Travel
Events descriptions
Source
Short Description
Africa: being accurate description of the regions of AEgypt, Barbary, Lybia, and Billendulgerid, the land of Negroes, Guinee, AEthiopia, and the Abyssines: with all the adjacent islands, either in the Mediterranean, Atlantick, Southern, or Oriental Sea, belonging thereuno: with the several denominations of their coasts, harbors, creeks, rivers, lakes, cities, towns, castles, and villages : their customs, modes, and manners, languages, religions, and inexhaustible treasure / Olfert Dapper
The author describes how the population of some cities celebrates the rising of Nilus
The Maḥmil (colloquially pronounced maḥmal) is an empty litter, with a pyramidal top covered with embroidered brocade and decorated with ornaments of gold or silver and jewels, which was sent annually from Cairo, to accompany the pilgrim caravan to Mecca and back. Similar Maḥmils have been sent from other countries at various times, but that from Egypt has always held the place of honour. The procession here described was the first of three annual processions of the Maḥmil, about the middle of Rajab, afterwards held a month later, and discontinued after the Ottoman conquest of Egypt in 1517. The main ceremony, still observed, was in the month of Shawwāl, on the departure of the pilgrim caravan.
The drum-band plays before the residence of Tripoli's amīrs. According to Gibb (Vol. I, p. 89, n. 80) "A considerable proportion of the 'forty amīrs' mentioned above must, however, have been below the rank entitled to this distinction."
Qurʾānic cantillation and singing at the mosque during the nights.
The locals call this hill "Hill of Drums" and assert that they hear a sound like drums on the eve of every Friday (the day of the Islamic congregational prayer).
Drums beaten in front of the houses of the two amīrs of Mecca, every day at the hour of the sunset prayer.
Meccans' practice in regard to the Khutba and the Friday service including a signal made with the "farqaʿa", a rod with a thin twisted leather cord at the end; ritual blows on the pulpit's steps with a sword and the call to prayer.
Meccans' practices at the beginning of the months, including the call to prayer and reciting aloud poems of praise to the rulers.
Meccans' practice in the month of Rajab, which is dedicated to the Lesser Pilgrimage, the ʿumra.
During the lesser pilgrimage in the month of Rajab, the traditional invocation "labbayka", meaning "Here I am to You" is shouted by the pilgrims.
The Meccans' practices in the month of Ramadan include coordinated calls to prayer from the minarets, public recitation of the Qurʾān, the use of farqaʿa and other sounds.
Drums are sounded at the hours of prayers, morning and evening.
Theʿirāqī sharīf Abū Ghurra is reported here to have caused incidents because of his love for drums and the freer use of them made in al-ʿIrāq and other countries compared to India.
The author witnesses ritual chants and dances of the Rifāʿiyya Sufi Order including some fakir acts with fire.
The author witnesses the fire dances of dervishes from the Ḥaydariyya Sufi Order, who according to some sources consumed cannabis in their rituals. Cannabis was even called "The wine of Ḥaydar" (see Ḥaydariyya, EI-3 online).
Tustar's Shaykh Noon Prayer customs, including qur'anic readers' recitation/cantillation. The art of qur'anic recitation is called tajwīd and entails phonetic and semantic rules (see Tadjwīd, EI-2).
While travelling through Iran, the author is astonished to see people singing merry songs at a funeral.
Account of some of the sanctuaries at Shīrāz, including qurʾānic cantillation, drums, straight and coiled trumpets sounded.
A ritual calling upon the shīite "Expected Imam" al-ʿAskarī performed with musical instruments every evening. Ḥasan al-ʿAskarī (844/847-873) is the eleventh Imām of the Twelver Shīʿa. At his death, some held that he was al-Qāʾim and would return; others regarded his childless death as proof of their error in supporting his Imāmate and turned to his brother Jaʿfar (see Ḥasan al-ʿAskarī, EI-2) .
The king and his wazīr on a boat on whose sides stood two other boats carrying musicians. According to d'Ohsson, under the early Khāns of the Īlkhānid dynasty, a royal prince was allowed kettledrums and a drum, whilst a wazīr had a kettledrum. The commander-in-chief was given drums, and an amīr of 10,000 (?) men, as well as tributary princes were allowed a [kettle] drum (see Ṭabl-Khāna, EI-2).
The author joins the Tatar King of Iraq's court while departing from Baghdad and recounts the Tatars' travel customs, which include musical performances. Tatar was a general term used to refer to Mongols. A "monster kettledrum" is mentioned, "known to the Mug̲h̲als as the kūrgā (ii, 126 tr. Gibb, ii, 342-3). The kūrgā was the personal musical emblem of the Il-Ḵh̲ān and at his death it was destroyed" (see Ṭabl-K̲h̲āna, EI-2).
Sultan of Delhi's customs when leaving for the hunt, including musical executions. Al-ʿUmarī (d. 1349) reports detailed descriptions of Muḥammad Ibn Tughluq hunting accompanied by a "small contingent" (Siddiqi et al., eds., 1971, pp. 44-45).
The author witnesses Friday audiences of the Sultan of Mogadishu (called here the Shaykh). After the congregational prayer at the mosque, the Sultan carries out a ritual towards the audience hall among performing musicians. While they play no person moves or stirs from his place, and anyone who is walking stands still, moving neither backwards nor forwards.
The Zafar's sultan has musical instruments sounded in front of his audience-hall every day.
Customs of the Akhiyya Brotherhood, including music and dancing. This kind of brotherhood is considered as part of the broader phenomenon of the "futuwwa". The sense of fraternity existed between the fityān of each town and others elsewhere by whom they were received when travelling, like the old “companions” in Europe (see Futuwwa, EI-2).
Qur'anic cantillation of the suras of Victory, Sovereignty and ʿAmma (al-Nabāʾ) for Akrīdūr's Sultan at the mosque.
Lamentations are made on the Sultan's dead son. The author praises the sobriety of the lamentations on the Sultan's dead son compared to what is done in Egypt and Syria.
The author and his fellow travellers are hosted by a local fitiyān brotherhood, whose members entertain them with Qur'anic cantillation (see Tadjwīd, EI-2), music and dances.
The author joins the ʿĀšūrāʾ's celebration at a prominent zāwiya. The ʿĀšūrāʾ is a supererogatory fasting practised in the tenth day of Muḥarram, the first month in the Islamic calendar (see ʿĀshūrāʾ, EI-2).
Muslim travellers frightened by churches' bells, rush to recite the Islamic call for prayer. Muslims of the time held the ringing of bells in the greatest abhorrence, and a Prophetic Tradition says: "The angels will not enter any house in which bells are rung." (Ṣaḥīḥ Muslim 2113).
Musical performance during the Sultan's meal, with qurʾānic cantillation and songs in Arabic, Persian and Turkish.
Qur'ānic cantillation and prayers called "tarāwīḥ" traditionally performed during Ramaḍān are performed by the author and his fellow travellers. The recitation of the Qurʾān has a prominent place in these ṣalāts. Certain groups abide behind their imāms reciting the Qurʾān once or several times in the nights of Ramaḍān (see Tarāwīḥ, EI-2).
The ritual the sultan, the amīrs and the royal house perform when consuming alcohol, accompanied by singing.
The Prince's company journeying towards Constantinople accompanied by musicians.
Reception in the camp outside Constantinople with musical instruments.
Entry into Constantinople the Great at noon with church clappers sounding.
The author is paraded through the city's markets, especially because he is an Arab.
Hospitality at a zāwiya in Bukhārā where qurʿānic cantillation and singing are performed. Zāwiya is a common name used throughout the entire Islamic world to refer to places where Sufis gather.
Description of the Barīd (Postal service) in which instruments with rattles are used. According to Silverstein (2007:163-164), Ibn Baṭṭūṭa's account of the Barīd echoes Marco Polo's description of the Yām, the Mongol postal service that was an important aspect of Mongols' legacy in the Islamic world.
The author travels with a jurist on the river Sind and describes how musicians were always present during a journey and often performed to accompany different moments.
The author witnesses the ritual called "Sati" in which widows burn themselves along with their deceased husbands. Pieces of music are performed during the ritual. This passage by Ibn Baṭṭūṭa is regarded in the literature as one of the main sources for this ritual in pre-modern times, no descriptions are known that provide firther details.
The Delhi Sultan had a bell placed at his palace's gate for the victims of oppression to call upon him at night. The anecdote refers to events that would have happened about one hundred years before the author came to Delhi.
The prince attempts a revolt against his father, but the maliks have the drums beaten to threaten him.
At the Sultan's Gates in Delhi, guests are announced by voice and playing musical instruments. The author's account presents a few discrepancies with al-ʿUmarī's. According to the latter, were there seven gates (Siddiqi et al., 1971, p.55).
The Sultan exits the palace on the occasion of the Feast riding an elephant, between pageantry and musical performances. The sultan and each amīr is told to be going out with his own his "marātib" [lit. ranks, degrees], i.e. flags, drums [ṭubūl], coiled trumpets [abwāq], straight trumpets [anfār], and zurnas [ṣurnāyāt].
The author reports the King's customs on the days of celebration for the two main Islamic feasts. Ibn Baṭṭūṭa provides no detail about the music, but according to the slightly later chronicle Taʾrīḫ-ī Fīroz Šahī, Muḥammad had been an admirer of the musician and poet Amīr Khusrow who is credited with several musical inventions, including ṣūfī chants called Qawwāl and even the musical instrument called sitar, although there is no historical evidence for this. In his poems and the Iʿjāz-i-Khusrau, Amīr Khusrow "mentioned Persian instruments like chang, rubab and barbat (also referred to as rud, tambur, and daff). He also mentioned Indian vinas, the four
stringed alavan and the kingra (Sanskrit: kinnari), duhl (Sanskrit: dhaula, Hindi: dhol)." (see Karomat, 2012).
Singing and dancing courtesan girls perform as the Sultan returns from his journeys.
The wedding ceremony for the Arab amīr Sayf al-Dīn and the Sultan's sister Fīrūz Khūnda. Male and female musicians are mentioned, as well as the practices of playing standing to honour the newlyweds and the Indian custom according to which only the director of the ceremony was supposed to give presents to the musicians.
Sultan Muḥammad Ibn Tughluq had the supporters of a rebel malik (governor) killed in front of him by elephants, while musical instruments were sounded.
The author takes with him two "accomplished singers" on the journey to keep him company, and along the way hires three others.
Short recollection of Ḥaydariyya Sufi Order practices involving music and fire and possibly consuming cannabis (see Ḥaydariyya, EI-3 online).
At the end of their practices, Yogis sound "a sort of horn". According to the information provided by the author, these Yogis would have been located in Uzbekistan in the 14th Century. This may suggest that they belonged to the Yogi Nath tradition, in which bearing a horn became a symbolic part of their identity (see Mallison, 2013). Furthermore, it is known that Ṣūfī mingled with the Naths (see Mumtaz, 2023). The presence of such a group in the area at the time would be remarkable per se, however, the passage provides too little evidence to have historical certainty.
Description of the musical and dance performances at the bazaar of the Ṭarab/Music (Ṭarab Ābād). The event takes place in what has been the sultanate's capital for a short period of time. The city, originally called Dēōgīr, was personally re-designed by Muḥammad Ibn Tughluq (Jackson, 2003) and the presence of special places dedicated to music might have been an expression of interest in music given his supposed proximity to Amīr Khosrow.
The governor's custom of walking the streets accompanied by the music of drums and trumpets. This looks like a smaller version of the Delhi Sultan's custom of always moving with a sort of parade (see Siddiqi et al., eds., 1971, pp. 43-45).
Naval attack on Goa accompanied by music.
Ifṭār celebration with the Vizir with qurʾānic cantillation and fakirs rituals with fire. Although there is no specific mention, it is possible that the Ṣūfīs mentioned in this passage were from the Qādirī Order, widespread in Maldives (see Maldives, EI-3).
An instrument for announcements in Maldives similar to a basin made of copper and beaten with an iron stick, called "dunqura" by the author. According to Gibb (following C.H.B.Reynolds), Vol. IV, n. 50: "Kurd means a water pot; dun or dum means 'smoke'; alternatively, don means 'pale or ripe-coloured' ... A brass pot would be lo kura."
About 500 women dancing in front of a statue of divinity every night. Until 1587, there was in Dondra (Tanavare) a renewed temple called Ishwaram which had several statues of divinities, then destroyed by Portuguese colonisers. Considering the intertwining of Hinduism and Buddhism in Sri Lanka's history, it is still debated if the described temple was at the time a Buddhist devale of
Uppalavanna or a "kovil" temple of Vishnu (see Pathmanathan, 2000). The dancers mentioned by Ibn Baṭṭūṭa might have been "devadasis", female artists dedicated to the worship and service of a deity or a temple for the rest of their lives (see Holt, 2004).
The Sultan of Sumatra's greeting ceremony which include singing and horse dances. The author specifies that the singers are males. In Ibn Baṭṭūṭa's perception, the "horses' dances" are something wonderful and similar to the ones he witnessed before in Delhi. This kind of ceremony at Sumatra's court is confirmed in the two main chronicles that we have: the Hikayat Raja-Raja Pasai and the so-called Malay annals.
The sailors sing on the Pacific Ocean while while carrying out activities necessary for navigation.
The author and his fellow travellers are welcomed in the town by eminent figures and musicians.
The amīr's son sails in the canal of the city surrounded by other ships with musicians on them to feast. The musicians sang in Chinese, Arabic and Persian. Afterwards, the feast continues at the amīr's house with the presence of musicians. The name Amīr Qurṭay suggests Mongol origins, although he has not been identified with certainty.
Celebrations for the death of the ill-favored king in Beijing. The author's account does not correspond to the historical record of the events. Moreover, at the date of the actual king's death (1370), Ibn Baṭṭūṭa had long since returned to Morocco.
Account of the wedding of the son of Sumatra's king called al-Malik al-Ẓāhir. The identity of this king has been debated since Sulṭān Muḥammad al-Malik al-Ẓāhir is known to have died in 1326, whilst al-Malik al-Ẓāhir became an honorific title for rulers, also borne by Muḥammad's son Aḥmad (r. 1326–1360 ca.), and it was probably this sultan whom Ibn Baṭṭūṭa met (Hill 1963:15).
