WORKMEN like to sing when at work, and work is often
accompanied by singing, provided the work permits a beat of
time. The melody of the solo song usually begins on a high
tone, and irregularly descends. The text is entirely optional.

Dance is always accompanied by singing in chorus, as is
all work, adaptable to the beat of time.

Then there are solos with accompaniment by the Kxoro,
which are mostly sung to basket-weaving, tanning of hides,
sewing and similar occupations. The lines of the text are ar-
bitrarily split up by the solo singer so that, at times, he begins
in the middle and brings the beginning of the piece at the
close. Single lines are torn to pieces and very often one line
is repeated over and over again. The accompanying chorus
opens the introduction with "dya, oé, dya, oé, é" or "ha, oó,
ho ho ho ho ho o, ho, ho" or similar sounds. Some times two
choruses are formed, of which one begins the cadence in deep
tones, whereupon the other tunes in, in a higher one. This is
done several times in succession. Then the solo singer starts
his song while the chorus continues its part. The continued
singing of the chorus between each pause of the solo forms,
so to say, an interlude. With the beginning of a new stanza,
the soloist often tunes in in another key which is followed by
the accompanying chorus. There can, of course, be no ques-
tion of harmony. The notation of the melodies is difficult
since the Sotho scale consists of whole tones only. There is
no rule and never are two performances alike.

Mssionary K. Endemann
From the "Review on Ethnography" VI.

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