Anim;al MIlusic,its Natuireaznd orligi. 22 I

27. CHEWVINK.

StrS---q=-o-^--D-D-DD--D. =I- __-

_-oDi-1-~D--DDD
w~~~I - - - . _______ _

28. CHICKADEE.

- Z ii0-Tw-]______.___
I'

29. GOLDEN ROBIN.

FtzzzzrftzwzxxK____
_ *_ * _____

30. GaREEN' WARBLER.

-.
__*____t__
~~ ~ ~
. - ___ ___
31. QUAIL.

32. SKYLARK.

4___- -D_ -' _--- -9 -

-- 1-_t-t-t~K- zLt _=t-4z_ -t-__-:

_
. Jo .. o__ __t
F 401
L .M M :

t 9.
__
i, L .h _J_ _

.___.___a-_ I__
22 AiwiuZ//d1
AiswZ',it/sA7btiirevdU(Oi-igu.g; [April,

33. RBLER.
REED WAT

34.~ THRUSH. D-

_W
=-__b _ _ _ 0 ^-
tr+'RF--- - [---

_4) +t'-'_ __ _t - c ttt-

-t- =
-

___ _ _* __ ~ L- -D- -.- C=-__

--

3~~~~~~~~~~~~~~~~
-9 +- _-F __-t1@--t ---F--

35. BLAtCKBIRD.

-D~2=- 0-----'O- H- - 1-
h-i -------4-D-- -I*-[--SFD,
_t-_,I ._I~2 I- W -__ --1 -e-F-

FuZ>Zj_ . s Wt

36. BALTIMO0REORIOLE.

rF- 4+- -H--D.---- -rX- -7z1 -trr4-# -4.L---=1

1379 1 Ani;d Afiusic,
its ZArzateczid Oz'1in. 223

37. GOLDEN ORIOLE.

38. CALIFORNIA MIEADOW LARK.

8va.
_ _ _ _ _ zz
L- _-_ - -- zWzzzzz- =

39. 'VESPER mOUSE.-WVIIEET SONG.

_- ..- .9 .. .

Sva......... ............... .
.... . ........... ...........
...... I.
L4 - i4- ---_ d- - . __ --
___ - ._---- -___?_

. . .. . . . ................. ....................... , .
S. . _ ... . . ., .. , . _ _.

49* \TE5PIC, M[OUSE.-GMRASnI)( r,.

E 80~ ~~~~~~~~~~~~~~......
................... ....... .j

fI 4 4 4^ 9 W

__9__- - - - - -< -