Account of Mali's Sultan audiences in his cupola. Ceremonial acts involving music are performed. For geographical reference of Māllī as lost capital, see Gibb, Vol. IV, p. 955-956, n. 40.
The ceremony taking place when Sultan reaches the audience hall including music with lute-like instruments.
Sultan's audiences on the Feast days accompanied by music.
Account of the way griots (dyeli) recite poetry to the Sultan: how they dress in birdlike costumes and exhort the rulers by reminding them of their predecessors.
The askia's messenger shouts during the prayer of the imām al-Tuwātī and the shaykh rebukes him because, according to Islamic traditions, the Prophet is always present when praised and a respectful attitude is required.
Threats are made between rulers referring to each other drums. When a lord reaches the royal palace has his drummer playing beyond the limit after which normally only the king's drum is sounded.
Askia Muḥammad Bonkana furbishes his court with musical instruments and male and female singers.
A suspected slanderer towards the askia is punished by tying him to a donkey and carrying him around the city as an example.
The askia's heart breaks on the sound of music
Al-Hādī, leader of a rebellion against the askia, reaches Gao with his horns and drum preceding him.
How a trumpet is used in the organisation of a plot to give the signal for enthroning an usurper.
Drums are beaten on the rooftops of Timbuktu by people assuming that Muḥammad al-Ṣādiq was going to become askia.
A prisoner is requested to raise the volume of voice in front of the askia but when he raise it too much is beaten.
The city governor attempts to assault the city but he is killed before entering it and his head is paraded through the city with a shouted warning.
The sound of gunfire is heard from what is perceived as a great distance.
Funeral prayer is performed on the prayer-ground [muṣallā] for a public figure in day of feast.
The sound of gunfire is heard from the army of Maḥmūd b. Zarqūn Pasha.
The sound of horses trampling on a shield terrifies the soldiers who take refuge in the lake Debo's waters.
A rigid control is imposed over Timbuktu and this includes moving the traditional time of the Prophet's praises in the month of Rabiʿ al-awwal.
In the passage it mentions that Rui di Sofa, accompanied by a large number of soldiers, meets the King of the Congo with "the noise of horns, timpani and other instruments that were part of his performance". This suggests that during the meeting between Rui di Sofa and the King of the Congo, horns, timpani and other musical instruments were used to create a festive and celebratory atmosphere.
The Shī orders the drums to be beaten to gather his army.
The land is worked to the sound of drums and zurnas.
During a military expedition, the Songhanians obtain the kakaki from Ayar (Agadez?) for the first time, according to the author.
Askya (King) Muhammad Bonkana is credited for the invention of two musical instruments: a trumpet called "fotorifo" and a drum called "gabtanda".
A proclamation by the new Askia made in the mosque of Djenné while travelling, translated by an interpreter and repeated loudly in the crowded place.
The Askiya holds court with his intimates while the flautists play in the room.
The kakaki is associated with royalty and it is only played at events at the palace of the king or sultan in Hausa societies.
In the context of a conspiracy, playing the drum of authority is mentioned as a sanction of actual enthronement.
The drum of authority is sounded to sanction the enthronement of the new askia.
Drums used for specific purposes in battle: to start the army's march and specific to the askias.
The Balma'a moves with his concubines who are flautists from the caste of the blacksmiths.
The Askia's proclamation in the mosque of Gao through his interpreter.
A herd of cows, positioned by the Songhay army as a protective shield, flees at the sound of gunfire, causing the death of many soldiers.
The Moroccan soldiers praise God loudly with traditional Islamic phrases.
A special drum is made for the "official of adultery" in Gao to summon accused people.
The askia's drum is beaten for leaving the camp.
The askia coming to the Moroccan pasha's camp, is saluted with rifles and musical instruments.
The incitements shouted by the leader of the Moroccan army likely of Spanish origin, as the Pasha was.
When Domenico Trevisan arrived in Rosetta, he was greeted by drums and eight trumpeters.
In Domenico Trevisan's house, trumpets are constantly sounding.
Domenico Trevisan arrives at the audience with the Sultan. His eight trumpets cannot play inside the castle where he is welcomed by castanets, large cymbals and other instruments.
In the garden of the sultan Domenico Trevisan listens to nightingales.
Domenico Trevisan visits the Sultan. In the fourth room there was the castle admiral with cymbals, flutes, drums and pitchers playing.
Eight trumpeters accompanied Domenico Trevisan and his companions on their way home. They played as they reached the front door of the house.
At the last audience eight trumpets began playing in the presence of Mr. Sultan and came playing ahead of the Magnificent Ambassador Domenico Trevisan to his house.
Zaccaria Pagani describes the screams of the Moors from the bell towers of the mosques, describing what they say and what he hears on Domenico Trevisan's journey.
At the end of the journey the sound of trumpets and a drum welcomes them to Venice for Domenico Trevisan.
Giovanni Battista Perotto tells of the different languages of the people sleeping with his crew in Limassol.
Giovanni Battista Perotto attends a sung mass in Jerusalem in a new church.
Giovanni Battista Perotto goes to hear an offertory always at the New Jerusalem Church.
Giovanni Battista Perotto sees the stone on top of which the rooster sang when St. Peter denied Christ.
Giovanni Battista Perotto testifies to the presence of different sounds in the Church of the Sepulcher on the days of the Easter celebration.
Giovanni Battista Perotto visits the place where shepherds sang "Gloria in excelsis Deo" at the announcement of Christ's nativity.
Giovanni Battista Perotto tells some houses are associated with prayers Magnificat and Benedictus.
Giovanni Battista Perotto listens to the mass for the feast of St Mark.
Filippo Pigafetta tells of the artillery shots at the departure of the galley.
Filippo Pigafetta describes the singing in the Coptic Mass and the rhythmic accompaniment made with sticks and some small boards.
Filippo Pigafetta tells of the presence of the Talisman (from the Persian "tilisman": religious) today the muezzin who calls to prayer from the mosque (the Patriarchate).
Filippo Pigafetta tells of the songs and dances of women working in the gardens outside Alexandria.
Filippo Pigafetta describes sailors saluting by singing Rosetta.
Filippo Pigafetta tells of shouting to scare off thieves.
Filippo Pigafetta tells of the feast of the flooding of the Nile.
Filippo Pigafetta recounts bagpipers, dancers, players and singers in the pit of the Nile.
Filippo Pigafetta specifies the presence of sounds and songs of the people as they go to attend the festival of the flooding of the Nile.
Filippo Pigafetta recounts the moment before the cutting of the "Khalīj", with sounds, singing, shouting, screaming, and artillery noises.
Filippo Pigafetta tells of the shouts and chants of the neighborhood watchmen in the night.
Filippo Pigafetta recounts that men go shouting down the street for the collection of garbage and garbage from the house.
Filippo Pigafetta tells of the sound of donkey chains.
Filippo Pigafetta describes the voice of women by performing the zaġrūṭa.
Filippo Pigafetta describes the songs and dances of Bedouin women.
Filippo Pigafetta tells of moorish and belly dance.
Filippo Pigafetta mentions the singing of birds.
Filippo Pigafetta reports information on the market and the art of negotiation.
Filippo Pigafetta describes the procession camel and its cloth covering with many bells placed in descending order.
Filippo Pigafetta tells of the chants and sounds of the procession to Mecca.
Filippo Pigafetta recounts the clamoring and rumbling of the people during the procession on its way to Mecca.
Filippo Pigafetta tells of the presence of poets and singers in camels following the caravan heading to Mecca.
Filippo Pigafetta tests the sound of a Pyramid of Giza burial by tapping.
Filippo Pigafetta hints at the manner of speaking.
Filippo Pigafetta tells of military exercises on horseback with shouts.
Filippo Pigafetta tells of the use of the drums in war.
Filippo Pigafetta tells of the verses of camels.
Filippo Pigafetta tells about the singing of the camel drivers.
Filippo Pigafetta tells of the prayer and singing of the Psalm of Mary.
Filippo Pigafetta tells of the camel drivers singing around the fire in the night.
Filippo Pigafetta compares the Arabs' way of singing with that of the Spanish and other Europeans.
Filippo Pigafetta describes the singing of Arab females, the sound of castanets and dances.
Filippo Pigafetta emphasizes the sound of Archibugi's gunfire.
Filippo Pigafetta points out that the friar's camel could no longer hear.
Filippo Pigafetta mentions the sound of castanets at specific hours.
Filippo Pigafetta and the tale of sailors' songs.
Description of the church in Saint Helena Island, equipped with people and ceremonial objects for the celebration of the mass.
São Tomé island has some churches, with a bishop, some clerics and a chaplain.
Pigafetta describes the sounds produced by the warriors of the kingdom of Congo, called Mociconghi. He compares this tradition from Congo to the European use of drums and trumpets.
Pigafetta describes the dresses of the Mociconghi warriors, with bells tied to the belt.
On a burial wall, the Anonimo Veneziano sees a funeral procession painted with musical instruments, dancing and singing.
After the story about Dongola, the Anonimo Veneziano recalls some carved drawings seen in 'fabrice'.
Richard Jobson notes that the people of the River Gambra were making a lot of noise when the crew decided to give them some fish. He said the noise resembled the sound of a deep well.
Richard Jobson describes hearing drums playing every night in the Royal Guard palace of the Kingdom of Cassan. He describes those drums as war drums. The entertainment function of these drums, though, cannot be excluded because they would play them every night after eating dinner. They also had a practical function, that of scaring away predators.
Richard Jobson describes the funeral of the Marybrucke, the chief religious man in the town where they stayed in. The ritual comprised of the improvised repetition of verses. The musical part of this burying ritual involved the women of the town. They would sing and cry repeating the same verses spoken by the religious man.
Richard Jobson describes shooting a gun and the reaction of Buckor Sano, an important local merchant. The latter described the sound as the "white man's thunder".
Richard Jobson describes the party at the house of the merchant Buckor Sano, who will provide trade with the King of Iacolot. Both parties showed each other their music: the inhabitants showed their dance and the English showed their marching.
Richard Jobson describes a chordophone he encountered during his travel. This seems to me to be the khalam instrument.
Richard Jobson describes many of the instruments he came across during his travel. There is a description of a drummer playing a drum and singing at the same time. This seems to me to be the kalangu, or talking drum. Then there is a description of a "ballard", which I think is the balafon.
Richard Jobson describes the many musical elements of the circumcision party. There are people dancing and balafons.
Richard Jobson describes the main character of the ritual of circumcision, the Ho-re. He is an evil spirit who shouts and scares the inhabitants of towns, then takes the uncircumcised boys to the forest.
Richard Jobson describes the lion and its typical roar
In the roof of a house someone sings with a melancholic voice.
The inhabitants dedicate much of their time to dance, using drums made from barrels and some kind of leather. These drums are played with the hands and complemented by clapping, especially at night around large bonfires. The social pressure to adequately house and feed participants in these dances is mentioned.
Description of the musical instruments made from gourds and elephant teeth, as well as how they are played and utilized in various cultural and celebratory events as described in the diary
The traveller tells how frightened local nomads were by the sound of firing muskets and infers about their ignorance of the actual working of guns.
On the occasion of the celebrations for the end of the month of Ramadan, the Muslim travel group performs congregational prayer in a public place and the traditional sermon of the holiday is delivered in Arabic.
Noises are heard made by four elephants drinking in the nearby wadis, muskets are fired to scare the animals. At the same time, the sound of firing muskets scare the nomads gathering and preparing to assault the travellers.
The local governor (sulṭān) who is accompanying the travellers has the naqqāra beaten to celebrate that they received an answer to their letter from the king. The term naqqāra commonly refers to kettledrums.
Under the threat of assault from the nomad Gallas, the troops of the governor fire against them. The Gallas are frightened and bow down.
The Muslim travellers perform the ritual prayer the day after the end of ʿīd al-aḍḥā (Festival of the Sacrifice) with the local fellow believers in the village's square in front of the Christian population.
Local nomads are terrified by seeing the muskets' firepower.
During the navigation, there is a moment of celebration where there are artillery shots and sounds of trumpets and flutes.
Arrived in Lisbon, friar Michelangelo Guattini describes a choir of voices and instruments singing solemn hymns
During the navigation to reach the cty of Pernambuch, friar Michelangelo Guattini describes the typical day on the vessel.
Friar Michelangelo Guattini describes the arrival of a fleet of ships in the harbor of the city
Friar Michelangelo Guattini describes liturgical chants in the church where he is
Friar Dionigi de Carli describes some dances and the use of a particular instrument, which is the balafon
Friar Dionigi de Carli describes the arrival of three lions
Friar Dionigi de Carli describes the wounding of a lion
After the baptism of a young woman, there is a small moment of celebration
Friar Dionigi de Carli describes the arrival in Bamba and the sound of a church bell
During his return journey to Bamba, friar Dionigi de Carli describes a typical bird
Friar Dionigi de Carli describes a choir of sad voices which sing some religious chants
Friar Dionigi de Carli hears some voices in the darkness
Firar Dionigi de Carli describes some laments from the people outside the castle
Friar Dionigi de Carli describes a moment of celebration
Firar Dionigi de Carli describes a typical day in the vessel on his journey back to Portugal
An uproar of a prisoner who is trying to escape
Noise of some cannonballs
Friar Dionigi de Carli describes the noise that winds makes.
Fermo Carrara recounts the severe storms experienced in Cyprus while traveling with Giovanni Antonio Soderini.
Fermo Carrara recounts the annoying cawing of crows heard while traveling with Giovanni Antonio Soderini.
Fermo Carrara recounts the silence of the gnats noticed while traveling with Giovanni Antonio Soderini.
Fermo Carrara writes about the Turkish muezzins heard while traveling with Giovanni Antonio Soderini.
Fermo Carrara recounts having listened with Giovanni Antonio Soderini to cries and chants of Kyrie Eleison.
Fermo Carrara recounts musicians at a wedding he attended with Giovanni Antonio Soderini.
