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BULLETIN 53 PLATE 1
BUREAU OF AMERICAN ETHNOLOGY
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SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 53
fei i wA: MUSIC—II
BY
FRANCES DENSMORE
NOV1i4 1918
WASHINGTON GOVERNMENT PRINTING OFFICE 1913
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LETTER OF TRANSMITTAL
SMITHSONIAN INSTITUTION, BuREAU OF AMERICAN ETHNOLOGY, Washington, D. C., April 29, 1912. Sr: I have the honor to submit herewith a memoir bearing the title “Chippewa Music—II,” by Miss Frances Densmore, and to recommend its publication as Bulletin 53 of the Bureau of American Ethnology. This paper embodies the results of the author’s final studies of the music of the Chippewa, or Ojibwa, Indians, and supple- ments the material published as Bulletin 45. This latter publication has met with high favor among students of primitive music through- out the world, and some of the material contained therein has been adapted and presented by orchestras. Yours, very respectfully, F. W. Hopes, EHthnologist in Charge. Hon. Cuartes D. Watcort, Secretary of the Smithsonian Institution.
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FOREWORD
Chippewa music in its relation to tribal life constitutes one of the: subjects dealt with in the present volume, as well as in the writer’s first contribution to this study.! Not less important is the melodic and rhythmic analysis of the songs, which was begun in the first work and is developed more extensively in the following pages. The native religion of the Chippewa also was considered in Bulletin 45. War forms the keynote of the present memoir, together with the Drum-presentation Ceremony, which is said to have united the Chip- pewa and the Sioux in permanent peace. In both volumes there are songs of tribal games and dances, and songs ‘‘composed in dreams,”’ many of which are the individual songs of forgotten warriors.
The analysis of the Chippewa words and part of the translation are the work of Rey. C. H. Beaulieu, a member of the tribe, and of Rev. J. A. Gilfillan, who for twenty-five years lived on the White Earth Reservation, in Minnesota. Grateful acknowledgment. is made also to Mrs. Mary Warren English, of White Earth, and to other native interpreters, whose interest and cooperation have contributed materially to the success of the work.
1Chippewa Music, Bulletin 45, Bur. Amer. Ethn.
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CONTENTS
ies Ot ROMA ape a tae e yeas Fes oe A IA AY) abe iw Ou) 1. Arranged in order of serial nium bers [ROS ERE CD AAW BOE 2 JO MOLE 2. Arranged in order of catalogue numbers. _.......-. 2.2.22. 00000020222- Special signs employed in transcriptions of songs...................--....---- INaIROS Hl SERmeRs 1d heey 9 aloo nk SIGE, BORE IOF YB bee sytts fos OT 0 By Penal yale Oh CIM pPewaAPMMURICe!: ox. Posts hele l tees. PE UY SE I Batt What do the Chippewa sing? ShnS ay ke at it 2 ce OT! ELA IPED CLT Tap
Wity.dol te Chinpewarcine? toons: eof ce esc e ess .3 SE Oe es Tabulated analysis of 340 songs...........-----..-2-2222222-2.2.. Seetboncatsiales ®
Ree etd etal sIG 52 «<5 2S oo ints acs OM: RS ROOT, LU VP sTOHTeT: Mailer ronality. A age tas 2532 esha g <TD WO Moiese Table 2. First note of song—its relation to keynote.............. Table 3. Last note of song—its relation to keynote.............. Table 4. Last note of song—its relation to compass of song....... Table 5. Number of tones comprising compass of song..........- Maple + Gr Done materials 22.2 2c poesia tat cy SR Table “7 -Accidentals .... 2265 isc ack I ORT Dibble nS: Siete ctetcthsn oe eete ol. 3 65) fc St Table 9. First progression—downward and upward............. Table 10. Total number of progressions—downward and upward. Table 11. Intervals in downward progression .................... Table 12. Intervals in upward progression .................-..-.-- Table 13. Average number of semitones in each interval.......... PiecrubeY aaa ince Ny ktee SER Se Care ee ag meg
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Table 15. Part of measure on which song begins.................- Table thé. sivingthro of first Mmeasnne 1. <>. 5 syrner4 nm dpicteets wth: ters fhankesyre@hanse of Me: «gc aha as BS te ed cle na tee beelee ables 8 theiihns, pie of pected Jaaeumdasen berber Tabled9., Rhythmic unital sone igveec ltd wouing deneloulepence able 20. Metriciunit, of voicess!!iv ailecedal in adeweaisl Dad tid fable Zio Metre Unit ordrims>. 52-22... <...0.. 4... Soe se Table 22. Comparison of metric unit of voice and drum..........
Gran pimmi alysis ols dO Ob Baie 26. So Larsen n xin x a marerescem orcncpciarnrer open > ARTE SIDE
Grand Medicine songs (Mide’ na/efimowi/niifi)...............-2.---- Dream songs (Ina’bindjigaii’ na/gimowi’/niifi)...........22..22.2... War songs (Miga’diwin’ na’gdmowi’niifi) ...:............2222-2....-- Love songs (Sa’gii’diwin’ na’gfiimowi’nifi)..............22.....-...- Moccasin game songs (Makizin’ata’diwin’ na’efimowi/nfifi)........... Woman’s dance songs (Ikwe’nimiwin’ na’giimowi/ndfi).............. Begging dance songs (Bagosafi“ninge’ nimiwin’ na/efimowi/niii). ..... Pipe dance songs (Opwa’gfinini/miwin na/eiimowi/niifi)..-.........-. Songs connected with gifts (Mi’gine, ma’moya/ne, na’ gamow!nin). .
Songs for the entertainment of children (A’dizo’ke na’gfiimowi’ntif). - I) Tied ACC NIE OTE Se arts cg a RAS ge eae pete wie baie bite Melodic and rhythmic resemblances between song groups...-.-..---- ‘Tabulated analyses of resemblances: fit... os. oa. bias be an eigs
48
VIII CONTENTS
War songs of the Mississippi Band cf Chippewa..-.................1.......... Songs connected with Odjib’we’s personal experience...................- Personal reminiscences of three warriors. ......-...---.-----.-.---------
The child’s dream of war (by Meja’kigi’jig)........- SS. | The training of young warriors (by Ma’djigi‘jig)...................... The war badge (by A’kiwén’zi) ............2--<-n.45 ee Sa ihren:
Description of Chippewa war expedition, with typical songs.................. Songs connected with organization of war party......-.-....-..-...-..--- Songs of the warpath... . <<. siiew bes onsen ta bs weyers qe Se eee Songs on the return of a victorious war party ........--..-.-.-sseebin is. Sonpy of the peace pact. #2... ... 2.1... ....- ape War sohges concerming women... .....:.-...--..-Ge2bs «<ceeeide? gaP eb
Tabulated analysis of “war songs... 20. vn, senate eae ae Children’s canies ofwar ie ot cet ee. Dy eben hance gt ee dgrum-presentation Cefemony . 222.) .<.4,224:.aebee OS: cbeclete eelee Ceremony of restoring the mourners. o> 2. es 5 Lk. ecciricice eet 2 Ceremony of divorce --¢ . a. 0-2 .5- Son. eos aba 4- tee Presentation of the drums. 2 biodos 022 ages $6 aks doa Lb. side saee Doe Feast: .)): :-gtapeaet oo -seBalet ath- vee Se ees tea oe ea oe
- Tabulated analysis of Sioux songs of Drum-presentation Ceremony.......
Songs of Lac du Flambeawm. Reservation: ;2):\..0s0% jose ebewel- 8. weleed ot -se
‘War songs! s so0.5 454.03: het ate ays ante epee ee he ee
Tabulated arialysis..o.. 22. atk i aie Be sisi Reg a eee yearn ines. 2. cos 52s 8S Se eee ee a Se os ee ek Songs concerning a hays jabte,.i...a%ianwe sen pee - 2: ahda oes Game SOROS 6 nae tinh hac eet teie scouts saabeeasers tans GE aden. eee ‘Tabulatedtamal ysis... ase eee a ee ca i ae oe ee ee IOVEISONES ssa <o.2 2. kc oe ont recs oon ee AN oe ee ert gee ea Tabulated analysis.............-- RE LGD IN POPE I Fee Ag he od sCRP ATS IATIOS BUEIEE 2 oe Coie eas Sah sles dee nes we Oe eee ae ee Nouulern dancenonve 4- nee osc eee eee SS eee eee Sees SBME He pone concerns eit, Or A pony = oro ee ee oe oe ee Meecha pattie nonsde.-o. . So eee cos es aetna cee a eee Song forthe entertainment af children 2S =- 2.2. nse eee Unelassified songs—tabulated-analysis ..-. 7000 1) MRE Soh AMR ey Combined analyses of war, dream, love, and unclassified songs ......-..-- The symbols of songs which never were sung............-..-------------
Songs of the Chippewa at Waba/ciifig village, Red Lake Reservation, Minnesota.
Dreamisones . os ecisctas SoM arao den ke NE BSE - e SERS co Tabulatediatalysisvoios ki at oi tlet. eaeqniw). 20 stdah e
Mido” Gongs... 2.2.5 x.-.9 co in.ncesntresdaada' omelet ion »'s-n cee OPE: ee suey eee Love SORES ..->--<--s--dbfietwomde ne ati Ms ang. eee See Moccasin pame songs .. . tin Seycastre wes - Fel! bated ee bP eee eee Mane soneges 2 cso ce shen stein = = CIS oe eee haces ase Siw beet bot ee Combined analyses of dream, Mide’, love, moccasin game, and dance == ee ee ee ome cae PY Senne HP Meee ey eco erg ON aes songs of White Earth, Reservation« 23 aca. % nina tte Sone eee eee eee Pipe dance s0ng8. <6 oi ae ak on «pence ain pe toe, Nildie” BONES. oa. ayn ek ee Fee ee eh a a oi mg = Mocéasin Pame BODES. fe. os 8 aie et eS. = eo, 5 ae Love G0nps ccs eee sc oct ee Sees a es oo Sonpstor the’entertainment of/cilldrem o-oeseeseeeeeeeraa.-....--.226 Tabuiated muglysis. 22:3. SS ... Rhythmic units of Chippewa somes... oe ee ee eee ns =~. oo eee ‘Authorities efted -2.2< +: 22:.544-4 oe eee
Index’: JEfe ooh S 2 cots oe nc Oe ee ee i...
