In the forbidden land, an account of a journey into Tibet . ngs so strong a per-sonality of execution as to makeit almost an individual composi-tion. Any one hearing Shokassincr for the first time would im-agine that each singer was impro-vising as he went along, but oncloser comparison it will be foundthat musical phrases, certain fa-vorite passages and modulationsin the voice, constantly recur notonly in each song, but in all songs. They seem all ofthem based on the same doleful tune, probably a veryancient one, and only the different time in which it isgiven, and the eccentricities of the s
In the forbidden land, an account of a journey into Tibet . ngs so strong a per-sonality of execution as to makeit almost an individual composi-tion. Any one hearing Shokassincr for the first time would im-agine that each singer was impro-vising as he went along, but oncloser comparison it will be foundthat musical phrases, certain fa-vorite passages and modulationsin the voice, constantly recur notonly in each song, but in all songs. They seem all ofthem based on the same doleful tune, probably a veryancient one, and only the different time in which it isgiven, and the eccentricities of the singer, give it a sep-arate and special character. One characteristic of Shokasongs—as of so many other Oriental tunes—is that theyhave no rounded ending, and this, to my ears, ratherspoiled them. A similar abrupt break is a feature oftheir dances and their drum-beating. The song sud-denly stops in the middle of the air with a curious grat-ing sound of the voice, and I could not obtain any en-tirely satisfactory explanation of this; the only answer 107.
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