Fermo Carrara tells of the dances he attended with Giovanni Antonio Soderini at a wedding.
Fermo Carrara bears witness to the cries of the Reis while traveling to Corfu with Giovanni Antonio Soderini.
Fermo Carrara and Giovanni Battista Soderini listen to the sailors' confusion.
Fermo Carrara attends together with Giuseppe Antonio Soderini the songs for the growth of the Nile.
Fermo Carrara tells of the guards' shouts at night heard while traveling with Giovanni Antonio Soderini.
Fermo Carrara and Giovanni Antonio Soderini saw the Janissaries shouting at two men who appeared to be thieves and therefore shot them with their muskets.
Fermo Carrara witnesses, along with Giovanni Antonio Soderini, the weeping and cries of women mourning the death of one child.
Fermo Carrara writes about the muezzins he hears shouting from the tops of the towers while traveling with Giovanni Antonio Soderini.
Fermo Carrara writes about the muezzins he hears shouting at specific times from the tops of the towers while traveling with Giovanni Antonio Soderini.
Fermo Carrara and Giovanni Antonio Soderini see the large number of barking dogs in Cairo, Carrara points out that the Arabs do not harm them, whereas the Turks do.
Fermo Carrara hears, while traveling with Giovanni Antonio Soderini, the zaġrūṭa of the women in Cairo and the cries of the saints in the mosques chanting "Hù Hù", a term that translates to "he."
Fermo Carrara describes the naked saints and other clothed men he sees in the procession to Mecca during the journey with Giovanni Antonio Soderini. All the men continuously sing the usual "Hù Hù".
Fermo Carrara, traveling with Giovanni Antonio Soderini, recounts the presence of several drummers in the procession to Mecca, each representing different schools.
Fermo Carrara recounts witnessing with Giovanni Antonio Soderini the shouts of men who no longer announce the rising levels of the Nile, but rather the attainment of the mark indicated by the nilometer with songs and drums.
Fermo Carrara and Giovanni Antonio Soderini witness the cutting of the Khalīj accompanied by the music of drummers and flutes.
Fermo Carrara recounts a funeral burial ceremony with dances and songs, which he attends with Giovanni Antonio Soderini.
Fermo Carrara listens with Giovanni Antonio Soderini to a Mass accompanied by organ music for St. Francis Day.
Fermo Cararra and Giovanni Antonio Soderini see the pedestal where the cock crowed that made St Peter repent.
Fermo Carrara, while traveling with Giovanni Antonio Soderini, recounts that at Hagia Sophia, no Christians were allowed to enter anymore because once the sound of a bell interrupted their prayer.
Some peoples in Africa do strange movements and sounds when they speak.
In wedding rituals, the Griots sing aloud to celebrate the confirmation of a woman’s virginity.
In his description of the behavior of armies during the war, Barbot talks about musical instruments being played.
Among the goods used as a commercial commodity, there are also small musical instruments.
Blacks are very superstitious and if one of their talismans is damaged or stolen, they can react by making horrible sounds.
At funerals, the Blacks produce particular sounds with their voice and cutlaces to manifest the suffering caused by the death of one of them.
During the dances, the Blacks produce sounds beating their feet on the ground; the dances are accompanied with makeshift instruments, made with everyday objects. Men are trained in the fight and encouraged by drums. If they win the fight, they are incited by the Griot who praises them loudly.
Even during the period of Ramadan, Blacks usually accompany the festive moments with the sound of drums.
During his visit to Viceroy Conde, Barbot recounts how he was accompanied by two Griots, who all along sang his praises, making strange gestures and grimaces.
Barbot describes a series of musical instruments used by the Griots.
Blacks use the voice by singing and producing particular verses to ward off the devil.
During the feasts of Muhammad, the participants sing and pray incessantly.
During the feasts dedicated to Saint John the Baptist and other saints, you can hear different voices praying and making noise.
Kings dress up with various objects including small musical instruments.
During the ritual of the burial of the king, you can hear the sound of instruments similar to flutes and oboes. You can also hear the voice of a crowd of Blacks crying and shouting as loud as they can.
Young girls are sent to a kind of public school to learn to sing dance and perform in general. After a year of lessons they perform in public and can be chosen as brides.
In legal disputes, lawyers are disguised in unusual ways.
In the village there are great festivities where you can listen to music when a leopard is killed.
Blacks are very superstitious and have particular beliefs about bird singing.
There is a particular type of fly, the shrill sound of which can be heard both day and night.
The ceremony in which the name is given to a newborn is accompanied both by the sound of voices that scream and sing and by musical instruments.
The sound of drums accompanies the person accused of misdemeanor in the presence of the king.
When an ambassador arrives, there is an important ceremony accompanied by music and dance.
A man saved by the spirits of dead people during the hunt returns home, makes sacrifices and celebrates with the dead’s relatives singing.
The fellowship of the sect of the Belly is a school established every 20/25 years, by order of the king for training up young men and boys to dance, to skirmish, to plant, to fish, and to sing often, in a noisy manner.
It is possible to hear voices and particular noises when a woman is accused of adultery.
Men wear bells that make sounds when they walk and especially when they dance.
It is possible to hear the voices of the Blacks during the funeral that scream, cry and make lamentations.
Gold Coast birds sing in a pleasant way.
In the Gold Coast, there is a bird with a very particular voice.
Description of a particular type of insect that sings day and night.
Music is used as a healing remedy for spider bites.
Even in adversity, nothing disturbs their singing and dancing.
In wedding ceremonies, there is great abundance of music and dancing.
During the ceremony of transition from one social class to another, you can listen to songs, attend dances and hear the sound of musical instruments.
Description of particular types of horn made with elephant tusks and special customs related to the consecration of musical instruments.
Use of elephant tusks for making wind musical instruments.
Gold Coast smiths make hunting horns.
The author represented several objects, including several musical instruments.
Description of some types of drums: their shape, the material they are made of and the way they are played.
Blowing horns, tinkling bells, castagnets, flutes, a sort of cittern, drums, tongs
The author heard a group of women singing when they were returning from the market.
The author describes musical and dance performances observed at the market.
Music and dance performance at the feast made by the Danish general, who invited the author.
During funerals, you can hear the voice of women crying and many musical instruments being played.
Among the officers there are also musicians, who occupy a prominent position.
The arrival of kings is accompanied by the sound of musical instruments.
Music is present during the war. During the military marches, you can hear the soldiers shouting; the big consecrated drum is brought, which you can listen to along with other wind musical instruments. They preserve bones with which they adorn their drums.
You can hear voices of women screaming and crying during the executions.
Blacks believe that the sound of thunder is caused by Jan-Goeman’s musical instruments, which they identify as God
In rituals made during the days that Blacks consider sacred, you can attend to songs, dances, and listen to the sound of musical instruments.
The priest makes sound with his voice, his body and a small drum.
The priest uses his voice in a particular way when he has to consult an idol.
In the consecrated wood that is usually located near an inhabited area, the priest plays musical instruments and sings.
Blacks have rituals to banish the devil in which you can see them dancing, listen to them singing and produce particular sounds with their voice.
On the Slave Coast they have different types of musical instruments and, according to the author, the sounds they produce are less annoying than those heard at the Gold Coast.
The Blacks sing and dance around the grave of a deceased person.
During the sailing in open sea, from Lisbon to Brazil, after the Cape Verde sea, and during the daily Mass, they sing the Rosario and later the Litanie.
An another Capuchin who was a Superior Friar, Padre Martino Francese who lived in Salvador de Bahia for 14 years, narrated to Girolamo Merolla that natives sang with the priests "la Messa, e il Vespero", even though they couldn't read.
Sailing near the Cape of Good Hope, Girolamo Merolla writes about the natives: they don't communicate by speaking, but through whistles.
Merolla reports an episode: in the area nearby the Cape of Good Hope, a local tribe welcomes European travelers with dances. They are women, naked, bringing wood. The Captain, in order to approach them, launched some European tools (such as knives, mirrors, corals). While dancing, the women approach the two navigators landed and, quickly, kidnap the Captain: these tribes are cannibals.
Girolamo Merolla and the navigators, once arrived in the Port of Angola (Loanda), are welcomed by politicians and the populations. In the local church, they sing the Te Deum laudamus.
Given that they are only three people, they have a normal ceremony of the Te Deum laudamus. In particular or important moments, they used to combine the sing with musical instruments and then Merolla writes about these important and crowded moments.
The first sunday after the Pentecost, Girolamo Merolla, in his sermon, attacks the murders, too much in this reign (he thinks). So the people in the church, who don't agree, start to make noise: Merolla tries to stop them ringing a bell.
Other capuchin friars (Merolla unspecified the names) tell to the new capuchins arrived about a witch, who exercises with his son. In order to be soon notice, she is annouced by playing a drum.
One of the pretenders to the throne of the Congo (the King recently died), Simantamba tries to convince one of the voters of the new king to give him his sister in wife. To avoid accidents, he meets her in a wood, announced by songs, sounds and dances. Someone tries to warn him of the danger of an ambush, but among the crowd there are armed enemy dancers who kill him.
Simantamba adjusted himself according to the song of his cock and he understood if the luck was good or bad. He believed in it, but, despite the sing, Simantamba died.
Girolamo Merolla recounts the practice to sing Litanie in every church of the Mission. He generally talks about the territory of Sogno/Soyo.
Girolamo Merolla describes important moments of the life of "Gentili", including weddings, pregnancies and babies. Talking about little babies and rituals during their growth, he reports parents put a rattle to their babies, tied at the waist. This is a practice to hear the babies while they are alone scratching on the ground like chickens, to make sure the babies don't live the area.
To prevent thefts in the fields, the friars send youth students to dissuade people with voices and flags. Returning from the fields after performing their task, these devoted and cheerful boys sing the Litanie.
The person judged in favour in a dispute celebrate the victory with a long party with songs and sounds, with his family in his house.
In this part of the diary, P. Girolamo Merolla recounts a ritual for the Emperor Cassangi's Birthday party: Merolla wasn't at the event, but he was told by Padre Gio:Battista Da Salesano. For this event, the Cassangi's subjects caught and fought with a lion. During the fight,they set the lion free and they try to stun it with noises and sounds with instruments. At the end of the "battle", where a lot of men die, they eat the people killed by the lion (or in the crowds) singing.
Merolla describes for pages the clothing of the Count of Sogno, based on religious occurrences: in this long paragraphes, he dwells on the musical instruments that accompany on his routes.
During the most important Christian holidays, at the presence of the Count, at the end of Masses, the Count of Sogno was accompanied by dances, music and blank shots.
Merolla hears from P. Francesco da Pavia the story of great white birds, similar to the geese, doing some particular dances when hearing sounds of instruments: the nature has taught dancing to the blacks, naturally. P. Francesco stops and wacht at the birds.
Merolla reports a bird's verse, mentioning also in the Padre Cavazzi's diary, and he hears the bird saying Jesus Christ. The bird is small and nice, black and blue, it sings early in the morning. Jesus inspire birds, but He can't do the same with the hard hearts of "Gentili".
Merolla describes a particular bird (there is an italian example similar to this) who sings the word "honey" (Vuichi). People who believe on the word can be surprised by a hidden lion.
Merolla says that in Sogno/Soyo there are not any tiger. But in case of it, people try to ward off the tiger making noises with drums, instruments, crying.
During an Easter day, with the excommunicated Count of Sogno and his voters, we can hear sounds of instruments and people screams.
Before a clash between rival bands, they use to play particular and noisy drums played with their hands. Battles are not one to one, but beetween bands.
Moving from Sogno, Merolla starts a new mission in Regno d'Angoij. In his first stop in the port of Caginda (now Cabinda), during a daily Mass, some women clap their hands seing an image of the Virgin Mary.
Some slaves, who have to help Merolla on his journey, want their pay in advance and, angry, they clap their hands and feet as if they were percussion.
During the journey inside the kingdom, once arrived at the Banza of Lemba, Merolla and her companions are welcomed with the sound of trumpets, drums and servants. Once welcomed in the square, people intoned in Congolese the Rosario.
After the Mass, Merolla is invited to the King’s Palace. He reminds to the King of Kongo that he has to officially crown him. Hearing this, the court starts to celebrate with sounds and screams.
During his staying in Lemba, Merolla still celebrate Catholic rituals, as Rosario.
To celebrate a victory of the Marquis of Mattari over other submissive peoples, the people celebrate it despite that it is Holy Week (and no sounds and noises are expected), and during the recitation of the Litanie.
The burial ceremonies have various moments: after some superstitious rites to ward off the spirits of the dead, they cry for a long time, then begin to party. They eat and drink a lot, forgetting the dead e then they start dancing: these particular sounds make them to have orgies.
Merolla reports the episode of a collective sacrifice told by the friar Francesco Romano (in this case with five noblemen), in a tribe called Tambi, which occurred in the Kingdom of Benin (Benino), where the friar protests the King for cruelty and try to stop the ritual.
Simon de La Loubère describes music in Siam and its characteristics.
Cannon shot as a sign of recognition.
Burial ceremony: description of what happens when a leading Marabour dies.
As the vessel enters the Gambia River, it shots three times with a cannon as a form of salute addressed to the Pavillon du Roi of Bar.
The toops arrival at St. James Fort.
François Froger describes the composition of the Balafo Instrument, played by the people that live along the Gambia River while women cultivate their land.
François Froger hears many birds singing in one of Saint Anne Islands, and all these birds are hidden in the wood.
The vessel remains in Galant Port for fifteen days; sometimes François Froger hears the shouts of the savages that live there, but he can't see them.
François Froger writes about the funeral mass made in honour of the Official Salior who died the day before because of his recklessness.
François Froger writes first about the Procession of the holy Sacrament and then about a Jesuit mass done after the procession for the Holy Sacrament. It follows a dinner together.
François Froger writes about the sudden arrival of the Sun of Africa Vessel, who greets Froger's vessel with seven cannon shots.
François Froger writes about a sermon given by a french capuchin, who throughout twenty-five years preached to the Indians.
Zucchelli describes a traditional rite of passage related to the crossing of the Strait of Gibraltar.
Zucchelli talks about prayers sung in Spanish during a religious celebration.