Page
PoC NI WO os oe eet aeons ae tne ogo she ee eee sees tees es Frontispiece ; POMEL CUSVEE S TERE) cis cee crs mee se cs oe) s odin ee a wlew ease’ 42 Sores eame CTUNt cert 4. he tatters eh ota kas melas ech sme se he 44 Aetioletn-the-Gay «3553-62-25 vice oo See 2 Sain Se ere re eee 61 i (Odjip wes war-nonor fenthers. 225! 222/022 PP ee ee 62 Ga One We Bet NONE DANIO Lac 2 os e's aes ek eb Soe eee 62 Pads we sowar club and war Geum... 220-205... 2 0552 ce es eee 62 EP umuive ume miivie. seers Jie MS 2 De Ph CASO ewe 62 Sepia Pantie 2 net.cn. Peat, RM atte Seon hie nS ae se ec he 63 jG: Pouch and measure for bijikiwfck’...:.....2..-i.-..55-02--.-.2222 65 ene awe ts Worture Of SCOUL... .2..22-2-2-26- 2 ese be ee ee eee ee eS 74 TU GUEST a RS gS vk a eer me a 78 Pema UM AE ores ee eine i Ss Se a As Sel see een cas Rape 83 Rm Net eae at act ae ks Seine Sse worm ste aide oad em cee os aes 84 ae lea Nl hn EN ae i Se ning ow ye aie eld d Seid aun eb wis = age 86 Te bor ws War WAMU. so 55- se. cer. te cok ed = 2 Se ete Sees ee 91 Pee aati HOM iC) OOP. a2 5- 2208 Sos we bee ds ein tie oars Sa o> ae 118 18. Drum and stakes used in Drum-presentation Ceremony ........---- 145 19. Drum and its custodians Peale Se Die Nie ete enters eA Gea dee So ore 145 DUP ONMC Mek WIDL MAND Mente 2 <2 sc. ais24 2s gears w tes 22 2 a ae te On eee 148 21. Participants in Drum-presentation Ceremony.........-.....---.---- 166 22. Participants in Drum- -presentation Ceremony. . eaete boi 23. Prominent Chippewa actors in Drum- ee eon Jeane spa 168 24. Pine forest, Lac du Flambeau Reservation, Wis ...-.....----..-.-- 184 2p. Lac du: Meambeau and Chippewa village.........0 6.2.0. - 28s eee gene 184 PR ree eka Se eS Sad pte va eaea nko wee ieee 206 27. Moccasin game at White Harth, Minn ..................05..5024-5 211 ie. Moccasin came at, White Darth, Minn oo... 22. . 22. 02.205 ee$ ane 211 Zo. Moccasin came at White Barth, Minn’... 2.2... 22.0... s ee op ee 212 Bier tee rMEARHD CyUIOE oo. 22s Store hoe ciens © ew cis sqm eine e yee 222 Bb. MUMUPPOWA, GRESK. 252% cose ova ann Eis Son. hag ctr owetoes 2 sharee 223 Bae Mieeve ald, Leeming OR DPeCWs. +... ncce se ceva ede detente ae 223 SS cal DUNNO Storr es Ra ai a pe eRe eee SEM Nae Meee en? 223 a ARE MY A NILA ar hg clea ce € SS. Slr eis em mye a= Sk vin Se Spee 223 35. Chippewa moccasin (present style) .......-2-.-.-..-..- 602.2 .e ee 223 ab. Acuippewmewmaccanil, (Old PapLern). ..2--s3b-<9 oes Cas ee Ue te 223 37. Ma/kiik for maple sugar.......-.---.-.-- Lye) Ee eee 5 8 231 38. Chippewa summer camp, Leech Lake, Minnesota .........-...-..-- 232 So Omip pe wa Clad WC-DOSkUS Soc. < coerce an. go- See at waclae wees eee 241 Ay, ane WwaIMediGine POLES ii. 28 Se. cet aw eae eee ee ene ae 248 A Snip pe wa, MCOICWIS POLES. c= cic ob Ce Soe te ss enle oe ee lteter 248 seed Lake. at Wabeaeilip, Mumm. 0132 foe Sele bp ek eke ae 251 Reaomippewe Camp at Waba cine, Minn’ 27. .e 2202.2... ee tk te ee 251 a2, War dance of Waba’cine’ Chippewa. 252. 2o2.6 0.8 ce en | 252 Zo anceon Waber Clam OMIDPOWaA: no ...-22.2 65 soe ee hsoed oe Gee 252 Pape Pe MRR ANN MEM TIES 2s oy dats ela Bre ba See Ae obs aighn eae tise ab es = 34 2. Dried root of bi’jikiwtick’ with feathers attached........../-.-.-- 64 fuse he gin Coy 6a aa 6g C82 <a ea i ne a eae er Tester eae, § 146 Pe ESMeCEN OL THOCMANID Sy ccce tee. Oe ease eee pecs doe ae « 224 5. Birch-bark cone filled with maple sugar. .-... AOR Re 5 AGN ih Re RC 232 6. Design on cloth attached to medicine pole (native drawing)... .. .. 260
ILLUSTRATIONS
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LIST OF SONGS
1. ARRANGED IN ORDER OF SERIAL NUMBERS
SONGS CONNECTED WITH OpJis’we’s PERSONAL EXPERIENCE Sones or War
Serial Catalogue No. No. AE eC OWORTN BODE. ool. oka es teeth te es BO EM SY 392 PenGo wera timateWar RONG. 2. soli sob et ee a eee wp ee oh 371
PE GS STH S24 EET 11125 i [5 3 gmt el ee ga a 346 cree pena MMT TSH MON AALS ob ae hes SB oo ees eS 387 Beacons olan unsatisied Warrior... 2.2... 22-22. 2. bse ase i ans ge ses 391 me ORSON OMS. Se ee ak tee. De ee ae ata ees 384 wetter ORV GACT AONE. 3s dose St oe Se te ee tae ad 386 Bee ea iiccomist i Cre Wine o.oo as Sn iet we wie oe a an wie eae ai ee 338 Sematenntne aH OE MRERCAMIO Gens oC oe 5 ep aie Moe als oe 339
LL RiRBRD S IE 37a tS 2s Sanam RR 8 2 ce a ga $37
Pe, Soman Aine i Wai MPSSON COT os po ee Heel nie Sate 358
12. Bemamaot tae) War Messen eer ee on ao wee we ascrciernerdieoeisierenernnve 359
Pe REM EIORR, BRE El ooo. 2s = 5 Ixia wd Se dae eee orci nates 328
Pt hae Who siayed at home so - 2 wi... t eee once gee lego lan 388
(So nF lig OD SON ETC 8 Se eae ee i eee he ieee iene 7 eel a ORI Ge hgpene 360
i eOnMbe MIMO Gd Seah ccs 2558S 22558 roe oe Some ee Aa oe eden gee 361
Me Me eetpnee 25240 52505208) bcc del Pech essere ede eae 362
Me meioer ate tM TEMMEP.\ 08 227 orot> 22 one ee oto De feed ee ooo Sones es 343
Srey Shem ROeG Uae SOUR of o5 Ses oa s ends ood tee Esse ngae dons 333
Bee OUMCMNNCR ANS SRE nn ree SOR 2 S25 Sika dens elec ely shack ods 332
uM aLMROmieaimer es WLY PCO emt oa (UMAGA Rabo Naa oe kee he 370
aa renmbotune Ol yielWiHek". - 222552532222 se 2 yoo gs ee aoe 372
Zo, ancine sone Ol the bi gikiwlek 2060-222. 0a. fe gse An one ce dg ose oe 382
Za, Parse coum ofthe mi/nisino wiick. ¢: 52-2... 2202.2 s de ge wns lente ys 373
Boe SeCONd BONE OT TC MY RISING WOCK a. san wees op et a a= ot Seen oes 374
Boe tented, Sone Or LNG ail MistnhO WUC. oe) 2 oo ee ola Race alate oS 375
27. Fourth song of the mi/nisino’wiick...........-: see nT 376
Pee HOOHE.OL SWAP CHAE. 02000 0 Se ae ccs aee ns Se eae Ss et 369
Bete PUNE MRE. oon ccd coh. te sees age i rie e KOs on a 2e Boas 341
30. Song of a man who rushed toward the enemy.........-.-.-........ 329
pene RE rinntae OREIE A MAIR. oe tte ia Re were ata oe eee Oee.d Sel hele «sie s 349
22.) cone of help im the, fight sy sas gece 29: ra -dasbagter- 4st Hewett - ~~: 385
Soeuedte pan ot Naihe’ DINEH 524.6. -~o<ss sos ues shRse nesses ee acsc 335
34. “The Sioux women gather up their wounded”. ..............--.-- 336
ar pRMOML ATE IAW INO. CAMO oes ices epee ou 5 eR Ms 342
aot MOUS Oh Ghe.exhausted. WALTLOE > 2s bcieenteeny re feo we oI 367
NOIR BPR a tie Sah in ath eS ar io cen apd wre no « AORIME AED. BOE I 389
PM CAN MOINES Ft scant WIAA IRL VS NER ME Lard § SO WILE KUM 366
eee ao Ome Ob De I 4 os 526 ns sind See Sar entetaern tens» LAR OOS _DNB4®
Sets 2\U ULI Fe ¢ SUC a mpg eg a a Ce ae a ar 365
Page 67 69 72 73 76 78 79 80 81 82 87
102 103 104 105 106 107 108 109 IE 112 114 115 116 ake7 119 120 121 122
XII LIST OF SONGS
oe | Catglogne page Al. ‘Victory SON... 2.2000. 1s Sons. eet ae bo er 345 123 4D. SACOM oo... oo is aan Lode eelsa ce eee heen os ek. ee 330 124 43..“*l_ am called”... .. pew tock shee cist -¥dEASe aah Soe 331 125. 44. Bone ef ithe peare pact... 5 2 -- ein: sae pe - acing 2 = eee 352 127 45. Song when offering the peace pipe....-.-/...2 205... 6 see ee eee 390 128 SG VR WENO PA BONE. Soo ce bs as ee ee cee 354 129 Ave sUa Win CAsOUC sc. coece seca. fase chest ese Core ee eee 355 130 a0; OnE CONCERNING &2 brave: WOMAN... . 202 a5. --...- cee Sew ee 351 131 49. ““The Sioux woman defends her children” .................-------- 364 132 BO. Sone.or Mie capiye SlOuk WOMB... oo... -2 5. ame eee 334 133 ne War cone of Odjib’we's childhood?! . $3. 202.05 22. 2. Se ee 278 138 Mefiporeociure the Boye ReUh ooo -foo se) soa bones. 22d. eee eeeees 279 139 Baw LViiipoeiris: wath BONE «So. ae a ks oc f enein' se REI 280 139 Sones or THE DRUM-PRESENTATION CEREMONY CPU Opa. Gepiebibess 2 foo! oo wa vei as Cmte d oe ee ee ee he 149 ae ROOM Or Che CIC! c,cae. 2b soo ecm ce on Re aphees Speen Eee eee S.2 150 am: SONS Ol tip BHGAKOE 5.5750. <5. sb de en be eae ee Ee een Sic 151 Dr. Done OL the OWNEr OF Tie GLNM fo0 2. feeds 6 egies Ce ee Soe 8.4 151 BO. MONE Ot like WALMOM-.2.-0s fio one bee dae soe Sa ee cee ae oe 8.5 152 Boe SOHO ar CVE NY INS OMNES oo) sea e cds Ohad etn oe ee S. 6 152 Gu: Sone ot restoring the moumers; 3.22. c. foo. 38 oon es om eek a. 154 is OUD OL PAR Lhe [HO ICON. 2.28 nto 2 se Set ee me ee Pee ween 8.8 155 bo MOUNTS JHONO teense susie aioe Seyse sas Sears eee Ae ares 8.9 156 bay Phe pound comes pleadinely sid oe ise ees gel ae ee 423 158 i PHO hy Ons Aare BinMiiIe 7 .)Ll sce. so ke so Sonat aces =: aoe 424 159 ay E SO oe pore sk Sek De vee wks aes ese ele Slate eo en er 425 160 CEOs nora eee 20/3 3500 a ee a ra as Meta MEET Sa a Ae eis Des 432 161 i PREV ORCD CUEE Sm SS eta ore Sm oe ie es eee hte Sen oa eee Leen 428 162 Pers WORheO) BOE oF oo Se Sad pc oe cee ee ane See eee ie a ere ee 429 163 Oo SORE OF Ue PRO. 762 Sean cs ais eke oo ee ge eee ge Sea ee eee 8. 10 . 169 Ps IOUT Pt TRG REUIAR 2 atu cia era caha 2 set oleae a ACE EO cil ies are oye Be 170 7 Eons or the Closed GOOr sc o52. 0. cae At ois hn 5 a ee eee 8. 12 172 Te SEARS AONE OF tive Ge BONE c 2 — nook en ata ee tae oom nae S. 13 173 7a. SOCOM PONE Ol ENC GOH GEARbs co. sacs tees = ce = pinta er ties caer ee ae 8.14 174 Toe er aRINE SOI Oe TAN RY FORRG! Sots on oe See es as ae bie in ne ae 8.15 175 oo, UP Our pile OF Le UDP inCRHO. pa. = o> So Oakes anny ce 2 ah ees 8 ee S. 16 176 fo tis Dem OUNtHhe GbE eins 2 Sas lee ei oe pee apices eee ro ae 176 77. Sixth song of the dog feast............---.----- Sgulveatet Bie oat ahs 8. 18 ie 7S. pevemin pone a: the dor tenet. 322 F so SS eee oe noe 8.19 178 Te oWW GEES GHEE oS ec ace. Som eee ant ee erie sho Sena S. 20 178 oO; Bolliger butberily 20 foe ee ateaes Ueno ae ca eee rea 437 179 Sones oF THE Lac pu FLAMBEAU RESERVATION War Songs
81. “A sang ‘of indecision... . .2o..22.-0 22s- ere ee can SO BRO 393 185
82. Sonpeof the sentry... .... B..-.--2.-.. knee dee eee 409 186
83. Sonp¢oncerning Gwi/wizane:.. 2.25.20. 505.46. 2l bas oe eee 406 187
64. “The Sioux follow me” ..... 5.0203 305. <0. 5. Sk 407 188
5. - i Angumd the ay” 0.22205 ve eee oa 415 189
1S.=Sioux song.