Prayers in Portuguese sung by the crew of the ship so as to reach America without complications.
Zucchelli describes the chants of people as they are being sold as slaves.
Zucchelli describes a musical instrument called marimba, how it is played, its sound and when it is used.
Zucchelli talks about rituals with marimbas and drums.
Description of the instruments accompanying the ambassador of the Kasanze Kingdom in his visit to Luanda.
Descriptions of chants of the people of the desert and their dances.
Description of group of musicians and musketeers sent by the Prince of the County of Songo to welcome the missionaries.
Description of the Prince of the County of Songo and his entourage, made up of musicians and musketeers.
Zucchelli talks about a particular funeral dirge that he witnessed in the County of Songo. He describes how it is sung and for how many days.
Salute cannon shots between vessels
Description of salute between vessels with cannon shot and voice
Cérémonial of the meeting
The Grand leaves the audience with the King
The chevalier des Marchais greets the King of Judah
Announcement to the people of the King's coronation ceremony
Ceremony for the Serpent God for the coronation of the King
Coronation ceremony officiated by the Grand of Ardres
Drawing by the Chevalier des Marchais of the coronation ceremony of the King of Juda
Description of the coronation ceremony of the king of Juda
The king's wives leave the royal palace after a man is sentenced to death for adultery
When Company directors or ship captains meet the King of Juda
Announcement to the people of the new King
Announcement to the people of funeral of the deceased King
Songs and dances for the cultivation of the fields
Opening of the slave trade
Music on the ships that brought slaves to America
Ivory for the construction of musical instruments
Sound of the gongon to decide on the punishment of a crime
Kidnapping of little girls to consecrate them to the Serpent God
Dances and songs taught to girls to honor the Serpent God
Marriage of the Serpent God with the consecrated girls
Procession in honor of the great Serpent
Drawing by the Chevalier des Marchais of the procession honoring the great Serpent at the coronation of the King of Juda
Procession at the Eufrate River regarded as a deity
Drawing by the Chevalier des Marchais of musical instruments
Description of musical instruments
Music during the cultivation of the fields
Description of the birds of the kingdom of Juda
Description of the birds of the kingdom of Juda 2: parrots
European Directors on the road
Black people pray to the Christian God with songs and dances
In 1724, during the travel from James Fort (Ireland) to River Gambia, the Company hired a balafeu, who is a country musician. They engaged him to cheer up the men and recreate them in the evening.
Moore arrived in Nackway and people welcomed him making some music called “Balafeu”. The instrument that they use seems like a small organ composed by twenty pipes of very hard wood, finely rubbed and polished; which Pipes drecreases by little and little both in lenght and breadth and are tied together with thongs.
These Thongs are twisted about small round Wands, which are put between every one of these pipes. On the “organ” they play with two sticks that are covered by thin leather of a ciboa’s tree, to make the sound less harsh. Both men and women dance to this music, they like it a lot. They are also very happy to have a white man (F. Moore) between them. If they drink a liquor offered by a white man that they don’t know, they don’t drink, because they are scared to be poisoned.
In Yamacunda (Senegambia) they have a strange ritual when there is the eclipse of the moon. They think that a cat put his paws between the moon and the earth. The Maomethans in that place sing and dance all the time. In January they observe a very strict ritual. They don’t eat and drink when the sun rises and goes down. They pray in every moment.
The mosques in Fez are very important. The priest of the mosque (Imam) has just to read prayers and collect alms, this is the reason why mosques have big revenues.
Vitaliano Donati tells of the muezzins of a Mosque.
Vitaliano Donati points out that the governor of each colony is in charge of drumming.
Vitaliano Donati tells of the earthquake felt on February 13, 1756.
Vitaliano Donati recounts the seductive singing of a young woman.
Vitaliano Donati recounts the entry into Cairo of Ahmet Pasha who arrived in Boulaq on November 20, 1748 and the presence of drums in the procession.
Vitaliano Donati describes quail singing in March.
Vitaliano Donati describes a chamber of the Pyramids by pointing out that the wall of it rings like a bell.
Vitaliano Donati describes the verse of a bird revered by the Egyptians.
Vitaliano Donati describes the sounds, songs and dances of a wedding.
Vitaliano Donati lists musical instruments used by the Arabs and in Egypt.
Vitaliano Donati tells of the arrival in Memphis and the dancers who demanded payment with a ‘medino’, local currency.
Vitaliano Donati reflects on the dancing of professional dancers and their payment at weddings.
Vitaliano Donati explores the theme of virtuosity in dance or sing.
Vitaliano Donati offers some reflections on the music and dance of Arabs and Turks by referring to their performance in Ramadan.
Vitaliano Donati reports the presence of musical instruments and dances in marriage processions.
Vitaliano Donati recounts the dances performed during the flooding of the Nile.
Vitaliano Donati recounts a sword dance performed by two men towards Saqqara.
Vitaliano Donati reflects on education towards singing music and dancing
Vitaliano Donati describes the musical instruments he saw in the Ramadan procession.
Vitaliano Donati recounts the procession of the dowry from the house of a bride to that of the groom and mentions the musical accompaniment.
Vitaliano Donati inserts the term "balare" (dance) in a part of the manuscript structured as a dictionary.
James Cook writes about a priest who performs some ceremonies when in front of new things on board
James Cook reports a testimony of Joseph Banks where some of the crew make an expedition through the country, but have some trouble for the extreme cold. After having lost some of the party, they hear a shout
Jmes Cook reports that Joseph Banks and Solander go to visit a town, and two people start to hollow as happened on board
James Cook describes the bark of the dogs here
James Cook writes that by the sea, the crew sees natives on the shore, and they shout each other
James Cook writes that after some incidents with the natives, Mr. Banks strikes the firelock upon the ground
James Cook writes that the chief gives to the English an example of music of the country
James Cook writes that the natives shout, while they conducted the English to the chief
James Cook writes that when starting the matches, the combatants make a noise striking a fore-arm with the other hand, the old men celebrate the victor repeating words in a kind of tune and during the matches some men perform a dance
James Cook reports a description of a public exibition (the "heiva"), with music
James Cook reports Joseph Banks testimony that during a funeral ceremony a native pronounces a prayer
James Cook writes about Joseph Banks who meets some travelling musicians. Description of their music and instruments
James Cook writes that the English take leave of Otaheite and the natives make loud lamentations
James Cook reports Joseph Banks testimony, who sees a girl getting tattoed, who starts loud lamentations
James Cook makes a description of the two kinds of musical instruments seen at Otaheite
James Cook makes a description of the songs of the natives, called "Pehay"
James Cook makes a description of a dancel called "Timorodee", performed by young girls
James Cook makes a description of the funeral ceremonies in Otaheite, that start with lamentations. The day after, during the procession with the body, the preast prays and repeats sentences
James Cook writes that during the ceremony, the priest continues the prayers
James Cook writes that a native of Otaheite make prayer among the natives of Huaheine
James Cook makes a description of the reaction of the natives when a gun is fired
James Cook makes a description of signals made from the ship and the boat
James Cook reports Joseph Banks description of a kind of dance, performed by a native
James Cook reports about a meeting with a company of dancers and description of its members and musical instruments, how they play the drums and dance, and a dramatic interlude performed by men during the dances
James Cook writes that two natives on the shore make a defiance dance directed to the boat
James Cook describessSome natives on the shore making some prayers
James Cook writes that after shooting to the natives, the English hear them on the shore talking
James Cook writes that some natives on board start singing
James Cook reports that during the night the English hear some voices from the shore
James Cook writes that some natives left on board by their companions, start singing and dancing
James Cook reports that some natives on a canoe near the ship perform a sort of ceremony
James Cook reports that some natives near the ship perform a war-song
James Cook writes that the natives at the watering-place, both men and women, perform their war-song
James Cook reports that the natives in canoes sing the song of defiance
James Cook reports that the natives in canoes sing their song of defiance
James Cook reports that natives perform their war-song
James Cook writes that some natives sing the war-song
James Cook reports that the English ask the natives to show their way of fighting, and they perform also their war-song
James Cook reports that natives show hostility and sing their war-song
James Cook writest that natives in canoes sing their song
James Cook writes that the natives prepare to attack the English, and sing and dance as usual
James Cook writes that the crew is awaken by the singing of the birds, and describes of the melody they produce
James Cook writes that after a strong gale, the birds stop singing
James Cook reports a description of the war-dance of the new zealanders
James Cook reports a description of the songs they perform for amusement
James Cook makes a description of the musical instruments
James Cook reports that two natives shout to the English
James Cook reports that during the navigation comes some squalls, with thunder and rain
James Cook writes that they hear the voices of the natives
James Cook reports Joseph Banks testimony where a native shouts in the dark but the English can't see him
James Cook writes about the English and the natives shouting each others
James Cook fires a musket and the natives hear it anf go away. Soon after the English hear their voices in the woods
James Cook writes that during the navigation they hear the roaring of the surf
James Cook reports that some natives rush out of the woods shouting
James Cook writes about natives shouting defiance to the English
James Cook writes about a dreadful storm with thunder and lightning that causes an explosion
James Cook reports a description of rain and thunder
James Cook writes that the frogs croaking in the ditches make a loud noise
James Cook reports that when they weigh, another ship salutes them with cheers and guns
James Cook makes a description of a ceremony that people in Batavia perform in places with crocodiles, with music and singing
James Cook makes a description of dances and songs of the natives of Cape of Good Hope
James Cook makes a description of the noise made by the ice cracking
James Cook reports that penguins are heard from the ship
James Cook writes about ice heard cracking
James Cook writes that a native woman gives the English a dance
James Cook makes some instrument to be played, bagpipes, fife and drum, to attract the natives
James Cook makes a description of the blue peterels and the noise they make
James Cook writes that the natives make a loud noise through the bushes
James Cook makes a description of three kinds of ducks found in Dusky Bay, and the noise made by one of these
James Cook reports Tobias Furneaux description of the noise heard in the night, of dogs and people
James Cook writes that the party on the shore hear the guns fired, because of the arrival of the Resolution
James Cook writes that the natives make a lamentation after being told about the death of Tupia
James Cook writes that the English entertain king Otoo with music and dances
James Cook reports that Otoo orders some of the natives to dance
James Cook makes a description of the "heava", a dramatic play, with music and dancing
James Cook writes about a great noise heard from the shore
After some robberies by the natives, James Cook seizes the chief, and the natives pray and cry to have him back
James Cook reports that the natives perform a "haeva", accompained by the music of three drums
James Cook writes that during the navigation they have thunder, lightning and rain
James Cook reports that the natives welcome the English after landing
James Cook orders to play some music, and after, some women sing
James Cook makes a description of the musical diversions of the natives, and their musical instruments
James Cook writes that four natives in a canoe come near the ship, and one of them plays a drum
James Cook writes that from the ship they hear some penguins
James Cook writes about thunder and lightning
The English see the troops of the natives, and James Cook describes the noise of the crowd
James Cook writes about some women weeping and lamenting
James Cook makes a description of a comic play performed by the natives
James Cook writes about drums heard from the shore
James Cook writes about drums heard and people dancing seen, but all was silent after the noise of the oars of the English
James Cook makes a description of the eruption of the volcano, with a loud noise
James Cook hears the report of the muskets from the wood, after the natives have thrown stones to the English
James Cook makes a description of the eruption of the volcano
James Cook hears a noise from the wood, like singing of psalms. Maybe that part of the island is something sacred to religion
James Cook writes that while navigating around Malakula, they hear the voices of the natives on the beach
James Cook writes that near a village, among the cocoa-nut trees, they hear the crowing of cocks
James Cook and some of the crew shot some birds, and the report of the muskets make the natives discover themseves
James Cook writes that he crew lands with the intention to kill some animals, which they discover to be sea lions. These animals are making some noise
James Cook makes a description of some sea lions growling and a description of the sea bears
James Cook makes a description of some geese and their noise
James Cook reports that the party of English fires and some natives start howling
James Cook writes about voices of the natives heard in the woods
James Cook reports James Burney's testimony about the natives heard talking
Describing Madeira, Georg Forster mentions the musical habits in question of the island's inhabitants.
Georg Forster offers a description of the habits of the natives encountered at the Cape of Good Hope during their stay. The ability to sing, play music and dance makes the women in particular more appreciable.
Georg Forster describes the sounds of the storm hitting the ship as it sails south from the Cape of Good Hope.
Georg Forster reports a dramatic moment experienced by the crew during the night of 29 November 1772 when the cabins began to be flooded with water.
Georg Forster describes the experiment conducted by his father (Johann Reinold) and Mr. Wales (the ship's astronomer) who wanted to measure the temperature of water. The two find themselves in a difficult situation as they are unable to reach the ship again until they hear the ringing of a bell that allows them to approach and then board the Adventure.
Georg Forster describes the first Christmas on board.
Georg Forster describes the bay at sunset: the rudeness of the landscape is softened by the singing of birds.
Returning to the ship, Georg Forster says that his attention and that of his companions is attracted by a group of natives located on a rocky hill. One of them lets out a scream.
Georg Forster witnesses the conversation between Captain Cook and the natives who, finally, let the crew members approach them. The onset of night forces them to leave; upon their departure, the younger of the two women begins to dance noisily.
George Forster describes one of the meetings with the natives. When they went ashore, at first they received no response. The natives were preparing to welcome them to their home.
Georg Forster describes the sounds of Cascade Cove: the noise of running water and the different types of melodies made by various species of animals (birds and creepers).
After describing the beauty of Cascade Cove, Georg Forster concludes observing the flowers all around him and listening to the birds singing.
Georg Forster describes the crew's attempt to get the natives on board by playing some musical instruments: the fife, the bagpipe and the drums.
Georg Forster reports the variety of petrels' sounds heard by his father, Johann Reinold, and Captain Cook, at Anchor Island.
Georg Forster is surprised to see the dog who had abandoned their ship two weeks earlier in good health accompanied by the natives. The animal had survived in the woods for two weeks and had been noticed by the natives due to its howls.
George Forster tells of one of his father's excursions (Johann Reinold): he discovered a lake, going up a stream, on the hill facing the bay. Here, silence reigns and not even the singing of birds is heard.
The natives are convinced to board the ship and on the morning of April 19 the man and the younger woman appear on the shore. Georg Forster describes the ritual performed by the man before boarding.
Georg Forster describes what he heard from his father (Johann Reinhold) and from Captain Cook as they left the bay where the crew had camped for the night to stock up on supplies. As soon as the two had shot a duck, they heard screams coming from the other side of the river.
Georg Forster describes the meeting between Captain Cook and one of the natives: he carries out a sort of peace ritual that guarantees friendship between them.
Georg Forster describes some of the effects of their arrival at Dusky Bay.
Georg Forster describes the dire conditions in which he, his father, and a crew officer find themselves at Wet Jacket Arm suddenly hit by a storm during the night. The sounds of the storm were frightening.
Georg Forster describes the reunion with the Adventure.
Georg Forster describes an encounters with a native family several times hosted on board at mealtimes.
The youngest of the family tastes some liquor: in this passage, its effects are described.
Georg Forster describes a heiva, or dance, performed by a group of natives visting the Resolution.
A group of natives in a canoe approaches the Resolution. Georg Forster describes the way one of them expresses himself before being invited aboard by Captain Cook.
Georg Forster describes some of the musical instruments brought on board the Resolution by the natives.
Georg Forster describes Resolution's departure from Queen Charlotte's Sound.
Georg Forsters describes the way in which the Resolution is received by the Polynesians: "tayo" is the word used by the inhabitants to welcome travellers.
George Forster describes the arrival of the Resolution ashore.
Georg Forster tells of the loud sounds made by the animals on board for lack of food.
Georg Forster describes the pleasant sounds of some birds; he heard them during one of the first excursion to the island.
On another of his excursions, George Forster describes the sound of birds and a loud noise he discovers coming from a hut in the forest. Here he saw women making cloth from mulberry bark.
During one of his excursions to the easternmost part of the island, Georg Forster described the landscape and its sounds.
Georg Forster tells of the hospitality shown to him and to other travellers by the native people. Returning from one of their excursions, they are greeted by a native family, some of whom play and sing for them.
Georg Forster describes the first encounter with the king of Tiarraboo, O-Aheatua. Some of the travellers' gifts drew cheers of admiration from the crowd attending the meeting.
Georg Forster describes the way in which silence is maintained at their first meeting with the king: "mamoò" is translated as "be silent" and the king's attendants use strokes of a stick to ensure that the command is obeyed.
Georg Forster describes the king's surprise at the noise made by the captain Cook's watch.
Georg Forster describes the music played on the bagpipes.
Georg Forster describes the encounter with King O-Too: the sound of the bagpipes delights the natives.
Georg Forster describes the dances and music with which the women entertain the crew of the Resolution on board.
Georg Forster describes the dramatic dance performed by the king's sister Towraï in honour of the captains.
Georg Forster tells of an incident of misbehaviour by some of the crew, which arouses the king's suspicions. Captain Cook is alerted to the incident by a loud noise heard on shore.
During one of their scientific excursions, Georg Forster and his fellow get into trouble. Their guide alerts a group of locals at the bottom of the valley, who come to their aid.
Georg Forster describes the murmuring of a river close to the house to which they had been invited for dinner after an exhausting day's outing.
Georg Forster describes a reconciliation meeting between Captains Cook and Furneaux and the king. The bagpiper plays at the king's request.
Georg Forster describes the behaviour of the dogs that live in Hauhine.
Georg Forster confirms the natives' fascination for the bagpipes.
George Forster reports on the dramatic dance, known as the Heèva, witnessed by Captain Cook and Captain Furneaux while he was gone.
The sound of the drums suggests to Georg Forster that another heèva is about to take place. However, he does not attend in person.
Georg Forster offers a detailed description of a Heeva, the first one he had the opportunity to assist.
Georg Forster tells of another heeva that he could witness. Its characteristics remain unchanged, but its duration is shorter than the one described on 11 September.
Georg Forster has the opportunity to go behind the scenes of a heeva.
Georg Forster reports on the heeva his father and other crew members can experience on Tahaa Island.
Georg Forster describes the song with which he and the other crew members are welcomed into the chief's house on the island of 'Eua.
Georg Forster recounts what his father told him about the afternoon excursion to the island.
Georg Forster recounts what his father, Johann Reinold, and Mr Hodges told him when they went to visit 'Eua.
Georg Forster describes the chirping of birds during his first visit to the isle.
Georg Forster describes the sound some bats make when frightened by gunfire.
Georg Forster describes some of the new musical instruments that they found.
Georg Forster describes the noisy reception he received from the natives surrounding the ship when he returned at sunset from that day's excursion.
Georg Forster describes the tendency of the islanders to steal; after one of these petty thefts, seven shots are fired.
Georg Forster describes the singing and dancing of the native Tasmanians, relating them to the Tahitian heeva.
Georg Forster describes a heeva, this time called a war dance, performed by the natives on board the Resolution off the coast of Cape Kidnappers.
Georg Forster describes the terrifying sounds of the storm.
Georg Forster tells of the birds' beautiful melody at Ship Cove.
Georg Forster describes the sounds of petrels heard during an excursion on the island.
Georg Forster reported hearing penguins all around the Resolution. However, he said that he could not see them because it was fogged in.
Georg Forster describes the sounds made by seabirds during anchoring operations on Easter Island.
Georg Forster describes one of his first encounters with a native of Easter Island.
Georg Forster reflects on the artistic habits of Easter Islanders.
Georg Forster describes the sound of drums coming from the beach after an incident in which one of the natives was killed.
Georg Forster describes the dances of the inhabitants of the Marquesas Islands. He compares their dances and instruments with those of the Tahitians.
Georg Forster describes a terrible storm hitting the ship.
Georg Forster reports on the results of the excursion made by his father, Johann Reinold, and Doctor Sparrman (their assistant). Seeing the fire that has been lit, the ship responds by ringing the midnight bell.
Georg Forster describes the dances performed by the women of Tahiti on board the Resolution.
Georg Forster describes the last dinner with some of the natives. Before setting sail, they are asked to fire a few cannon shots.
Georg Forster describes how Tahitians spend their time reflecting on the peacefulness that characterises island life. So much so that he concludes that "they are free from cares and happy in their ignorance" (p. 112).
Georg Forster describes the customs and entertainments of a particular community in the Society Islands, the Arreoys.
Georg Forster describes a different kind of dramatic dance that he had the opportunity to see.
Georg Forster describes another heeva he had the opportunity to enjoy and compares it to the one he experienced on the 27th (event number 79).
Georg Forster describes a dance performed by Poyadua (the Chief's daughter) and reflects on how the Arreoys affect the people of Raiatea.
Georg Forster speaks of the religious habits of the islanders.
Georg Forster describes how the Resolution greeted the island of Raiatea.
Georg Forster describes what happens when Savage Island gets visited.
Georg Forster tells of a group of natives who attacked him and his party with shouts and spears.
Georg Forster describes the moaning he heard, which was probably caused by the wound inflicted on one of the natives who had attacked them.
Georg Forster describes the sound of the waves that he heard as they were approaching the land.
Georg Forster reported hearing three cannon shots. They were ignored at the time, only to discover later that they were meant to signal the start of a fight between the natives and the crew.
Georg Forster comments on the way of life of the inhabitants of the Friendly Islands and compares it with that of the Society Islands.
Georg Forster describes the music and dances he heard and observed from the Resolution.
Georg Forster describes a moment of tension between the natives and the crew: Captain Cook is forced to fire a shot.
Georg Forster describes the drumming heard from the Resolution, used by the natives to signal alarm.
Georg Forster mentions some voices he heard during an excursion on the island.
Georg Forster describes the squealing of pigs coming from the shore.
Georg Forster tells of the music and dances of the natives. He compares their music to that of the Friendly islanders.
Georg Forster reflects on the musical traditions of the inhabitants of the island of Mollicollo and their musical instruments.
Georg Forster reflects on the perilous state of the traveller, exposed to the unpredictability of the sea, and describes the terrifying sound of the waves crashing against the ship.
Georg Forster describes the smoking and smashing sounds coming from the volcano.
Georg Forster describes the eruption of the volcano.
Georg Forster tells of some natives who danced on the shore.
Georg Forster tells of the sound of a musket being fired on shore.
Georg Forster describes the sound of the waves lapping against the shore during one of their excursions on the island.
Georg Forster tells of some voices they heard during one of their excursions. They didn't see the people from whom these voices came.
Georg Forster describes the chirping of birds that enlivens the natural scenery around him.
Georg Forster describes the noise made by the island's volcano.
Georg Forster describes the sound of blowing in a shell, which he heard on one of their excursions and which the natives used to tell them to get away from the volcano.
Georg Forster explains the reasons behind their excursion: they wanted to discover the place from which they heard this kind of lamentation every morning, imagining that it might be a place of worship. It is located on the eastern point of the bay as he says on page 362.
Georg Forster describes the sound that the volcano makes throughout the day and compares it to a thunderous roar.
Georg Forster describes the sound of a man cutting down a tree. They then approached and studied the features of this instrument.
Georg Forster describes a musical encounter with the natives. They had the opportunity to sing some of their songs, to hear the natives' one and to make contact with one of their musical instruments, which was compared to a syrinx.
Georg Forster describes the trade with the natives. Among the goods bought are some musical instruments.
Georg Forster describes another musical encounter with the natives. This time they have the opportunity to hear a song from the island of Irromanga, near Tanna, because the man they have asked to sing is from there. Forster notes the difference from what he had heard that morning (see also event number 110).
Georg Forster describes the sounds made by the natives to prevent them from reaching the volcano.
Georg Forster refers to hearing a musket being fired on the beach.
Georg Forster describes another encounter with the natives. They sing to amuse them.
Georg Forster heard a plantation worker singing.
Georg Forster describes the unexpected birdsong he heard during an excursion to the island.
Georg Forster is called out of his reverie by the sound of Dr Sparrman's footsteps approaching him.
Leaving the island of Tanna, Georg Forster offers some reflections on the life of its inhabitants and the natural characteristics of the island. He reiterates the supremacy of the Tanna islanders' music among the islands of the South Seas.
While describing the conditions of the island's inhabitants, Georg Forster noticed the chirping of birds.
Georg Forster describes a kind of musical instrument that the natives brought with them to sell.
Georg Forster reflects on the small number of musical events that are being attended in New Caledonia.
Georg Forster describes the hissing sound associated with seeing this meteor.
Describing the flora and fauna of this small island, Georg Forster spoke of the pleasant melody of the birds.
Georg Forster describes the welcoming sound of New Zealand birds.
Georg Forster mentions that they heard the natives singing on the shore. He also makes some observations about the quality of New Zealand music, including some musical examples.
Georg Forster reports that he heard this kind of funeral dirge from the same gentleman who gave him the other musical examples in the diary. The words and the way they are intoned are reported. Forster concludes with some general observations on New Zealand music. This event is narrated by Forster in continuity with what was reported in the previous event (event number 126).
Georg Forster describes the sound of the birds around them during one of their excursion.
Georg Forster describes the sound made by sea lions on the coast.
Georg Forster describes Captain Cook's ceremony of taking possession. On this occasion, several muskets were fired to the surprise of all the animals on the shore.
Georg Forster describes the sound made by some creaking rocks on the shore.
In his description of Fayal Island, Georg Forster complains about the noise made by their carts.
Georg Forster describes the sounds made by different species of birds during one of his excursions on the island.
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook reports William Anderson narration about some officers who make an excursion in the country. They are received by a local gentleman and entertained with some music
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook describes the singing of two species of birds, founded in the wood.