LIST OF SONGS XTIT
Serial : Catalogue No. No. Page PPMIEOPAL A WANTIOL Sooo. oes - ninco clas enw wane ee wee Be mes are 419 190 ES ete i ee ae 426 191 cos LENOIR TESS 0 120 DSS Se eg 411 192 EE MG INONS Cc en cc os. Galo c hate ecins bw ss begcco ee een 412 192 PU arsane (NOMWOrdH) reels SEO APN i Ne 416 193 91. War song (no words)......./..-..-.---- BASS SLIE ge a pe ge te 417 193 Rome Me e0te (NO AMOFUB IS. fe) 2255. Sees es ee UN ee 418 194 Oars Warps nmowerds)iS ff _2ien tat! Syl eae ne . Lowenstein) o6 we 420 195 Dream Songs ee eomemn tae Suncerbirds =... 2. 2+ set es ee ees ee ek eee d 394 198 er ISOM Geer (Goons. 2-8 2t. ss See ee nsec ese eechs- ces ess Wat 398 200 II MO ACER GD) S228 ooo bene em Ab ein nis oe ow ed 402 200 a RnR He Cer DAMCIN. o.oo le ssc dl sangSe deena. dat acind 433 201 ere EIUUMI GENS, S22. on be nde tas ses da ohencdew accuse get 434 202 uO JR) Pg ae ee 399 203 Songs concerning a Boy’s Fast ie Sone*betore a boy goes out tofast...-.- 2... - 22-522 220 eee eee sant 421 204 101. Song after a boy returns from fasting..........-- DSS SRR 422 205 Game Songs 102. Song of the hand game ........ Fels 2 CRS gee SEE OA 395 208 ethane Mietaaptin Pale DONEC) os oo Sct ieae de ae tee eee 396 209 Re acearim ame, ONE. (D) ooo. oa a eae Foe ie eee He ee dlp Be 5 397 210 Love Songs SCAM ENEL MIS Ce pt eo ey Ok coos gat Soe kaest Lee 400 216 TS MGY LT LDA Spa Ea Aa ie i a eae ane fe ae rape le rai eal ai 401 217 SE RRL OCG NAUULY “oe cetanace a ns cece a Co nce cee net eee te 430 218 rer PEN a AITO, Ge EEE 38.8 hele came Be Sere Oe SG Oe ties SOGS EEE See 431 219 ier tn LAM ONOE Hen 2 oF 322 leo SE LS accel ee eer LY 442 220 Meee Wecmitgior mig lover”... 22 i205 it2 thie iie ies eens ote ee 443 220 RPG ie Men tS SIP ae So Sy elle oak or eee et Dae 444 221 ee Sooner an Aas MOM! SLSR Sets Sneek ees eee eee 445 222 JUS} DOONEY ES 1a Se pee es ee Pe ee NE ey en Sah eee RO arene 446 225 Begging Dance Songs ibe ne OF HAE BOPB tes ee eon on n a re oe AOS Hn can ais) ee oD 403 22 ise. sdere l/come again 7 lee so ek ine Seek ade ase UO he sed 438 230 Pie oe Miawie SPAR te. eso etset od ose ibe aso slaps ehattued su ces cada! 439 231 Peres Nev tenvens 2 SAPs ae ha sh ss eiels ge 4 2 be Sees oon eokeins es eeu EEE 440 232 i emosnte al Uncnice 108 1600's 352-0 .cse cele Go acs acs eee ae Ral Chee 441 233 Southern Dance Songs MN OMIM a am eich Sag waa ay oan ence meas ye od hincks hes 404 234 Pee ieee OUI SWOOLUCAT,-o-.- +. .= 55/95 saa5 deSeeeoe tee nee os fone coed 405 235 etm (ON OMWOLCLS JME etre Mate eosyc lar. aco ichan wy eae arene aici ace ae as 413 236 PP OMMIU MRE oe Soir se See ea. 2 ine oe ene oa sm alge See we 414 236
Songs concerning the Gift of a Pony
123. Song accompanying the gift of a pony..........-.-222.22.2-42-24. 435 238 124. Song of thanks for the gift of a pony........-..-.......----.------+-- 436 239
XIV ' LIST OF SONGS ©
Moccasin Game Songs
Serial Griniogie
No. No. Page B20? GNO CWETES anc... 5 +5 seh Sate neous inode ce dake Meee = 2 SOR 410 240 E26 (NO WOES)". 5 a2 60-0053 s Wen eed ss Jd a ee ee Sa 427 241
DES LAMA Y oom 5 sit sacar PDA oo ooo eens Cee oe 447 241 SONGS OF THE CHIPPEWA AT WaBA’CING VILLAGE, Rep LAKE RESERVATION
Dream Songs
128A, SOR Of SPRING = os roots ssca cece eese asl rat ae Col! UL SE 289 253 Ter, (No wikds)(eec sre hela sesetioc sles ee ses stenerss ss tek ee eee 315 255 Poo (NO WOEOR) Sots Hs 25222 ssserccs cee ak Sot een eras cen! Os ee ee 321 256 PSs, (Necwords) 2: Szacs at os2 ht > 28 bh ote} cs ca) SO 324 257 Wee. NO weds) > 3322 82ctres2:8esshgeess st oh iskec ices ec eee 327 257 PS ONO WURGR) Slo. 22852 2 isec phe et 522 ece Babee reas ep ee ae 317 258 Be AIO ORCAS ae Oe i a, yl Re he ete ne ee a oe ae aL ae ae 320 258 Rey GIy Wyre eee Ny a ee ok tin ee ocean Ayo eerie 323 259 iso. (No words) 2u8<¢ oo es see, s see e dacs Ae ee 325 260 137 (No words) ect sone S: oe hee 52652 ode. SOO TO Sees ea 326 260 138. ‘‘My body lies in the east”’.....- PS en ei eee a a Os Be 308 261 ee Ob tne Te ee ioe ek nn ep seo Poke es Sedat ae 309 262 140 PaeGarmedmmroimn daumerskayy-ressscne sce ees cee eee eee 310 263 Mi SPheapproach of the thunderbirds so.) 202i eee eee 311 264 HAD ante rcdniry etre ge SoS FOS AS AS eee eee 312 265 Ree itr Quimele fs ere eee: 25S Lee te Banas Aa aes A See 313 266 PARP NOR IREREULIS oho jag So ia oe 5 ale een ae Sak tem meee PA ee ee 319 266 a. Intemie Several heavens” 222+ pence sense lek pee eos 288 267 Ian iweomes' ince each: other... faci. acs soe aos eee cee 290 268 liane A WR RRR eT el Ee eth twa era Se pene eae: Ss See eee ae 291 269 ge es sey willwrosound ” . ...02.05- 00 sheen oss Soe eee ee eee 296 270 aS SOnraes primar BSS. Fe hs sae Saath oe arene Sie ee es ee 298 pay aie Aneneenianmette: Clog” 52 ehh as). eta tae nce nee es 299 272 ioier “Hesror clouds? Sivas nck bone chien ee he eee erie es soa 314 272 eae TIE hie Alay oe Sith alc Geicim Sains Mee Sino ene Ree oe ee 318 273 1os.9 we MME CEUMIMAL SSUES ce coool en ele Dene nae be ae e 322 274 Mide’ Songs Sune (a ieeenoide GiithieWiaee oc... Sinn cose chee ee oe beast eee eee 306 278 ga ee cs ic) ee A ee ne Eee WOR Be) AR. 304 279 Pa SOUS pied bates cok < wcs sewn ae sig ccc aa ae eee 307 280 Love Songs 1577 “have lost my sweenmeart \erec os se aces ote se Sea Cee een oe 300 280 Tey ST elt not drial. cas: 2S Oe aes sn Soe ae coi 301 281 To: (Ne Words)- 02: 252 22225-02525 v cede dans 22se- see eee 302 281 160: (No Words): -s--s5223 3 Paae sss 5 sano de ese acces cone ee ee 303 282 Moccasin Game Songs 161; (Mo words) 2250.5 poe ose ee es ore ataeleie = afc sie Sie a sree er 292. 282 162: ‘‘The sound. of his footsteps” -......- /zeser, b-len 3 2 8 «apd Bate aap ties 293 283
ISOs > (NO: SPGPOS) ve siv peters zeus’ See Bivinn. 5nd «i: 1 eee aot 305 284
LIST OF SONGS
Dance Songs
Serial Catalogue
No. No.
et ME CO ADDI gre as ee 295
ay ee EM BMAQR neo eee et ee a SelSae sn Neca Soca e es 294
PGembCRLer i away Vso Os es earn Sais Pores 2 eisees ee er TLE 316
eee enue entire world > iteacat ay). Seba aed J. 2. eid 297
Sones or WuirE EartH RESERVATION
ee em CVE Bat Aer Sree eee ee, eke AMT este 268
Smee lh were a SOUAM-IAW oun a. tse a st Sem e ee done bese ee 269
ITT 2 TSS ag el ae NUR Senne ae Ee 270
Pipe Dance Songs
PMR, ce eE ete Re EE oti Neg vic cele Che pte ded ee Ae 408
ete pNONER See co Se Set oll eke le we Seber 281
BE lee fen a towel ceadetar tks +): Sites pial Hemet does =,2netda't 282
Mide’ Songs
Meters Purina! Some uid seroma tale INIA. S|. a. eteeweeds boo. eee 283
eer pees Mita lt Sone bo) ceria ls BOOR Loe cece ere hw sare vet ok = 284 " Moccasin Game Song PU 0 GN. cs 0 SE ee tesa ee) Serene an Ses 285 Love Songs See a einbeme tone my lover”) se2).2A + disc wsel: aide th Lo. oo oc 286 fete site te) SOMO AWA nde ee OES te Los son ICOM Lote eo 2 ot 287 Songs for the Entertainment of Children ' ieaeonecmbe (ate of oilences...0. 0... 2... Yoid LV ee 448 eM, GPE G CRA WING. 9 oe 5. oe nish ye 2 2U, SE ee as oe 449
1 See also Nos. (serial) 51, 52, 53, 127.
Page 285 285 286 287
XVI
LIST OF SONGS
2. ARRANGED IN ORDER OF CATALOGUE NUMBERS
lage Name of singer Description of song Title of song 0. 268 | Henry Selkirk......... Unielassified;..2- 25-23. “We have salt??....:. 230 eee 7) (6 Co panes See cai © = |pse5- OO) osha. sees “Tf I were a son-in-law”’......... 210 |, Main’ gans......02.2. 758 Lovesong. 22.3222 .% SP WViGnle StORHIl iy? tia 2 Soe are?) Odjibiwe = cee 2. 43 5.228 For the entertainment] Warsong of Odjib’we’s childhood. of children.
BIOS con (1 tr eh eee ei OO sehe coc eee ene Song before the boys’ fight. .....- 280 |..... (OS eer eeere (ee dose steeise eset soe Little girls’ war song............- ABT ate CGS ese ah aps ay : Pipe dance song.....-- er Eanle DIOVEER’? 51552. << nies eee PAPA eee COR SRL SEH a Ieee Se dO-siac states see CONG so ae eee eee 283 | Na’waji’bigo’kwe...... Mide"songimes sea.2oe = Mide’ burial song (a)............- cy oa RE Ae ee ma COs see ee Mide’ burial song (b)..........-.. 285 | William Potter.......- Moccasin game song...]| (No words)...............---.--- 286 | Mrs. Spears..-......--- HOVE SONGS ade = geneees “T have found my lover’’........ 2Ria eee (0 bo es RE er te es GOsa ian Se eee “He is goingiaway 2... 22elk. on. 288) | Aide! pile... os5-22 2c Dreamisong. 2s. < 2sees2 “Into the several heavens’’...... 289 |.-.. 4 high 2th eee col es (50 ey a pee Sef A:song pf sprine-< = eee ae Z90N Po AOS oneness leone (6 (i pete te eee! “Two foxes face each other”’. .._. PL) IN eee eS ae el eee do. iS: Ae 2 SRO TOMA OL a ees 2 eee ra |e ON. 0) see See Moceasin game'song: -.|) (No'words) 222.2: 722252 eee PB ees CG 0 pi eter [aoa MOS Foe SS as “The sound of his footsteps’’.. - - 294 i fo GOSE es sen e- Senee ese Danceysong 3. °F 223 52-% ‘Oro Iolied a man?? 2. eee eos 205 |Saes Gort caro. ADEE Woman’s dance song.| (No words)............-..------- 206i) Re ariwiie: 52e2 2 53 Dream songs 32.65.25. “The sky will resound”’........_. 297 Nseees LOUD Eee se see eset! Dancesonr: Ass sos “he entire world’? --Seseeua eer 7 ae ae COE ey eee Dream song........... PSOne wind oes nese Erase eas 70 ea 00 ee See PS (010 nh Bie ae ene “An overhanging cloud’’.......
BU.) eee COGS Sa Se ieee MOVE SOME: nic. ees “T have lost my sweetheart’’.. .. BOL eheee 2 a pat es a ieee iene Meee C6 (ta aegis Oho <T willnetdrmke <2. .esnee 302))...-- G (5 ee eter eee eee DOs2e seve ees GNonwoards e527: esc eee SIE Fl beset 56 U0} Sees ge es a Soe eee Os Ar se eee eee | sae G0te saseete. pea eee ee S04 a asa GOse ee eae o Mideisoneh-2. c---o laces C6 (> ae pe ee NE he. BOSi)ooacr OS ee ae eae ee Moccasin game song. -.|...-.- GO. oc s.eh anecc ater See Sees SOG) ee 2 GO) esse Taos Mideisone- 5... as-s-22 “The noise of the village’’. ..-.-- B07alees: LORE iss Heese esse ae Oh seoae eee ‘Bokingly ss 7 -t. -- aeeeee SOBileeeed (1 Loves ARS ae ae fee Dream (doctor’s) song .| ‘‘ My body lies in the east”’......- 30916 -oe OP a eae eel eee (haere meso orace “Sitting with the turtle”........ Sh 0h Baaee dove ese Nosema: cone Gs a8 eas cate 58 “Carried around the sky”’........ ak ae GO seers esos cane UG) Se setnsees cae “The approach of the thunder-
birds.”’ SI?) e.=n8 (3 0 age tet tet a a SAAOER Secc a eae “‘White-haired raven”’........... Bb Bes GO: Sixt ee ve Folens AOgtetes sage 2s: (No words)=3- 3.222: 5-2 eee 314 | Ki’miwtna’/nakwad. Dream songs. 5... 2< = <Heapsof Glowds”2 3-55 2e eee Ay G9 ere MGs 2 eb Ssoee es Saletees MOSS Ao oes 8 (Noswords)).5: 25 -s222nesee a Beep 316 | Gegwe’djibi’ta@m.....-. Southern dance (ca’- | ‘I carry it away’’.........--..- se wuno’ga) song F
317 | Awtn’akim{gickain’..| Dream song........-.-- (No: words)..:.55-03. 2. Ggenceees ABs ee co (1 piece eel nen (81 eae A rege ‘Around tne sey... coeeeeee es SIE oe ee (0 (6 a aera ste EE Mice GO. So: Sco eee CNotwords) ii. 25 2222. coe ee S20 iS a-<xto GOn ce thd. ieeseeeioeee ODS ee ei acscoanscus Ere GO ee saree eee 5G eee (6 (0 eRe ee epee MIS I HOPE Sts Cuca ea Acpeese GOs it Rie eae ee eee 822) [2352 Cc {sar aera pm ermine | ta ye WO es SAS. aR AEE “The thunderbirds”< 2.224... B23 Ts. Od: ho ee ee Warde Gt; Pee ee (Nowwords)*.-22..2 252 DAs 5 o's CS ae Ree ls Ream eg ells lee DO os,22 see nl shee wee ee 325 [c= Os. oosecemesoeet | wees DOs ca Boose nosloeeete CC REAR ee area ener |
LIST OF SONGS XVII Cata- i wt : Serial ng Name of singer Description of song Title of song ae Page 326 | Awin’akim/Iigickin’..| Dream song .......--. (ONTO 6 Me rr i 137 260 Ba eta dose. 2 eheee Bee Ba GoM: We She. 3-6 ce c|5s os OS a 3 Ce ee enn 132 257 es (eOdtb we. =... ..>.oe2e8 Wansonetie ie). 25. MMCGLMOMCAN <o omscaeG cancers nce 13 89 Oa she G0sSeacs. <ccmi ce ee Ree Goss Sere 4-1 6265 Song of the man who rushed to- 30 109 ward the enemy. S30 iat. Gof. o.. -e. 2 -eeea sera ol! sS2ase.. <2 SAUCERS teen cm see Ea eey 42 124 BSH is te C0 (eR A 2 be bree nae do miesseess. 5-5-2 SOLSTINEN EGG I eee ae Re eee eee 43 125 3327-ees = Dos re enue oS Sa ee Goesesee orcs. AC WAT DING eee US eee ee 20 97 833"| Be ORs oe ce oe ce eee ae OEE Le Se “T will go to the south”’.......... 19 96 B84 uae Ot iat eo ORE Ms Mane bos = Song of the captive Sioux woman. 50 133 335i eee (010 Ae Aa es roe semeiet (OPS (0 (0) | ge 2 ore Death song of Name’binés’....... 33 114 SB cee (0 (0) Fee ae ee ee Gor Mee T sus “The Sioux women gather up 34 115 their wounded.”’ Bal | eee GOSS aa2 Sseeese|- Peet Goze lwseertst ects “ At Ca/gobéns’ village’’........- 10 82 Basi |ekh. (6 aa eS ee ed ee Cots e505. ce Death song of Ga’witayac’....... 8 80 BOO! seek. 0 (0 pI de Gola. Sr a5 See “On the bank of a stream’’....-. 9 81 Baily eA s 8 Gok: _ x. eeietse ew || veiz Ossie Se. Dru sone 9a. 4 oo 2s. asceece Ses 29 108 B42) ee = (c | ee eR cae ea CC fo) ot i ie ae ee “They are playing a game’’_..... 35 116 BasiiGek = GObendnasaccms scisen| Saces Sto os) eee Song of the leader..............-- 18 95 S45 ees MOsepets ese acas onc es loft St Sasa. cis. Victory sonme hs. 2-2) 220 ieee. 41 123 346 |... GOL eee eee eee acid ace dota se 4.0 Fen “An eagle feather I see’’........ 3 72 348) | sae (ee eg s- aeeeeeene bae ae CO (}ias 5 Sees The songiof Melkiimi. 2. 3220-22. - 39 121 349) | 2. DOM seer. ose eee een Glee. Sa eae ‘(Vf I had ‘been aman’? 2.2 -- 5. | 31 111 Sol} 2s. = LS SERS ees creas eee don 50th sca eet Song concerning a brave woman. . 48 131 Zap eos OF sept ences ere see | eee (0 (ER ee ar = Song of the peace pact........... | 44 127 B54) |e Ors fase ccs < |e dQ Stes PER oa Ca’wino’ga song (@).......------| 46 129 B51 | tee (6 Cees eee Ee ce LOT EF oS 3 Ca’wino’ga song (b).......--.--- 47 130 State ee MOreSaccasacsceusec|szias (UES Ss: eee aoe Song of the war messenger... .... 11 87 S59) | te = Os eeesasseecoten | fone Oa ile 8 Bae Return of the war messenger. .... | 12 88 360) | See =< OF a cee Peon eee dope as eo... Pledpesoner 2. 2cfec ca. eee eee 15 92 SEL BR GOs she coon teens See: |\s=eae da seere 263.20. .- Dance of the dog feast.........-. 16 93 B62) | ast. - dos. es et Sei ed OO Ae Song of departure................ 17 94 G4 Mk Os -SReuE AM UIE ee OSE. SEER. bk 3 “The Sioux woman defends her 49 132 children.”’ 365 |..:-- doles aghast eae Glee eet a Ss Song ofirejoicing |... ...-2--2-=-- 40| 122 B06) 28e. - GOt soo cos ES ees os ee Fe 2k Sa Cap SON SMe casa pescce ee eee 38 120 B67 eee GL SSE Sree tes vel be ereaee Cote} Song of the exhausted warrior. --. 36 117 369!) oe. - GOS eee cceee ler Seen Ch Se ato ae eee Song of a war charm............. 28 107 B10) |aeee Obese sense ceases |aemee COTE 2945.5 eet IATTOW. SONS YES 5 5 iss nc cE) Ee 21 98 Sy AL eee 0) ee ee Sec ae (aeaee GO! SAS so sss Odjib’we’s first war song. -.....--- 2 69 G72) | Jeo: Cotes ae ete eee dO. 228s = cecaens Origin of the bi’jikiwfick’......_. 22 99 373 | Na’waji’bigo’kwe......|----.- does sa etd =o First song of the mi’nisino’wick. - 24 103 B74 RL. OG aoe c-ckece vee el aciae 5 GOS 58 SET a. crs Second song of the mi’nisino’ wick 25 104 Siar: MO PSe ESE LS ices |e ase Gomis #28 oe. Third song of the mi’/nis{no’wick. 26 105 SxO Watt ct Lo ee an aa BS Eg bes doh. hx see. 2S Fourth song of the mi/nisino’wtick 27 106 Beau) Main’ pans: 22... 32 9S owt see eS tse Dancing song of the bi’ jikiwtick’. . 23 102 384 ONISK SWAN Lec. we ses cleo ocn Golwent 204). War medicine song............-.. 6 78 385 |..--- Oe fen aa | a Os 25.22.22 .ceae Song of help in the fight. ........ 32 112 386) 5... (5 Koa ae ra ae Pe (6 (oS a Niski’gwiin’s dream song. .....-. 7 79 SoC Odjib were. 2 2. P22 S320 3 outs: -toeaacaaee Song of a mislaid scalp..........- 4 73 388 |-.-.. (GU 5a ener erties me |e oe Oly? | ene eee ““The man who stayed at home’’.|: 14 90 a89 | 24t : Ob nis 2 ER does. wee8.*2. a Gilpeampes St a 37| 119
67996°—Bull. 53—13——11
XVIIL
“ LIST OF SONGS
logue Name of singer Description of song Title of song
0.