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes that the natives perform a war song
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook reports William Anderson testimony where it's described the way the natives lament the loss of their friends
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook reports William Anderson testimony where are described two kinds of musical entertainment: singing and playing a sort of flute
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes that the two neozelanders on board the Resolution make lamentations leaving their homeland forever
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes that the natives make a shouting noise
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes that the natives perform a sort of song while they are in their canoes near the ship
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook reports William Anderson description of when the English attend a performance by the natives, with dances and music, and in the end they can attend a fight exibition
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook reports William Anderson testimony of when Omai explain to the natives how the firearms work, and show them some gunpowder burn
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes that the natives perform some combats as an entertainment, which take part both men and women
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes that the natives entertain the English with a dance, performed by the men, with some musical instruments accompaining them and singing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook reports William Anderson's description of a great dance show performed by the natives. At the beginning, some men (the chorus) perform a dance singing a song and playing some instruments, then some women perform a dance singing a song together with the chorus. The show continues with different dances by men an women. In the end we have some observations by the narrator
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook describes when the english entertain two Chiefs with some music
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes that the king Poulaho entertain the English with a dance
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes that the natives plays some drums singing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook reports William Anderson's description of the "Haiva", a great exibition by the natives, with various dances, singing, musical instruments and fight exibitions
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook makes a description of the night dances, performed by both men and women
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook reports that three women make their lamentation for the seizure of a thief
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook orders some marines to perform their exercise and playing off some fireworks, with the acconpainment of some musical instruments
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes that the natives make some boxing and fighting matches, and are described the noise they make whith their bodies and the song of victory
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook writes about a new exibition of the "mai" dances, in which are involved both men and women
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
James Cook reports William Anderson's description of some bats among the "etooa" trees that make some noise
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
Two women beat briskly the body of the chief during the night. This practice, a sort of luxury, is called "tooge tooge"
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
Here is described a kind of bird, the only singing one they find in that country
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
The English take part to a public solemnity, the "Natche", in honor of the king's son
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
During the ceremony, a man pronounces an oration
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
Three men pronounce some sentences, and another one make an oration
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
After some speeches, the public make some noises (applauses, laughs)
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
Two men make a short prayer
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
The Chief priest make a prayer
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
The crowd repeat some words
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
After the last procession, there are some praying
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
Some men make a noise like singing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
Description of some of the musical instruments of the Friendly Islands
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
The different kind of women's dances
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. I / James Cook
A description of the music of the flutes
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
A native make a sort of music blowing in a conch-shell
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The natives in the canoes say something all together in a loud voice
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Meeting with a "Eatooas", a possessed man, who talks with the English and make some strange noises
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The Chiefs in a council debate about hostilities with the island of Eimeo
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The ceremony of a human sacrifice, with prayers, chants and drums. During the ceremony a king-fisher in the trees makes a noise, that the natives see as divine sign
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The second day of ceremony begins with some prayers by the priests
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The priests make a prayer, called the prayer of the maro
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The English attend a private "heeva", the way the natives amuse theirselves, and later at the king's house, they attend another "heeva", called "heeva raa"
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Some women make a sort of massage to captain Cook, to cure his rheumatic pain, that make his bones crack
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
A solemnity is performed, after the natives made peace with Eimeo. At the end of the ceremony, a man repeat something in a singing tone
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
A sort of ceremony for Omai
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
A description of the songs of the natives, and their subjects
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Description of the use of blowing in a conch-shell
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The natives pray and sing before going on board the Resolution
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Some women in the canoes near the ship sing a song all together
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Description of the musical practice of the natives, and two musical instruments
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The natives in the canoes sing, speak, make some noise and have a sort of rattle
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
During the ceremony the natives perform before going on board, they sing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Natives perform some songs from the canoes before starting barter with the crew
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Description of some birds, where the only one the heard singing are the common wrens
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
A description of a sort of cloak that makes a rattling noise, and a rattle
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Description of how natives make orations
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
A description of the way of singing of the natives of Nootka Sound and their musical instruments
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
A description of the hunt methods of the natives, like making some kind of noises
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The natives in their canoes near the ship sing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Description of some different kinds of rattles
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
An alarming sound heard from the ship
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The roaring of some animal that they called sea-horses
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The roaring of the sea-horses directs the ship
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
They hear the noise productet by the sea against the ice
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
A family of natives cries after receiving gifts
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
The natives near the ships sing a song, accompained by a drum and some gestures
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Description of squalls with thunder
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. II / James Cook
Another description of thunder and lightning
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The natives near the ship sing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Natives perform a ceremony in honor of captain Cook. The natives chant, sometimes in concert and sometimes alternatively, sometimes one of of them says something snapping his fingers
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Another ceremony for captain Cook, with the sacrifice of a pig and a repetition of chanting
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The natives continue to perform solemnities to captain Cook, with the offerings of hogs by some inferior chiefs
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The natives bring provisions to the ship, and some priests in a canoe sing hymns
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Boys and girls always stop the English where there is space for dancing, and also some women amuse them with singing and dancing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
During a boxing match, the spectators laugh
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
After the dead of one of the gunner's crew, the natives bury him in the "Morai", with a solemn ceremony that lasts for three nights
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
A native entertains the English with a dance with ridiculous gestures, accompained by a rattle
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
During some disorders between the English and the natives, the natives shout
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
King hears the muskets firing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
King hears the marines firing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
During the night, after the fights with the natives, the English hear some howlings and lamentations from the shore
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Conchs blowing from the coast
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The English hear howlings and lamentations
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The natives blowing their conchs
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Two boys swim towards the ships and sing a song in a solemn manner
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
After the English set fire to some huts, during the night they hear cries and lamentations on shore
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
A native at the shipd sing a song
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Some men carry off the body of the boy killed during the fights the day before, singing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The natives make a kind of procession, accompained by drums
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Some natives laugh at the English
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
During an excursion through the country, some natives throw stones in some chinks, producing some noise
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of the dances of the natives, and their resemblance with those of the New Zelanders
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of their music, and a way of singing that King calls sing in parts
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of a rite with their idols, with drums and singing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of the ceremony with the "ava", before their meals, with hymns and prayers
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of the funeral rites, where the natives howl, sing and cry
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Three women cying and singing for a dead man
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The english are awakened by the howlings of the sledge dogs
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of the dogsled and some little bells on them
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of a russian dance
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of a Kamtschadale dance
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Leaving the village of Bolcheretsk the English are saluted with a song, music and cheers
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of the noises produced by the eruption of a volcano
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of the gull and his screams
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of the noise made by walruses when hunted
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The Resolution lose sight of the Discovery, and keep firing guns as a signal. after some hours they heard the Discovery's guns in answer
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The naitves say that the party is too large and making too much noise, so they have to separate
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
King attend the church during a celebration, and three boys sing
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
During a hunt, they hear the growlings of bears, and some terrible noises one of them makes after being wounded
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of a kind of duck and its cry
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of the roaring of a herd of buffaloes
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
The shooting parties in the woods hear the crowing of the cocks
A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere, to Determine the Position and Extent of the West Side of North America; Its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery, in the Years 1776, 1777, 1778, 1779, and 1780, vol. III / James King
Description of thunder and lightning during the navigation
Description of the sonority and the functioning of the Congolese language, with linguistics correlations with latin languages.
Louis de Grandpré gives us his perception and evaluation of traditional songs in the Angola Coast, applying western music rules to measure it.
After analyzing the voices comparatively to the western rules, Louis de Grandpré describes the traditional dance of Angola's inhabitants, accompanied by drumrolls, which consists in a dialogue between a leader and the crowd. The leader is supposed to teach the crowd the song and the dance, whilst separating the crowd into two groups (depending on the person's voice nature).
In the end, the song becomes a dialogue between the crowd and the leader.
Coming from a mapou fruit, this violin is composed of three "poorly" stretched strings which produce an unpleasant sound due to the poor construction of the instrument (still a Western-centric judgment).
The author also offers an analysis of the harmony created by the instrument, which sounds "wrong" and struggles to produce major thirds.
Short description of the production of trumpets from wood or elephants tooth.
Congolese former tradition about the prince's life claims that the prince, selected by the princess, cannot see women nor be seen by them in his entire life, for he is supposed to be dedicated to the princess. Thus, each travel outside is announced by a mule bell, the "gongon".
"Sanga" is a military procession executed in celebrations and national funerals. It consists in many dances accompanied by drums, and a performance by pantomimes.
In the Congolese culture, "Cabale" means a reunion of two parties in conflict for them to compromise. It takes place in an open area where anyone can speak. This is always accompanied by traditional songs that are answered by a specific nasal sound by the crowd.
For the vast majority of cases, the saquila is a hand salute which can differ depending of the hierarchy of the two parties.
For one of the three existing saquilas which concerns two equals persons on the social scale, it consists on the extending of the arms followed by the strike of the palms, producing a big and concentrated sound.
During military conflicts opposing two regions, Congolese military happen to dance at drumroll all night until the next morning, not worrying about the enemy's next move.
During the funeral, some female cryers are often there, crying, hurling, asking why he left the family. They perform of lamentation, of which some parts are repeated by the crowd, and also dancing a moderate choregraphy.
Mungo Park is welcomed in the presence of the King and found his court singing and clapping hands
The attendant give thanks to the king of Medina with a loud song
Description of the Mumbo Jumbo, a peculiar character of the culture of this region between the Gambia and Senegal River
Mungo Park is invited to a wrestling match animated by music and dances
Mungo Park is entertained by a singing man
Mungo Park is invited to a sport event in Joag featuring sensual dances along with the music of drums
A peloton of men march towards the city of Teesee (Moulinè) with musicians and singers accompanying them with songs
The inhabitants of a small suburb of Kouniakary, called Jumbo, sing a song to praise their fellow citizen who have come back home
Dogs signals the presence of dangerous animals by howling loudly
Mungo Park's guide whistle on his bamboo stick to make sure the area is free of danger
Mungo Park describes the call to prayer he hears in Guemou
Mungo Park comes in Dilly during a Holiday and is welcomed by the sound of music played by the inhabitans
Mungo Park describes a wedding he saw celebrating in Bienou
Soldiers shoots some shots in the air in Diarra to celebrates the military success against king Daisy
The family that gave hospitality to Mungo Park in Segou sings a song improvising lyrics about Mungo while spinning cotton
Outside of a village, called Song, surrounding the city of Saye, Mungo Park is scared by the roaring sound of a lion and begs the inhabitants to let him inside the walls of the village
In the last Ramadan night, the new moon finally makes his appearance through the clouds and the Muslims express loudly their joy
During the highly demanding journey to the coast, a group of slave snaps their finger to express their heavy feelings of sorrow and fatigue
Marco Augusto Costanzi recounts the encounter with the cavalry that will accompany them to the city. In the arrangement of the personalities that make up the parade there are also fifes and drummers.
Marco Augusto Costanzi comments on the music of piva pipers and drummers being played by the military band in the city of Aleppo.
Marco Augusto Costanzi meets in Aleppo the daughter of Signor Esdra de Picciotto, whom he calls a "horrid Tuscan." Describing his daughter, he also extols her for her piano and singing talents.
Marco Augusto Constanzi describes the tone of voice in which he speaks to the Arabs he encounters in Alexandria, and he fears that they are about to argue, but instead they speak loudly because they are accustomed to doing so.
Marco Augusto Costanzi describes the Turks and the way of speaking out loud.
The soul of the Hebrews in Egypt at the moment it is stirred up, seems to Marco Augusto Costanzi like a torrent that heaves with its noise.
Marco Augusto Costanzi describes the cries of the jackals, very fierce animals that devour everything.
Marco Augusto Costanzi describes the movements and noises of jackals in the night in Alexandria.
Marco Augusto Costanzi describes the cries of young boys outside the mosque.
Marco Augusto Costanzi tells of his hearing problem that does not allow him to hear whether others are near him on the night of a journey from Alexandria to Rosetta.
Marco Augusto Costanzi describes the presence of places of union between Arab and Egyptian cultures namely the so-called "Cafenè".
Marco Augusto Costanzi tells how women are not treated well and how love songs are not dedicated to them. Egyptian men do not respect women and do not know love.
Marco Augusto Costanzi describes the customs of the city of Rosetta.
Marco Augusto Costanzi tells how singing or whistling can increase the pace of loaded camels in a caravan, but he actually claims that people sing to take their minds off the boring road because the caravan leaders have whips.
The young females described by Marcus Augustus Costanzi have a "harmonious sound in their lips."
Confusion for musical moments at the monastery where Marco Augusto Costranzi is located.
Outside the monastery, Marco Augusto Costanzi talks about a bell attached to a rope must be rung to announce oneself.
Marco Augusto Costanzi mentions the presence of the bell outside the monastery dè Soriani.
Marco Augusto Costanzi reports a moment of loud-voiced dialogue in the dè Soriani monastery.
Marco Auguro Costanzi describes the music accompanying the procession of the bride on the camel through the streets of the city.
Marco Augusto Costanzi tells of the noises and cries of animals in Cairo.
Marco Augusto Costanzi describes the dances and costumes of the dancers he met in a Cairo neighborhood, also dwelling on the music that accompanied these dances.
Marco Augusto Costanzi recounts the procession of brides in Egypt and the musical instruments that accompany it.
Marco Augusto Costanzi tells about the music and the courts found after the bride was led to the bath and the hair was removed from her vulva.
Marco Augusto Costanzi writes of the music that accompanies the ceremony of circumcision of boys, a major festive event in Egypt.
Marco Augusto Costanzi tells of the flooding of the Nile that occurs in the month of June or so, and tells of how public criers shout out in the streets of Cairo the heights of the water according to the Nilometer.
Marco Augusto Costanzi talks about collecting water from a well and mentions the songs of men collecting water for work.
Marco Augusto Costanzi visits the cavities of Siout (Asyut) and in some of them there are wells. Here he and companions throw stones to test through the returning sound their depth.
Also ad Siout (Asyut), Marco Augusto Constanzi, witnesses the procession of the ceremony of the circumcision of the boys and mentions the musical instruments and songs present.
Marco Augusto Costanzi talks about the Nubians and the sound of their voice, referring also to the sound of the voice of the black slave girls.
Marco Augusto Costanzi believes it is the fault of cannon noise that hippos are no longer in the waters of the Nile.
Marco Augusto Costanzi describes the costumes of thebaid females, comparing them to Mohammedan females and their metal rings.
Marco Augusto Costanzi points out that Memnon giants once produced sounds.
Marco Augusto Costanzi talks about the cry of the sheep and the noises made by the beaks.
Marco Augusto Costanzi describes the bleating of the goats of the Saïd.
Marco Augusto Constanzi tells how the mere bursting of rifles seemed to shake their tranquility of the crocodiles they encountered in the Nile near Thebes.
Marco Augusto Costanzi tells about the presence of dancers in a Café and their trade as prostitutes.
Marco Augusto Costanzi arrives in front of the Kiaschef amid shouts from the audience.
Marco Augusto Costanzi reports a saying of a bernian poet.
Marco Augusto Costanzi mentions the glare of the mountains.
Marco Augusto Costanzi attends the procession on the occasion of Ramadan.
Marco Augusto Costanzi mentions entertainment during the eve of Ramadan.
Marco Augusto Costanzi tells of the labor of farmers and the use of a basket that seems to be useless because it loses half of the harvest.
Marco Augusto Costanzi is invited to serve as secretary to the octogenarian Tuscan-born consul in Alexandria of the Austrian, Russian, Danish, Tuscan and Sardinian nations. The consul's name is Pietro Lazzari.
Marco Augusto Costanzi is asked about music and invited to sing by Consul Pietro Lazzari. The latter is introduced by Costanzi as "orondo Schiavone, but educated in Venice, by many in Egypt and Consul General of Sweden."
Marco Augusto Costanzi sings at Consul Lazzari's house with the latter's daughter accompanying her on the piano. She is later joined by Avo on mandolin (Antonio Godard).
Marco Augusto Costanzi is still a guest of the Lazzari family and tells about another evening of talk and music.
Marco Augusto Costanzi receives an authorized leave of absence from Rossetti and leaves for Italy. In Alexandria the people and chancellors greet him with shouts and signs of thanks.
Giovanni Battista Belzoni writes that he sees some Arabs who are dancing to the rhythm of tambourines.
Giovanni Battista Belzoni is forced to stay at home because of a leg wound caused by a soldier on horseback. From his home he describes some of the customs of the Arabs.