390.| Odjib’we.........-.-.- War songs: 32202: -.-- Song when offering the peace pipe. oO ere GOs hearse sa - emer eine CL eae | Mop eso Song of an unsatisfied warrior. ... 392 |\et GOs. set eesstnsne as eee GONE Bre be ece2 Odjib’we’s dream song.........-. 393 | Mide'wigi’jig....-.-.--|----- GOL 2 Dee =. 28 A song of indecision.............. 394 | H/niwdb’e.......-..--- Dream'song:’....:..-2: Song of the thunderhirds ........ B95; ee CON ccccckessccs=teleseras ce Cope ee ae Song of the hand game..........- 396 | 425.. Goes 5 cite ta dttesclwere Obe? Se Eee ie Moccasin game song (@).......-.- B97-| 88. - WOde cs ss tek teesceee eee dod res Ae ec Moccasin game song (b)....---.-- B98) eee GO sn 2 cen ek ee 1 He 2 Gowen Lo... ,-e-| HORE onbhe deer (2). 0.25.22 .eee 399 |..... doi Cates Sie 4 hie GOSS See retane e Soneionbepuiralo -..o.2 2.22. <ece AO || Fe... GOFa ccs ee ee MOVE SONGE Sos. <2 ae SSG OWALD MNO? 2. 35-0 oo5m es s'sseeie | ANT Wee ao Cos GEE Ue a: GOs Peete aee CSW OMOUMERD tacts 2 aa). tnenceeeee 402A We care Ose. Sas seas Dream sone. 55... - Song of the deer (b)..........-.-- | A035 Jeeice GO ose cic cree eS Begging dance song. ..| Song of the dogs.......-..-..-.-- ] AOA |2e2. 2 (0 I del Southern dance song. .| (No words)............-....----- AOD: es - < Cc {0 oe | Ea (Oy eS eee ee “Invite our sweetheart’’.......-- 406: | 2. QUE eens ee eee nas Wiarisone 3 5iees 2.32 Song concerning Gwi'wizins. ..-. 47 | 6. - GOs... a5 <0 - ONS RHEE GOSS C8 s.- seen “The Sioux follow me”’.......--. 408" ae =) G(0e ete eas SE eres Pipe dance song......- SOLIS ea een ee eee ee 409 |...-. GOS suoseeo eee Wansongioiet? 2... Song of thetsentry. 52-2... ss-c8= ALOU oe dOsescescn55 eee Moccasin game song...| (No words)......-.--..-....----- AN |e <2 GOs ween or ect eee War SOBEL AE. 55 cle <de0 CNRS: Awe PN en ey ee SPR 5 pe (i fo epee Sepa: = 2) BL (Cee eS! See Perey co Lome 2 eae reir ete, A413.) .28.. do:>. Aoetiee eee. Southern dancesong(a)|----. (Ole SORE at eee eee AlAs) ee Ota oo. ack ees ee Southerndance song(b)}.---- (OO eS, Cae, ee Se eke ey ANS cee. = foyer ee eet ereawe &. | Wiarsongt iy -e.2...<- “ Sround he sky27_ 522 ¢-s6--25e5 ANG) ee GOS 2 cbse iat ace eee Go eee 9S CNG MWOrdB}® <7 5 <S=-.-ee ets oe 7G ah 5 ae GOs oc. oon a ee OT Fe BHR 2 eof acem GO! i, oa Acie oe eee ae AIS |. 6... Oz aici = s RE Ne GOH: SESE aes ccna Os aSttse casos es eee oe oes AIO CEL (6 fay ane he Ss ed) ee oe Go) hy 22S Tine aS amar OF eons eee ee A20)| Be (0 (0 eae lis dot pags feo 25 GNowords)®. so. s-c-8eee oe ee YANG as oe COs eSen asmocrs Dream song.....-.---- Song before a boy goes out to fast- - BOD es doled. etalal. Sere. Gots Aer oo cases- Song after a boy returns from
fasting. A283) | 28. : QOss eas ee ase eae Wansonpe aise... “The sound comes pleasingly’’.. . A24Ah ee. (010 Nes a emer yer~ ee Se GORE CIE oe “The ravens are singing”. ....... DEE. ae 02... TA ber tess os? teh oe coe CNOWOLOR SS ea cieesnesceebereeee B26) \ ee DOsast cbse nse GOs Pe eee ed Lib olpred at oSts( Cv Hc ego eee eee 427 | Mec’kawiga’bau...---.- Moccasin game song...| (No words)........-.--.--------- HORM eR cee (0 Ko pee eet or Divorce song......--.-- Seek OO... Ben cncciswicwic ce sre eeeieues 499) | er 2 OWS. 20:5 3 SOI es Gores Sires. 1. sase5 do: 2 oF. 22. shspcoe eanecerene AZ0 |-eS. - doin. Sn seine Hovesone. Re. 3.022... “You desire vainly ??.. 29.4 sseal! ASI Bes Go. Sa2te cetake Tar sped be ore Atestes 665225 HOTS PONG. = mnes anne meee ree B32 ''| Ae e - do! Sree .eruses 1e2 Wid sone iets. sccm CCVioun sian. 2 ooo castes as eee 2385| cee dossier pets Dream song.-....---.-- Song of the deer dancing.......-.- 234)|_ oc. dos... Aus Riese cispudor So Mek eon a “My shining horns”, << 2. <-.<..s02 ABS || Boe GOs: sSoca5 See Song accompanying | (No words).......--.--------- ‘ae the gift of a pony. SSG e er. GO! 55. s25 Se Song of thanks forthe |..... (6 (RR: 3 SEE es gift of a pony.
437 | kb. do... 2 stat ta. bom Wear song e532"). ..<. =. Songof Butterfly: ...--------ce-re 438) -cas.. Gor eke eee Begging dance song...| ‘‘ Here I come again”’....-.--.--- 439 |...:. On. enn dosaece selene GO scp) edeaine ot eae “Maple sugar? ss < sec eeoeta ae
185 198 208
210
216 217
229
187
294 186
192 192
189 193 193 194 190 195 204 - 205
158 159 160 191 241 162 163 218 219 161 201 202 238
239 179
230 231
LIST OF SONGS Ld XIX
Cata- Serial gee Name of singer Description of song Title of song No. |, Page 0. 440 | Mec’kawiga’bau....-..- Begging dance song -..| “My travels”’............-<5.---- 117 232 Mates. 8S (C0) Sy eee eee ees Gores Ped Seek RL Song of thanks for food........... 118 233 Aaazalnee. 2 GO4.# 44-3 ein be LOVeSONE 3.5 one =). 0! “Fam thinking of hen”. ..5-..--- 109 220 443 | Dji’sid’sino’kwe.....-.|--.--- do. steaa: cette): ““Weeping for my love”’........--. 110 220 él ais (Bh tiene 6 ets pee GOS oe ate aar cock SCOmoOniGmuUs Siig.) nc soc ee ces: 111 221 445 | Mrs. Gauthier........-|..--- do Ssss: LCINS.. Song of an ambitious mother. .... 112 222 446 | O'gabei’sino’kwe....-.|..--- COE 2 sears eons. oie WEOVOISON PSenn cscicnsticte siacin es eee 113 225 ry Gil ee 1G eet ate ee Hortheentertainment | Lullaby! 2.2.22. c2- 5222 2.2252 127 241 of children. }
448) John) Wa Carl’: 2.2... 5.2868 Moras 1D. 33: Song of the Game of Silence ....-. 179 302 440) Odji we e252 222s. -2|Ee abe EES Fa oes, a Song of the crawfish.............. 180 305
Sroux SONGS OF THE DRUM-PRESENTATION CEREMONY
< lage Name of singer Title of song pei Page 0.
S.1 | Mec’kawiga’bau...........-. SONCOUNAE PALEMIG es ac asses acini ee sew cine Sey wise 54 149 S60 paleo Gee eae eee ee aes BOHPIOU RUC CIHOl ere ae enn oe erott cree ne o uemenoeenas 55 150 Snare... (6 1E he eae, 2 ee ta a a NON MOLUNGISPOMKUN. cos oe caste cama ne Susann ant 56 151 Ghahiiery OM Mer os oe eed Songioltheowner of thedrumt<.- 5.5.2 sc.5502-6- 57 151 Seaneeee.s HOG See ene NOBMONGNE WATMOINSa: . 2x acd oecckccd weasel obese 58 152 Nagle s a5 OT AS se ee ae eee ar Song of giving away the drum......................- 59 152 | |e (7 Oe nts ee ok Oe Song of restoring the mourners...................--. 60 154 NeSalsseec (C\i ae AS See eee nes Songofipainting:tihe faces. so -- 2. oc. 6c. eccccloc eee 61 155 a ea CO te Pests csr eee NIGUTEGISASOM Esa: ciara ha sate ee einen ae ue seca 62 156 Baku ss'.: MOE cae seer Done Ohune pipes. s- eee eee et SSA ES! 69 169 SS iis ee Kine. nds PR Bee. F Sone olthe dni ace ts 2 soe aeons Sace eae eee eee 70 170 S12 Re Goes eet. ee ae ponmanune Closem@dOors< <2.) on sce ~ cen cuune cee wasn se 71 172 So 13s ew TD perso eet ee tee Mirst:songofthe dor feast= << =. 2. Sleds 5s ocak 72 173 cs ay i eas WG54 fesse Bes eee eees.. SeconG'song of theidop feast. (2. 2.2) ese scence 73 174 Si ORR eee eC ee Third song of the dog feast: 5.0.2.2. -22ce2cecccae cles 74 175 Set6.|b.<.28 Oi See ee oS A eee es Fourth'soug of the dopfeast..--......- 2 .-..--cecseee 75 176 Bala Wack te GOs see ee mance Hifi song of the dog feast. 2.22. 2-22.52 +h nnscostee 76 176 S| ees dows. 2.5 SBA As sheets es Sixthisong of the:dog feast-- 2-22-22... .-2-----2-c cence 77 177 Sot | (eee ets eo eae ee See Seventh song of the doe feast--..~. .o..--220.-020-2- 78 178 Se2O es oe (Ca ey einai Ste 8k oe ea WiEITIOTS SONS sons aaee eas aeeencne sean esse cee 79 178
SPECIAL Signs UsEep IN TRANSCRIPTIONS OF SONGS
["——— 1 placed above: the music indicates that the tones included within the bracket constitute a rhythmic unit.
+ placed above a note indicates that the tone is sung slightly less than a semitone higher than the proper pitch.
— placed above a note indicates that the tone is sung slightly less than a semitone lower than the proper pitch.
C placed above a note indicates that the note is prolonged slightly beyond its proper time.
XX ' SPECIAL SIGNS
-) placed above a note indicates that the note is given less than its proper time.
* is used in songs transcribed in outline to indicate the pitch of a tone without reference to its duration.
Meaningless syllables are italicized.
Where no words are beneath the notes it is understood that mean- ingless syllables were used, except in songs whose words were sung too indistinctly for transcription, such instances being described in the analyses.
NAMES OF SINGERS
WHITE EARTH RESERVATION, MINNESOTA
Numbers
of songs eer EMR NEOUL % Venetians See ie wie ah leee i. SUE PSE. SS S--- 22+ +) 2 (iS O scBecn ede ee St Se ee ee eee 48 Na/waji’/bigo’kwe (‘‘woman dwelling in the midst of the rocks”’).............- 6 SSS IEE Wiel 70 1 ely) 4 12) ee a ae ee a a a ene eae ae 3 Penis Wanromeneatss 5 5.555. -2 stats ccs eles see escent ene ee See 2 esey Selkink 2 i.e... 02.5. HAMPERED EEE SUSE. JAEeL eee ABE Z Ween pe AL tree Pet Seine rat tete i hh aed bio e 5 ats ware Ae Mees ete CMe Sele siaenet 1 OS ea Se Re nen ee nee ee ee ee 1
WABA’CING VILLAGE, RED LAKE RESERVATION, MINNESOTA
Rms eer SP Mller SECIS BUCY, 1) Gl 25.2 a a hp a Be alae dla Dn a ie Sos ye ne 8 REVIEW iy tice eRVEN eae see oan a oP a ae arian sin dish = ~inpm ee cam SES 18 He MAN ORt eae TAI CIOUG oo. 2 = ace en a se eae eee s 2 ema mncnne( “Rabbiie Meat i 7). 2222 Sissel bel wee ee eee eens dees eee 1 Aywunakdm’icickin’ (“‘for:covering the earth”): ..:.-..:.-.--2.5..ee eee eee ee 11
LAC DU FLAMBEAU RESERVATION, WISCONSIN
Pc iice pe eatin Mieiene ploy”)... achat a -cjandespisl: +t ba ta gltteonice +? 1 outs co nurs iarther alone yt sic < «oe nen e oot oS Ecce «eet packs 33 Mec’kawiga’bau (‘‘stands firmly”).............------ Spe eee Sar a a 16 Pr enrans Kae | CECOlViI> WOMMAIL fo .o: on.5 oss eee ene ce sapeeeerewkee 2 O’gabei/sino’kwe (‘‘woman of the breeze that blows to the end”)..........--- 2 ewe miamcGrranaIereits. 22 cer 2 Pest ed) Sey es ee 1
as renga je ee sia
70 bees
i”
=. arse : on Bone <4 ;
Sul toa dee nee Retr sah
=) if ads es ae: ati**) ows Monks S : tt ids We Teme ere! aa Lon! oa J ; ultra adental
ixz ~ e,
2 % ‘3 er A at e3 Z
‘ ’ Py , : ‘ oe . ‘< ’
CHIPPEWA MUSIC—II
By Frances DENSMORE
ANALYSIS OF CHIPPEWA MUSIC
Three questions will be considered in the present section, namely: First, What do the Chippewa sing; Second, How do they sing; and, Third, Why do they sing? The material under analysis in Tables 1 to 22 (pp. 18-33) comprises 340 songs, recorded by the phonograph and transcribed in ordinary musical notation with the addition of a few special signs. The songs were collected on the principal Chip- pewa reservations in Minnesota and on the Lac du Flambeau Reser- vation in Wisconsin. All the leading classes of songs in use among the Chippewa are represented: The songs of the Mide’wiwin (Grand Medicine), dream songs, war songs, and love songs, songs of the moccasin game, songs of the woman’s dance, of the begging dance, and of the pipe dance, songs connected with gifts, songs for the enter- tainment of children, and a limited number not classified. This col- lection does not include all the available material, the purpose of the work being to preserve the oldest songs and those connected with tribal history, custom, and ceremony. ‘The songs included in Bulletin 45 of the Bureau of American Ethnology are classified according to geographic distribution, those from each reservation being considered as a group and subdivided according to use. In the present work the principal tabulated analysis is made on the basis of the class or use of the song, the material in Bulletin 45 having been rearranged and combined with material collected at later dates. .
Before entering on the analysis of the songs, it is desirable to show that a Chippewa song has identity. This identity was established by the following tests: First, a song was recorded by the same singer at different times; second, a song was recorded by different singers on the same reservation; and, third, a song was recorded by different singers on widely separated reservations, only the titles of the songs being given when the duplications were obtained. These tests were repeated at various times and with a number of songs. In every test a comparison of the phonograms showed the identity of the song, though the renditions were not always uniform in every respect. The rhythm was repeated more exactly than the melody, the latter
67996°—Bull. 53—13——1
2 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
showing occasionally changes in unimportant progressions or in the number of phrases at the close. In the course of these comparisons it was shown that an.old man repeated with accuracy at intervals of ° several months a song of very irregular rhythm; it was shown also in one instance that a young man modified the rhythm of an old song, making it conform somewhat to the common rhythms of the white race.
A number of Chippewa songs, as transcribed, have no words. Some . of these songs originally may have had words and in a limited number of the love songs the words partake so much of the nature of a solloquy that they can not conveniently be translated and given with the music. The words of most of the Chippewa songs are few in number and suggest rather than express the idea of the song. Only in the love songs and in a few of the Mide’ songs are the words continuous. In the latter the words may be altered slightly, provided the idea remains the same (see Bulletin 45, p. 14). A similar change of words in a war song is noted in the analysis of song No. 37 in the present work. A change of words in love songs is described in Bulletin 45 (p. 2). Although the Chippewa say that the words of a song may be changed, it is the experience of the writer that, with the exception of love songs, the words of a song seldom vary in renditions by different singers. The words of Chippewa songs are frequently changed to conform to the music, syllables being omitted or added, and meaningless syllables introduced between the syllables of a word. The accent of a word is frequently changed in accordance with the accent of the music, and a word is sometimes accented differently in the several parts of a song. These and other changes are permissible in fitting the words to the note-values of a song. A subordination of words to melody, and use of meaningless words and syllables has been noted by Doctor Myers in his study of primitive music.!
WHAT DO THE CHIPPEWA SING?
Some peculiarities of Chippewa music are indicated in 22 tables of analysis (pp. 18-33), 14 of which concern the melody and 8 the rhythm of voice and drum. This section is descriptive of the results of this tabulated analysis.
The first broad division of the material is into songs of major and of minor tonality. (Table 1.) The term “key” can not properly be used in this work, as the complete tone-system implied by that term
1 Charles S. Myers, M. A., M. D., The Ethnological €tudy of Music (in Anthropological Essays Presented to Edward Burnett Tylor, ete., p. 236): ‘The words are commonly sacrificed to the tune. . . . Wefre- quently find that liberties are taken with words, or that meaningless words or syllables are introduced into primitive music. Yet another cause of the rresence of meaningless words lies in the antiquity of the music. The words become so archaic, or their sense was orizinally so involved or so symbolical that all meaning gradually disappears as the song is handed down from generation to generation.”
DENSMORE] CHIPPEWA MUSIC—II 3
is not always present. Key is defined by Webster as “a system or family of tones based on their relation to a keynote,” also as “the total harmonic and melodic relation of such a family of tones,” implying an harmonic as well as a melodic test. In recorded Chip- pewa songs the relation of the tones to a keynote is usually evident, the tone-material of the key being present, and what might be termed the “melodic relation” being satisfactory, but the sequence of tones in many of the songs is such that the “harmonic relation”’ is extremely complicated, if, indeed (in some instances), it can be said to exist. Thus most of the songs close with a simple tonic chord, not with tones which can be harmonized by a cadence, and the opening phrases of many major songs are characterized by minor intervals and those of minor songs by major intervals. There are, however, in all the songs, the rudimentary elements of key. The persistence of the third and fifth above the keynote, the correct intonation of the octave, and the frequent occurrence of the tonic triad, may be noted. The term “tonality”? is employed therefore in this work, its use seemingly being warranted by the definition in the Standard Diction- ary (1910): ‘‘Tonality, the quality and peculiarity of a tonal system.”
In determining the keynote of a song a test by the ear seems permissible and the tonality of the song is determined by the distance of the third and sixth above this keynote. The third occurs in about 97 per cent of the songs under analysis. A song is classified as major in tonality if the third is a major third (two whole tones) above the keynote, and as minor in tonality if the third is a minor third (a whole and a half tone) above the keynote. According to this basis of classi- fication 57 per cent of the songs are major in tonality and 42 per cent minor, while three songs show a change from major to minor or from minor to major by altering the pitch of the third, the keynote remaining the same. These songs are Nos. 189 and 192 in Bulletin 45, and No. 6 of the present work. The sixth occurs in 81 per cent of the songs, and is found to be a minor interval in songs that contain a minor third between the tonic and mediant, and a major interval in songs having a major third between these tones. In contrast with the frequent occurrence of the third and sixth it is found that the seventh occurs in only about 9 per cent of the minor songs. In one-third of these the seventh is a semitone below the tonic, as in modern musical usage (No. 79 of Bulletin 45, and Nos. 36, 100, and 119 of the present work), while in the remainder the seventh is a whole tone below the tonic—the interval which occurs in most of the ecclesiastical modes and in scales formed by the addition of two tetrachords (Nos. 19, 126, and 150, Bulletin 45; Nos. 9, 50, 85, 100, 119, and 124 of the present work).