Giovanni Battista Belzoni was invited to the pasha's garden to attend a performance, as Belzoni's house in Soubrah bordered the palace of Governor Zulfur Carcaja.
Giovanni Battista Belzoni watches a wedding ceremony from the window of his home.
Giovanni Battista Belzoni describes the continuation of the wedding festivities by telling of the ringers, dancing by two well-known dancers, and a performance.
Giovanni Battista Belzoni describes a dinner and event where the noise of peppercorns dropped on the metal tray of roasted mutton.
Arriving in Meimond, Giovanni Battista Belzoni witnessed a Bedouin dance with 30 men lined up in a single row, rhythmically clapping their hands to provide some accompaniment to their song, and in front of them two armed women.
Giovanni Battista Belzoni describes the sound of the metal alloy of a vase he bought at a farmer's house in Gournou.
Giovanni Battista Belzoni tells of hitting the walls and analyzing the sound response to understand whether there was a cavity behind them
Giovanni Battista Belzoni is in Gournou and describes the paintings of a tomb. Here six maidens are depicted dancing accompanied by tambourines, reed instruments, and guitars.
Giovanni Battista Belzoni writes that he sees some Arabs who are dancing to the rhythm of tambourines.
Giovanni Battista Belzoni is forced to stay at home because of a leg wound caused by a soldier on horseback. From his home he describes some of the customs of the Arabs.
Giovanni Battista Belzoni was invited to the pasha's garden to attend a performance, as Belzoni's house in Soubrah bordered the palace of Governor Zulfur Carcaja.
Giovanni Battista Belzoni watches a wedding ceremony from the window of his home.
Giovanni Battista Belzoni describes the continuation of the wedding festivities by telling of the ringers, dancing by two well-known dancers, and a performance.
Giovanni Battista Belzoni describes a dinner and event where the noise of peppercorns dropped on the metal tray of roasted mutton.
Arriving in Meimond, Giovanni Battista Belzoni witnessed a Bedouin dance with 30 men lined up in a single row, rhythmically clapping their hands to provide some accompaniment to their song, and in front of them two armed women.
Giovanni Battista Belzoni describes the sound of the metal alloy of a vase he bought at a farmer's house in Gournou.
Giovanni Battista Belzoni tells of hitting the walls and analyzing the sound response to understand whether there was a cavity behind them
Giovanni Battista Belzoni is in Gournou and describes the paintings of a tomb. Here six maidens are depicted dancing accompanied by tambourines, reed instruments, and guitars.
Sarah Parker-Brown recounts her first encounter with Daud Casheff's wife, noticing a low tone of voice as the latter spoke to a young girl.
Sarah Parker-Brown has caught ophthalmia and the women of Luxor scream when they see her washing her eyes with water.
Sarah Parker-Brown argues with a woman called "the Deviless" because she sold her chickens full of worms.
Sarah Parker-Brown recounts her first encounter with Daud Casheff's wife, noticing a low tone of voice as the latter spoke to a young girl.
Sarah Parker-Brown has caught ophthalmia and the women of Luxor scream when they see her washing her eyes with water.
Sarah Parker-Brown argues with a woman called "the Deviless" because she sold her chickens full of worms.
Girolamo Segato recounts that while sailing on board we were entertained by singing and laughing.
Girolamo Segato recounts the welcome to Zakynthos with a lunch accompanied by dancing and a time of walking accompanied by singing and laughter.
Amalia Sola Nizzoli describes the confusion of downtown Alexandria.
Amalia Sola Nizzoli describes the women's laments for a funeral, the festive procession for a bride in Alexandria, the chant of the Imam, and the barking of dogs.
Amalia Sola Nizzoli describes shouts and whistles in Alexandria.
Amalia Sola Nizzoli describes the voice of a man imposing silence on Arab boys and the noises of donkeys.
Amalia Sola Nizzoli describes the noise that animals make at night.
Amalia Sola Nizzoli describes the noise of disturbing dogs at night.
Amalia Sola Nizzoli describes the music accompanying Ibraim-pasha's return to Cairo after defeating the Vehabites, with all the military pomp of the night. Music of drums, timpani, fifes and oboes could be heard.
Amalia Sola Nizzoli describes the musical instruments of the military pump on the morning following Ibraim-pasha's return.
Amalia Sola Nizzoli describes the dancers in Cairo.
Amalia Sola Nizzoli describes the order of the Ibrahim-pasha parade that paraded through Victory Gate in Schiobra.
Amalia Sola Nizzoli describes the shouting and screaming in front of the procession for Ibrahim-pasha.
Amalia Sola Nizzoli recounts her emotions of when she hears the singing of the Muezzin from the minarets.
Amalia Sola Nizzoli describes the Muezzins in Cairo sounding different to him than those heard in Siut because of the noise of the city.
Amalia Sola Nizzoli describes of a dance party with general invitation of all European consuls.
Amalia Sola Nizzoli says her husband Giuseppe gave a great lunch, and in the evening there was a performance by a music academy that rounded out the day.
Amalia Sola Nizzoli tells that a young Egyptian named Gerue stayed in Milan to become a dancer.
Amalia Sola Nizzoli tells about the sounds and noises of a stormy sea on the way back to Messina.
Amalia Sola Nizzoli compares the bells heard in Livorno with the Muezzin saying that such sound creates melancholy.
Amalia Sola Nizzoli tells that in Livorno, a bell is placed in front of St. Leopold's Lazaretto, welcoming travelers for the 40 days in absentia.
Girolamo Segato tells of the customs the Turks have when a child is born, which he observes in Egypt.
Girolamo Segato describes the evil eye in Egypt.
Girolamo Segato recounts the celebration of Muhammad's festival (Mawlid al-Nabī), which falls on the 12th day of the lunar month of Rabi' al-awwal.
Girolamo Segato notes the use of drums in the procession for the festival of Muhammad.
During the procession for the feast of Muhammad, Girolamo Segato sees 100 or more inverted copper conical drums.
Girolamo Segato wrote this letter to his brother Vincenzo on 26 December 1820 from Cairo, also writing this anecdote about the presence of music at work in the city of Qualabseh.
Marco Augusto Costanzi finishes his second return to Egypt and leaves Alexandria where there is not all the "noise" of the crowd greeting him as the first time.
Marco Augusto Costanzi remembers some things about Egypt while in Corfu and describes a moment in the marriage rite.
Giovanni Battista Brocchi recalls that on the Island of Melena last summer he had heard subterranean noises and rumblings that he wrote about in the Milan Newspaper in August.
In Ragusa Giovanni Battista Brocchi listens to lyrical ditties accompanied by guitar and describes the language in which they are sung and their metrics.
Giovanni Battista Brocchi tells oft the "colende" sung in Ragusa on the feasts of their name, and on the vigils of St. Nicholas, Christmas, New Year's Eve and Epiphany.
Giovanni Battista Brocchi tells about one of the Turkish Dervis plays his horn which he wears on his belt to call the believers to prayer. It is an Antelope's horn, or Gazelle, called "Gheiz" in Turkish.
Giovanni Battista Brocchi describes the minarets where those who three times a day cackle a prayer are placed.
Giovanni Battista Brocchi recounts a musical event he witnessed at Dr. Morpurgo's house. The musical instruments were: a psaltery known as a "Ganun" (qānūn), a seven-stringed double gut guitar (‘ūd), a tiny rattlesong harpsichord (ṭār), and a kind of violin (kamāncheh) with a very bizarre shape.
Giovanni Battista Brocchi notes the hours when he hears prayer times shouting loudly from the minarets.
Giovanni Battista Brocchi describes the barking of dogs in Alexandria.
Giovanni Battista Brocchi describes the chants of the Arabs preventing him from sleeping during the boat trip. When they arrived at the mouth of the Nile they sang another song as they unloaded goods.
Giovanni Battista Brocchi describes the dance of a man who appears to be posing as a female dancer. All to the sound of the fife.
Giovanni Battista Brocchi is located in the city of Old Cairo, in the Costi district, and compares the structure of St. Macario Church and St. Sergio Church. In these churches there is a section dedicated to singing priests.
Giovanni Battista Brocchi visits the Greek church of St. George in Old Cairo and notices a pendulum clock with bells that he says he has not seen in other eastern churches.
Giovanni Battista Brocchi attends a Mass sung by Franciscans in the city of Cairo.
Giovanni Battista Brocchi is at the village of Minsendi and witnesses the theft of a thief. Here he describes the worry and screams of the women in the village.
Giovanni Battista Brocchi describes the women's reaction to the theft that occurred to Brocchi's boat and tells how they have a custom to cry.
Giovanni Battista Brocchi describes the crashes at the collision with another rowboat.
The howling of jackals disturbed Giovanni Battista Brocchi's sleep, who described their howling as at times comparable to the human voice and the barking of dogs.
Giovanni Battista Brocchi describes the composition of the walls surrounding the dwellings, which are also made in this way to fall and procure heart as unwelcome guests pass through.
Giovanni Battista Brocchi writes that Muslim doctors made a big fuss about sugar grown in the village of "Radom".
Giovanni Battista Brocchi sees Turkish soldiers accompanied to the beat of a drum.
Giovanni Battista Brocchi describes a thunderstorm.
Giovanni Battista Brocchi hears the larksong.
Giovanni Battista Brocchi describes an event of dance and music, and the lyre instrument.
Giovanni Battista Brocchi describes the coarse granite.
Giovanni Battista Brocchi describes the departure of the caravan to Qena.
Giovanni Battista Brocchi mentions an earlier description tying it also to the Ababdi Arabs. They have a Pyrrhic dance and an instrument that looks like a real lyre.
Giovanni Battista Brocchi describes the voice of a Turkish man visiting him at his tent.
Giovan Battista Brocchi tells of the procession in honor of the memory of the saint Ibrahim Kenavi made in thecity of Qena.
Giovanni Battista Brocchi talks about continuation of the account of the procession in honor of the memory of St. Ibrahim Kenavi in Kenneh, where there are two camels with two drummers on them.
Giovanni Battista Brocchi is at St. Anthony's Monastery and sees a bell hanging outside the door.
Giovanni Battista Brocchi describes the song of nightingales in the garden of the Monastery of St. Anthony.
Giovanni Battista Brocchi describes the sound of his first cicada heard in Egypt.
Giovanni Battista Brocchi witnessed the procession returning from the ceremony of delivering the carpet to be taken to Mecca at the Emir hagy. It was not a majestic procession but had musical accompaniment.
Giovanni Battista Brocchi tells about music accompanying the carpet procession from Cairo to Mecca.
Giovanni Battista Brocchi describes the verse that the camel produces.
Giovanni Battista Brocchi tells about the love songs of the Arabs.
Giovanni Battista Brocchi claims that Arabic love songs are written for dancers. He also names a famous dancer called Gul-beiad.
Giovanni Battista Brocchi describes of how payment works for a singer who is called to cheer up a wedding in Cairo.
The way of talking about Copts described by Giovanni Battista Brocchi. He also claims that they do not sing wretchedly at night unlike "our rabble".
Giovanni Battista Brocchi says the "Gadri" and "Mauleui" sing their prayers by dancing to the sound of instruments.
Giovanni Battista Brocchi describes the shouts of the boys accompanying the auctioneers in the Cairo quarters.
Giovanni Battista Brocchi describes the preparation of the Nile cutting festival, which is the only truly national festival in Cairo.
Giovanni Battista Brocchi describes of the Nile cutting festival, which is the only truly national festival in Cairo.
Giovanni Battista Brocchi also describes the city of Cairo during the Ramadan holidays.
Giovanni Battista Brocchi reports an old man's account of the city of Cairo saying that he heard voices of women, children and the bleating of sheep.
Giovanni Battista Brocchi analyzes children to measure the mood of the entire population of El-Arich.
Giovanni Battista Brocchi describes churches and monasteries and also dwells on the bell towers in Kisrawan district.
Giovanni Battista Brocchi describes the account of the use of Lebanese dances and players called "Metarbh".
Giovanni Battista Brocchi tells of two mosques collapsing along with their minarets from which a human voice, that of the Muezzin, can be heard.
Giovanni Battista Brocchi tells of the joy of the people on the day the Damascus fur was handed over to Emir Nasueh.
Giovanni Battista Brocchi describes the bells of Zahlé's churches.
From the city of Beit ed-Dine, Giovanni Battista Brocchi tells of the moving customs of the "Emir Biscir".
Giovanni Battista Brocchi describes the ritual of greeting according to etiquette at Deir al-Qamar.
Giovanni Battista Brocchi describes the verse emitted by a Chameleon found in Sidon.
Giovanni Battista Brocchi in recounting some information about the Mar-Hanna convent (Hammana - Lebanon) specifies that the Mass is done in Greek while the Psalms are sung in Arabic.
Giovanni Battista Brocchi says that at the Mar-Hanna convent the Novices are banned from using speech for two years.
At the Kren Convent of Armenian Monks, Giovanni Battista Brocchi sees a sheet containing very harmonious sacred hymns.
Giovanni Battista Brocchi recounts that in the printing shop of the Maronite Convent in "Coshaia" where Monk Serafino Susceni was engaged in casting bells, but did not succeed greatly in this undertaking.
Giovanni Battista Brocchi describes the howls of the jackal.
Giovanni Battista Brocchi describes Emir's entry into Bet ed-Dine without musical accompaniment.
Giovanni Battista Brocchi tells that a monk stands at the lookout of the Convent of St. Saba and with the ringing of a bell makes a sign if the door is opened.
Giovanni Battista Brocchi writes about the singing of birds whose warbles brighten the atmosphere of the grove.
Giovanni Battista Brocchi describes the function of the Sacred Fire in the Church of the Sepulcher. Account that he says is also given by other travelers such as Fr. Nah and Maundrell.
Giovanni Battista Brocchi stops the travel narrative to recount episodes seen in Egypt and connect them to ancient sources.
GIovanni Battista Brocchi relates that there was an Italian harpsichord master in Cairo from whom some young Turks took lessons.
Giovanni Battista Brocchi describes dancers performing a dance discovered by Mr. Caviglia depicted in the pyramid of Khafre.
Giovanni Battista Brocchi describes how the Cascef have the title of Bey, but without the honors usually given to the Bey such as being preceded by the drums and having the ciaùs with the bell.
Giovanni Battista Brocchi cites Diodorus' description of the ancient Egyptians, in which he argued that they liked neither music nor gymnastic exercises.
Giovannia Battista Brocchi at night hears the chants of school boys, who learning to read in another voice make an unholy "tintimara". They were joined by a bunch of people singing boisterously in the wake of a drummer.
Giovanni Battista Brocchi was received at the palace by Mahu Bey, who ordered one mammalucco to hold a guitar, and another to sing a Turkish song to entertain the guests.
Giovanni Battista Brocchi describes the arrival of a thunderstorm and the bellowing of thunder.
Giovanni Battista Brocchi again describes thunder by placing side by side to describe its sound the word "moo" to mean the roar of water.
Giovanni Battista Brocchi describes a great "tintimara" to figure out where they were on the journey.
Giovanni Battista Brocchi believes that the croaking of the frogs in the village of Zaidab is different from that of our frogs.
Giovanni Battista Brocchi describes the bellowing of hippos.
Giovanni Battista Brocchi describes a thunderstorm.
Giovanni Battista Brocchi describes the screams of a funeral.
Giovanni Battista Brocchi tells of the diversity of Arab songs under Turkish rule compared to those prior to domination.
Giovanni Battista Brocchi tells of dances with indecent movements.
Giovanni Battista Brocchi points out how in the songs of the Orientals and the Egyptians the night is always celebrated.
Giovanni Battista Brocchi describes the song, music and dance of Arabs and Turks in comparison. He describes many musical instruments such as: the tambourine called "Delluca", the timpani called "Nogara", the horn called "Sufàr", the fife called "Zumarra", the lyre called "Rabàba", and tells of the different dances of men and women.
Giovanni Battista Brocchi describes the noises emitted by two monkeys.
Giovanni Battista Brocchi tells of dog noises that attract crocodiles.
Giovanni Battista Brocchi tales of the outbreak of a thunderstorm and lightning strikes.
Giovanni Battista Brocchi compares a worm to the fourth string of the violin.
Giovanni Battista Brocchi tells about the way he speaks during the hearings.
Giovanni Battista Brocchi describes the market and the auctioneers.
Giovanni Battista Brocchi describes the thunder in the distance.
Giovanni Battista Brocchi tells of the screams of witches and warlocks turned into animals.
Giovanni Battista Brocchi compiles a dictionary of the language of the Ababdi Arabs. Verbs include the verb to beat, sing and dance.
Giovanni Battista Brocchi reports his dragoman's account of the Spanish explorer Aly Bey, whose name was Badia.
Giovanni Battista Brocchi sees the cries and cries of a child whose mother dies.
Giovanni Battista Brocchi collects in Khartoum some terms of a particular language spoken in Dongola.
Giovanni Battista Brocchi listens to the Dongola language to derive its pronunciation rules.
Giovanni Battista Brocchi writes a dictionary some terms of a particular language spoken in Dongola.
Giovanni Battista Brocchi tells about the howling of the hyena.
Giovanni Battista Brocchi talks about pilgrims heading to Mecca singing to the sound of a drummer.
Giovanni Battista Brocchi tells of the hyena verses also frequent in Sennaar.
Giovanni Battista Brocchi talks about the hardships of the Muslim religion and argues that the presence of more arts in religious ceremonies are something good that makes prayer even more beautiful.
Giovanni Battista Brocchi describes the Nubah who made up the infantry of Sennaar.
Giovanni Battista Brocchi describes the role of music in the battle. The use of the "Nogara", gazelle horns, "dinghil" (tympanum).
Giovanni Battista Brocchi describes the qualities of poetry, poets and singers, even mentioning Gideiah slave who sings a military song.
Giovanni Battista Brocchi describes the song, music and dance of Arabs and Turks in comparison. He also reports a mention of the way women speak.
Giovanni Battista Brocchi describes birds singing.
Giovanni Battista Brocchi tells about the celebration at a wedding with dancing and singing.
Giovanni Battista Brocchi tells of a drummer dying with soldiers in battle who were very clumsy.
Giovanni Battista Brocchi notes the method of closing a surgeon's wound. The latter takes a cat and brings it close to the wound, so at the animal's cry the sick person is frightened and everything in its place and he can suture.
Giovanni Battista Brocchi tells of the stilli of miller crickets.
Giovanni Battista Brocchi says he also relies on sound to recognize the metal composition of thalers.
Giovanni Battista Brocchi tells how the owl's cry is to be linked to bad omens.
Giovanni Battista Brocchi tells that in these countries a woman named Senninar reigned and lived alone in the middle of the forest. Before she became queen she was a slave to whom all passersby brought honey and other produce, even the "Fung" discovered her.
Giovanni Battista Brocchi tells about Ramadan by also reporting what he saw in Cairo. There one sleeps during the day and sings and plays at night.
Giovanni Battista Brocchi recounts the effects of Sirocco among which he mentions loss of voice.
Giovanni Battista Brocchi describes the sound of the hawk's cry from the minarets.
Giovanni Battista Brocchi inserts a small dictionary of the language of the dialect of Mahs (city).
Giovanni Battista Brocchi describes a bird he sees and its behavior with other similar birds, describing the sounds of a place contention. This bird is not convinced to be an Ibis. Although many explorers say it is present in Egypt he has never seen it.
Giovanni Battista Brocchi describes a shrill cicada.
Giovanni Battista Brocchi describes the musical instruments and music of Africans.
Amalia Sola Nizzoli recounts a letter from her uncle who remained in Egypt. He tells him about a play he attended on the day of Epiphany.
Amalia Sola Nizzoli describes the night she spends on a boat in the port of Naples.
Amalia Sola Nizzoli arrives in Cairo and cannot help but remember the noise of this city.
Amalia Sola Nizzoli describes the Lent preceding Ramadan. Announcements from the minarets are also performed to the accompaniment of timpani.
Amalia Sola Nizzoli tells about women in harem.
Amalia Sola Nizzoli tells about the moment of conversation interrupted by prayer.
Amalia Sola Nizzoli describes the voice that calls to prayer.
Amalia Sola Nizzoli reasons that Turkish women are not as unhappy as people think. Pastimes include singing and dancing.
Amalia Sola Nizzoli tells the story of Rossane and her wedding, in which music and dancers are used to make her groom like her.
Amalia Sola Nizzoli tells about Rossane. During her wedding, she and her groom hear singers and dancers entertaining the guests in the room next to theirs.
Amalia Sola Nizzoli tells that Rossane described the prosecution of the wedding party amid singing and dancing.
Amalia Sola Nizzoli tells about the shouts outside her room.
Amalia Sola Nizzoli tells what takes place in the thermal baths, amid singing and dancing.
Rossane's wedding morning party to which Amalia Sola Nizzoli is invited.
Amalia Sola Nizzoli describes the musicians and dancers at Rossane's wedding party.
Amalia Sola Nizzoli recounts the music, songs, and especially the clothes and movements of the dancers. She also describes the payment the men reserve for the dancers and the anger of the women toward the dancers.
Amalia Sola Nizzoli tells of a dance she witnesses in the palace of Rossane, wife of the Pasha Abdin Bey. The dancers sing and accompany themselves with "castagnette".
Amalia Sola Nizzoli reports Nizzoli's account of a revolt in Cairo led by women over the payment of a tax.
Amalia Sola Nizzoli describes Arabic players and instruments round out the merriment of a festive day.
Amalia Sola Nizzoli tells of a musical event that accompanies her journey to Saqqara.
Amalia Sola Nizzoli recounts a musical event in which she points out that Arab marching bands were instructed by European professors.
Amalia Sola Nizzoli draws attention to the presence of a bell around the neck of the sacred camel that will carry the sacred carpet to Mecca.
Amalia Sola Nizzoli narrates the procession of the sacred carpet by highlighting the position of the musicians within the order of the procession.
Amalia Sola Nizzoli continues the description of the procession by focusing on camels with Arabs on them playing and beating very large kettledrums.
Amalia Sola Nizzoli describes the music present during the rise and flood of the Nile.
Amalia Sola Nizzoli describes the galleys that parade down the Nile, there are plenty of musicians aboard the boats.
Amalia Sola Nizzoli describes the sound of city during the Nile flood festival. This is filled with singing and dancing and a joyful atmosphere.
Amalia Sola Nizzoli tells of music and dances performed during a flood rite in the Nile river for healing effects.
Amalia Sola Nizzoli describes when the Governor returns to Cairo accompanied by music at the end of the Nile flood festival.
Amalia Sola Nizzoli describes when, during the Nile cutting ceremony, women are also seen freely walking through the crowd and with dancers enlivening the festivities.
Amalia Sola Nizzoli talks about women go to the dwelling of the deceased where they sing, jump, clap their hands, beat their faces even to the sound of a drummer expressing grief.
Amalia Sola Nizzoli describes the anniversary of the death of the deceased, when musical accompaniment is made by women.
Amalia Sola Nizzoli tells of the reforms brought by Mehemed Ali and the innovations brought to the area. These include a Tyrolean clarinet maker who proposed making cavafangos.
Amalia Sola Nizzoli describes the sticks of the cavass with the silver pommel and the Çavuş with sticks from which small silver bells hang.
Amalia Sola Nizzoli describes the use of the waterspout to communicate during a high wind and rough water at sea.
Amalia Sola Nizzoli describes that the officers of an American vessel held a party with music near Smyrna on an island called Cordelion (Lionheart). Sixty ladies were invited. The band played accompanying the meal.
Giovanni Miani recounts witnessing the ox's reaction to the sound of the master's horn.
Giovanni Miani talks about the ox horn known as Sciofar.
Giovanni Miani describes the sound of Toski's rocks.
Giovanni Miani tells of the sailors' song of joy upon arrival at Wadi Halpha.
Giovanni Miani tells of the musical accompaniment, dances and birdsong in the garden of a certain "Assan-Bei".
Giovanni Miani tells of the dance performance of some women to the sound of clapping and the lyre known as "Kosserki" (probably the correct name is "Kissar").
Giovanni Miani attends dances, describing songs, movements, and the presence of the "tarabuka" (the correct name is probably "darabukka").
Giovanni Miani describes a moment of dance and music
Giovanni Miani plays for Mr. Peney and his team that they love music.
Giovanni Miani tells how communication occurs between tribes. They use a drum called a "nugara" (the correct name is probably "naqqāra" or "nagāṙā").
Giovanni Miani describes the "Adda-bitaa-el-Muraka" (Muraka's maidservant) that sing to pass the time while she works.
Giovanni Miani talks about a rest during a boat trip with moments of music and singing.
Giovanni Miani describes the "Bun" (young girls who make believe they are mute). They have bells tied to their belts.
Giovanni Miani reports on the music and dances of Sudan. He mentions the nugara, singing and dancing.
Giovanni Miani describes the shouts of women and soldiers.
Near Khartoum, Giovanni Miani describes the cries of the hippos.
Near Khartoum, Giovanni Miani transcribes the words of a Dinka song, which he juxtaposes with an Italian one whose disappearance he reports.
Giovanni Miani describes dancing and Shilluk spouses. He mentions a pyrrhic dance with the fruits of dom on their feet; another type of rattle; trumpets; lyres; drums.
Giovanni Miani explains the significance of the varei signals given through the "nugara" from one tribe to another (the correct name of the drum is probably "naqqāra" or "nagāṙā").
Giovanni Miani specifies other meanings of "nugara" strokes (the correct name is probably "naqqāra" or "nagāṙā").
Giovanni Miani describes the sound of the skirts of the young "gianghè" girls, the rings on their legs and the drum accompanying the dance.
Giovanni Miani describes the skirts of "Dor" women.
Giovanni Miani describes the tribù of "Gniam-gniam" (Zande ethnic group). He saw them dancing and blowing large trumpets made from elephant tusks.
Giovanni Miani testifies to the presence of dances in honor of the divinity of the "Nuer" (ethnic group).
Giovanni Miani mentions the song Tan-majòk that accompanies the elephant hunt.
Giovanni Miani talks about the three oxen venerated by the "Kic" (ethnic group) and their priorities.
Giovanni Miani claims that "Kic" and "Nuer" use the same song in elephant hunting.
Giovanni Miani describes ventrilopes.
Giovanni Miani testimonies a moment of "Scir" women dance and sing.
Giovanni Miani mentions the presence of a large drum in the Bor ethnic group.
Giovanni Miani describes the Bari (ethnic group) clothing names the "kaffira" (skirt with iron pipes).
Giovanni Miani describes the music and dance of the Bari ethnic group. He talks about their songs accompanied by the "nugara" (the correct name is probably "naqqāra" or "nagāṙā") and the dances he witnesses.
Giovanni Miani tells of giving the chief of a village a trumpet and other items to pay for anchorage at a port.
Giovanni Miani recounts the killing of a hippopotamus and later reports that the "nugara" (the correct name is probably "naqqāra" or "nagāṙā") did not work as a call for help.
Giovanni Miani tells of some commands given to soldiers with fife and "nugara" (the correct name is probably "naqqāra" or "nagāṙā").
Giovanni Miani tells about a dinner with choreographic and vocal accompaniment.
Giovanni Miani is unwell and calls ringers and singers to his home. He describes the songs as "graceful" and with the "right rhythm".
Giovanni Miani tells about moments of dancing and singing. He also mentions the presence of a draftsman in his travel.
Giovanni Miani tells about the caravan with drums and fifes.
Giovanni Miani tells of the musical instruments that announce the departure of the caravan at night.
Giovanni Miani gets musical instruments and skirts called "kaffire".
Giovanni Miani writes about the noise of goats and lambs.
Music and dances welcome Giovanni Miani to Gondokoro to reward them for their journey.
Giovanni Miani tells about a tree called "Tree of the drum" where navigator used to play a drum before and after a trip.
Giovanni Miani recounts a moment of departure from Sudan's capital accompanied by the sound of drums, shouts of the people, and gunfire.
Giovanni Miani describes several animals in this area between Berber and Suakin and their noises.
Giovanni Miani describes a moment of music among travelers.