Having determined the probable keynote of the song, this keynote is used as a basis for further examination, noting in Table 2 the relation of
4 BUREAU OF AMERICAN ETHNOLOGY [BULL 52
the initial tone to the keynote. Fifty-four per cent of the songs begin on the dominant, indicated as the twelfth in songs having a compass of 12 tones, and as the fifth in songs of smaller range. Next in number are the songs beginning on the octave, which comprise 15 per cent of the entire number.
Table 3 shows the tones on which the songs end. Sixty-seven per cent end on the tonic, and in 90 per cent (indicated in Table 4) the final tone is the lowest tone occurring in the melody. From these characteristics it is not surprising to find, in Table 5, that the largest proportion of songs has a compass of 12 tones and that the next smaller group has a range of an octave. Thus it will be seen that the melodic boundary of a majority of Chippewa songs corres- ponds to a fundamental tone and its principal harmonic upper partial tones, commonly called overtones.!. It has been stated already (Bul- letin 45, p. 5) that ‘‘ the phonograph record shows the octave, fifth, and twelfth sung accurately by men who give the other intervals with uncertain pitch,’ and further observation has confirmed this state- ment.
Having observed the outlines of the melodies, the tone-material comprised in them may be noted. Table 6 shows that 131 songs, or about 39 per cent of the entire number, contain the tones of the pentatonic, or five-toned, scales, according to the five varieties of the pentatonic scales described by Helmholtz.? The tones are the same in all these scales, the difference being in the keynote. The intervals between the tones which comprise the five-toned scales are the same as the intervals between the black keys on the piano. Supposing these tones to constitute the material under consideration, we should have the first five-toned scale according to Helmholtz by using C sharp as the tonic, or keynote; the second five-toned scale by using D sharp; the third by using G sharp; the fourth by using F sharp; and the fifth by usmg A sharp. ‘This series contains 88 songs on the fourth five-toned scale, more commonly known as the ‘‘major pentatonic,” or ‘‘Seotch scale,’ and 40 songs on the second five-toned scale, more commonly known as the ‘‘minor pentatonic,” while two songs (Nos. 51, 2) are on the fifth five-toned scale, and one (No. 116) is on the first five-toned scale. As the fourth five- toned scale occurs in the largest number of songs, we seek to know what groups of tones may have led up to it or in what incomplete form it may be found. It is interesting to note that the next smaller group (the major triad and sixth) comprises 12 per cent of the entire number and contains the tones of the fourth five-toned scale lacking the second. These tones are used in two different ways: (1) The
1 «The ear when its attention has been properly directed to the effect of the vibrations which strikeit . .. becomes aware of a whole series of higher musical tones, which we will call the harmonic upper partial
tones.”,—HELMHOLTz, The Sensations of Tone, translated by Ellis, London, 1888, p. 22, 2Tbid., pp. 260, 261,
DENSMORE] CHIPPEWA MUSIC—II 5
sixth is used as a passing tone between the tonic and dominant in descending progression (see No. 176), the tonic chord being emphasized ; (2) the sixth is combined with the tonic triad above it, forming a minor triad and seventh, which changes to the tonic major triad by the descent of the sixth to the dominant, the song closing with the tonic chord (see No. 147).
We next observe the tone-material of Chippewa songs in its relation to the tones of the diatonic octave and find the seven tones of the diatonic octave in only 6 per cent of the songs. The fifth is present in 338 songs, the only songs in which it does not occur being the two songs (Nos. 51, 52) on the fifth five-toned scale. A similar persist- ence of the fifth is noted by Doctor Baker in his analysis of 31 Indian songs, the fifth being present in 30 of the songs under his observa- tion. The relative persistence of the fifth and fourth in the songs of the Murray Islanders has been exhaustively studied by Dr. C.S. Myers, who states:? ‘‘There is good reason to believe that in Murray Island the use of the fourth preceded that of the fifth, but that with the development of the tonic, the note which is a fifth above it is more often used than that which isafourth above it.’ The next interval in point of persistence is the third, which occurs in 329 songs, or about 97 per cent of the entirenumber. The character of the songs from which the third is absent is considered in the analysis of song No. 53. <A similar frequency of the third was noted by Doctor Baker, who found the third in 25 per cent of the 31 songs analyzed by him. The presence of the sixth is noted in 276, or about 81 per cent of the Chippewa songs; that of the second in 210, or about 62 per cent; of the fourth in 135, or about 40 per cent; and of the seventh in only 110, or about 32 per cent of the songs. Doctor Baker noted also the seventh as being found in only 8, or 26 per cent, of the songs under his analysis, this being the interval which occurred with least fre- quency. Thus is noted some similarity between the result of Doctor Baker’s analysis of the songs of several Indian tribes and the result of the analysis of Chippewa songs, in which the persistence (or frequency of occurrence) of the tones of the diatonic octave are in the following order: Fifth, third, sixth, second, fourth, seventh.
An interesting group of songs is that classified as ‘‘octave complete except seventh and fourth.’ The omitted tones are the same as those lacking from the fourth five-toned scale, but in this group of songs the third and sixth are minor intervals, making the songs minor in tonality, while in the fourth five-toned scale these intervals are major intervals and the songs therefore major in tonality (see No. 83).
1 Theodor Baker, Uber die Musik der nordamerikanischen Wilden, Leipzig, 1882; “Tabellen der Intervalle und des Tacts,’’ p. 82. - 8In Reports of the Cambridge Anthropological Expedition to Torres Straits, vol. 1v, Cambridge, 1912, p. 260.
6 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53
The tone-material of most of these songs is diatonic, Table 7 showing that 85 per cent contain no accidentals. In songs contain- ing accidentals the tone most frequently affected is the sixth, this interval being either raised or lowered a semitone in 27, or 8 per cent, of such songs. Accidentals occur more frequently in the love songs than in any other group.
There are next observed the accented tones in their relation to one another, in order to determine whether the songs are harmonic or melodic in structure (Table 8). In making this analysis songs were classified as harmonic in structure if contiguous accented tones bore a simple chord-relation to each other, and as purely melodic if no such relation appeared to exist. According to this basis 83 songs, or 24 per cent, are harmonic in structure (see No. 144), and 222 songs, or 66 per cent of the number, are melodic in structure (see No. 165). Having identified these groups of songs, it was found that certain songs remained which did not properly belong in either group. Thus there are many Chippewa songs which would be classified as harmonic except for one tone, or in some instances two tones; a third group was made therefore to include these songs, which may be termed ‘“‘intermediate” in structure. Such songs are classified as ‘‘melodic with harmonic framework.” This group comprises 35 songs, or 10 per cent of the entire number, an example being No. 30, in which the only accented tone not having a chord- relation to a contiguous accented tone is B flat in the fourth measure from the close of the song. _
It has been noted that the boundaries of the melodies suggest a chord-relation to the keynote and that the persistence of the third and fifth suggests a chord; it is therefore surprising to note the small percentage of songs which are harmonic in structure.
The next inquiry concerns the progressions in the melody—their direction and the nature of the intervals. Table 9 shows that in 70 per cent of the songs the first progression is downward, and Table 10 that 65 per cent of the entire number of progressions in the songs are downward.:' It has been noted that in 90 per cent of the songs the last tone is the lowest tone in the song (see Table 4); thus these three tables combine to demonstrate the downward trend of Chip- pewa melodies.
The nature of the intervals now claims attention in Tables 11 and 12. The interval which occurs most frequently is the second; but this is not of great significance, as the second is often a passing tone or a tone of approach. Next in frequency is the interval of the minor third, comprising 34 per cent of the downward, and 29 per cent of the upward, progressions. This interval has been mentioned
1 The proportion of downward and upward intervals is more uniform in the various classes of songs than any other peculiarity considered in the analysis.
pENsMore] CHIPPEWA MUSIC—II 7
as characterizing the music of other uncultured peoples. Concerning the songs of the Asaba (Niger) people, Charles R. Day states:1 ‘‘A preference for the minor third is rather noticeable, especially at the conclusions.” Rev. G. W. Torrance, writing of the Australian aborigines, says:? ‘‘The songs in compass rarely exceed the distance of a third, and minor intervals predominate.’’ Concerning the Sumatrans William Marsden states:* ‘‘The Sumatran tunes very much resemble to my ear those of the native Irish and have usually, like them, a flat third; the same has been observed of the music of Bengal.” In this connection, it is interesting to note that William Gardiner‘ gives in musical notation the note of the plover and the call, with its answer, of a small beetle, the former being represented by the descending minor third F—D, and the latter | y the descending minor third B flat-G. In these observations it can not be assumed that the intervals heard by the travelers were accurate minor thirds, but that, to the ear accustomed to the musical standards of civiliza- tion, the interval of the third was clearly a non-major interval.
In the Chippewa songs it is noted that the percentage of minor thirds, in both ascending and descending progression, is more than twice that of major thirds, a reversal of the statement of tonality, Table 1 showing the songs of major tonality to be about a third more in number than those of minor tonality. This suggests that the relation of the tones in these songs is an interval-relation, not what might be termed a ‘‘key-relation,”’ also that the interval is the melodic nucleus of Chippewa song. The minor third is frequently prominent in songs which are major in tonality (see Nos. 140, 141, 151, 163). The major third constitutes a large proportion of the intervals in some songs which are minor in tonality (see Nos. 29, 83, 99). A strong feeling for the interval in melody structure is shown in No. 86, the framework of which consists of two intervals of the fifth, and in No. 82, the framework of which consists of two descending fourths.
In order to determine the feeling for the interval in melody-for- mation, a test was made which included the 40 songs recorded at Waba’cifig,® the 50 war songs of Odjib’we (pl. 1) recorded at White Harth, and 14 songs recorded by E/niwtb’e at LacduFlambeau. The songs of Odjib’we did not show asingle instance of “ interval-forma- tion,” but it was found to characterize 4 (10 per cent) of the Waba’cinig songs (Nos. 136, 144, 148, 161), and 3 (21 per cent) of the Lac du Flambeau songs, under observation. From the character of the
1 Up the Niger, by Mockler-Ferryman, with chapter on musical instruments of the natives by Charles R. Day, London, 1892, p. 272.
2 Music of the Australian Aborigines, in Journal of the Anthropological Institute of Great Britain and Ire- land, London, 1887, p. 336.
3 History of Sumatra, London, 1811, p. 196.
4 The Music of Nature, Boston, 1838, pp. 232, 246. 5 The combination fig is pronounced as in the word “‘finger,’’not as in “singer.”
8 BUREAU OF AMERICAN ETHNOLOGY (BULL. 53
songs and the singers at Waba’cing and Lac du Flambeau the material collected there would seem to represent an older culture than the war songs of Odjib’we, a factor which adds interest to the result of the test.
Having shown, by analysis, the prominence of the minor third in Chippewa music, and having indicated by reference to authorities its prominence in the music of other uncultured races, it is shown also to be approximately the average interval in Chippewa songs (Table 14). In making this analysis all the intervals were expressed in terms of a semitone and the average interval of progression was found to be 3.1 semitones, or one-tenth of a semitone more than a minor third (Table 13). |
In melodic analysis there remains the test to determine the pitch, or musical key, of the songs, which depends for its accuracy on the method of phonographic recording. As the phonograph best adapted to field work at the present time is a machine operated by a spring motor, it is impossible to obtain absolute uniformity of speed, but the following method is used by the writer and gives results of reasonable accuracy. The speed of the phonograph is adjusted to 160 revolu- tions a minute, and the tone C, sounded by a pitch-pipe of known vibration, is recorded on the blank cylinder, immediately preceding the record of the song. When the transcription of the song is made, the speed of the phonograph is adjusted so that the tone C on the record corresponds with the tone as given by the pitch-pipe. As the last tone is usually the lowest tone and also the tonic, and as 95 per cent of the songs were recorded by men, this table may be regarded as indicating the range of voice among the Chippewa men. Most of the songs are in the major keys of F, G flat, and G. An examination of the songs as transcribed will show that many, perhaps a majority, of the songs end on these tones, in the bass clef.
In considering the rhythm of Chippewa music the instrumental as well as the vocal expression should be observed, most of the songs having been recorded with accompaniment of the drum. Attention is first directed, however, to the rhythm, of the song, and the portion of the measure on which the song begins. This indicates whether the ‘‘attack” is direct and with emphasis or by a preparatory tone (Table 15). Forty-two of the songs are transcribed in outline, indicating the trend of the melody but not the length of the tones. Sixty-three per cent of the remaining songs begin on the accented part of the measure. This directness in beginning a song is shown also by the fact that in most of the songs the rhythmic unit occurs in the first measure and that the first tone is usually a high tone. The interest of a Chippewa song frequently diminishes as the song proceeds, and in some instances the closing measures contain char- acterless phrases, repeated indefinitely.
DENSMORE]| CHIPPEWA MUSIC—II 9
The next feature to be observed is the number of counts in the first measure (Table 16). Deducting the number of songs transcribed in outline, it is to be noted that 50 per cent of the remainder begin in double time and 40 per cent in triple time. In songs indicated as having more than two or three counts in the first measure, there is no secondary accent; thus a measure transcribed with 5 or 7 counts is clearly a unit and could not properly be indicated by a triple measure followed by a double or a quadruple measure. Similar instances of measures containing 5 counts have been recorded by other students of primitive music,’ and in the music of the Omaha there occur also songs with 7 counts in a measure.
Table 17 shows, however, that the rhythm of the first measure is rarely continued throughout the song. Forty-two songs were tran- scribed in outline, without time-indication, but in 77 per cent of the remainder the rhythm (or number of counts) in the first measure does not continue throughout the song. The transcriptions show in many instances a change of time with almost every measure. In No. 121 the measures in double and triple time alternate throughout the song. No. 39 contains double, triple, and quadruple time. In No. 81 the double rhythm is interrupted by only one triple measure, which gives character and a certain ‘“‘swing”’ to the rhythm of the song as a whole. This wide variation in measure-lengths might suggest improvisation, but these measure-lengths were determined by accents that were unmistakable and that showed no change in the several renditions of the song, even when slight changes were made in the melody. A single exception occurs in a song recorded at White Earth (No. 144), which so closely resembles one recorded at Waba’cifig (No. 176) that it may be inferred they are different versions of the same song, though one is in double and the other in triple time.
Turning to the rhythm of the drum (Table 18), the accented double rhythm is found not so prominent as in the vocal expression. One hundred and sixteen of the songs were recorded without the drum. Deducting this number, 43 per cent of the remainder are found to have a triple rhythm. This characterizes a. large majority of the dream songs and the songs of various dances and is closely allied to the drum-rhythm of the moccasin game song. The songs showing a triple drum-rhythm are songs which aroused little mental or physical
1 Among the Omaha: A Study of Omaha Indian Music, by Alice C. Fletcher, aided by Francis La Flesche. With a Report on the Structural Peculiarities of the Music by John Comfort Fillmore, A. M.; Archxological and Ethnological Papers of the Peabody Museum, Harvard University, Cambridge, Mass., 1893, vol. 1, No. 5; songs Nos. 6, 111, 137, 140.
Among the Kwakiutl: Franz Boaz in Journal of American Folk-lore, vol. I, 1888, pp. 51, 59.
Among the Hopi: Benjamin Ives Gilman, Hopi Songs, Boston, 1908, p. 117.
Among the Creek and Yuchi: Frank G. Speck, Ceremonial Songs of the Creek and Yuchi Indians, in Anthropological Publications of the Museum of the University of Pennsylvania, Philadelphia, 1911, vol. 1 No. 2, pp. 169, 170, 178, 226.
Aliso among the Sudanese: Heinrich Zdllner, Einiges iiber sudanesische Musik, Musikalisches W ochen- blatt, Leipzig, 1885, p. 446.
10 BUREAU OF AMERICAN ETHNOLOGY {BULL. 53
excitement. The dream songs were undoubtedly composed under abnormal conditions, but no drum was used in their composition and the present study concerns only the manner of their rendition. In this connection it is interesting to note that, according to Beau (1835) and to Barth and Roger (1841),1 the rhythm “‘of the adult heart, beating 60 to 80 and acting normally” is a triple rhythm. The exact rhythm described by these authors is found in two of the Chippewa songs— the song of the war messenger and that of his return (Nos. 11, 12). The writer has frequently heard this rhythm, when the drummers began their performance (see Bulletin 45, p. 6); gradually they changed to that most often recorded on the phonograph, in which the unaccented stroke precedes, instead of follows, the accented stroke.
In all the Mide’ songs and in 53 per cent of the war songs there is a drum-rhythm of rapid unaccented strokes, two of which are approxi-
ately equal to one metric unit of the melody. Itis stated that under certain conditions, ‘‘especially a moral emotion or violent physical exertion,” the triple rhythm of the heart becomes “allied to a double measure.”? The collection of additional data may throw more light on a possible connection between the action of the physical organism and the form assumed by primitive musical expression. —
The next observation concerns the rhythmic unit, or motif (Table 19), which appears to constitute the rhythmic nucleus of the song, as the interval forms its melodic nucleus. As a basis for this classifi- cation, a rhythmic unit was defined as ‘‘a group of tones of various lengths, comprising more than one count of a measure, occurring at least twice in a song and having an evident influence on the rhythm of the entire song.” According to this basis of classification it was found that 62 per cent of the songs contain a rhythmie unit, while in many other instances the song itself possesses a rhythmic completeness which constitutes it a unit. One hundred and ninety- one songs contain a rhythmic unit, and in 132 songs (69 per cent) the unit occurs in the first measure, showing, as in Table 15, a direct~ ness of ‘‘attack.”’
There are four ways in which a rhythmic unit is used to form a Chippewa song: First, it is continuously and exactly repeated throughout the song (see No. 26); second, it is repeated continuously except for a measure or two having a different rhythm, thus breaking the monotony and giving character to the rhythm of the song as a
1 Dictionnaire de Physiologie, Richet, Ch., editor, Paris, Tomerv, 1900, p.74. ‘‘ Beau compara un bettement de cceur & une mesure & trois temps, dans laquelle le premier temps serait occupé par le premier bruit, le deuxiéme par le deuxiéme bruit, le troisiéme par le grand silence. .. . D’aprés Barth et Roger le rhythme représente une sorte de mesure & trois temps, dans laquelle le premier bruit occupe le tiers environ; le petit silence, & peu prés un sixiéme; le deuxiéme bruit, un sixiéme; et le grand silence, le dernier tiers.” __
2Ibid., p. 75 (signed by Lahousse). ‘‘Si, au contraire, les battements du cceur sont accélérés, le silence diminue et l’on n’a plus qu’une mesure qui se rapproche de la mesure & deux temps. . . . C’est surtout
quand une émotion morale, ou violent exercice physique agissent sur le coeur de l’homme, ou quand il est le siége de certains états pathologiques.”
DENSMORE] CHIPPEWA MUSIC—II 11
whole (see No. 132); third, it is repeated continuously except for a middle section, which contains the words and is in a different rhythm (see No. 1); and, fourth, the repetitions of the rhythmic unit are freely interspersed with measures having no rhythmic interest (see No. 118). There are also five songs in which the rhythmic unit is continuously repeated except at the close of the song (see No. 4).
In addition to the use of the rhythmic unit in repetition, there is an equally important use of it as a basis for the rhythm, the unit appearing either in separated phrases or with a change of accent (see No. 90). This change of accent or other modification sometimes produces a second or (in one instance, No. 157) a third rhythmic unit which is repeated several times. Songs numbered 17, 47, 121, and 123 contain two rhythmic units, the second being formed from the first and constituting an answering phrase. A similar structural peculiarity was noted by Fillmore, who states: ‘‘Having invented his original motive, which is commonly striking in its rhythmic form and highly characteristic, the Indian composer proceeds to build his song out of modified repetitions of this motive.”
Among the 191 Chippewa songs containing a rhythmic unit there is only one duplication, Nos. 192 and 195 in Bulletin 45 containing the same unit. In the 20 Sioux songs of the Drum-presentation Ceremony the percentage is much larger, as the second rhythmic unit in song No. 73 of the present series is similar to the unit occur-
ring inNo.77. There is, however, a division of acount f J g which occurs in Chippewa songs recorded on a reservation showing Sioux influence, and which is found also in Sioux songs. This division of the count occurs in 15 per cent of the songs recorded at Waba/cifig (Nos. 131, 153, 157, 159, 161, 163), and is found in only five other songs of the entire collection. The same phrase is found in 10 per cent of the Sioux songs of the Drum-presentation Ceremony (Nos. 54, 62), and also in about 10 per cent of the Sun-dance songs of the Teton Sioux recorded by the writer at Standing Rock, North Dakota, in 1911. The Chippewa at Waba’cifig are in frequent communication with the Sioux of North Dakota, parties from these tribes visiting each other at their various festivals. The Chippewa at Waba’cifig are also composing music at the present time to a greater extent than those on other reservations. It is interesting to note that the correspondence between the music of the Chippewa and the Sioux, which may be attributed to contact of the two tribes, is rhythmic, not melodic.
Further evidence of the rhythmic unit as a nucleus of Chippewe song is found in the fact that some songs were repeated in sections,
1John Comfort Fillmore, Primitive Scales and Rhythms, in Memoirs of the International Congress G* Anthropology, Chicago, 1894, p. 175.
12 BUREAU OF AMERICAN ETHNOLOGY [BULL 53
the singer using the phrases in varying order, apparently as his fancy prompted him. This is noted in the analysis of No. 105, and was observed especially in the love songs. No. 100 affords an example of a song the entire rhythm of which constitutes a unit that is com- plete in itself and can not be divided. Such a song would become, in its repetitions, the rhythmic unit of an extended musical perform- ance.
Finally, there is observed the speed of voice and drum, as indicated by a Maelzel metronome, the number representing the number of beats per minute. The method of adjusting the phono- eraph to secure uniform speed in recording and in playing a song has been already described. Table 20 shows the metric unit of the voice, the indication being usually for the time of a quarter- note, though in some instances a half-note, or even an entire measure- length, was the only unit by which the tone-values could be deter- mined. It will be noted that the largest percentages of speed occur on the numbers 96 to 104 M. M., this group being a somewhat clearer indication of the natural tempo of Chippewa song than the average speed of the entire collection (107 M. M.), as the latter is slightly affected by songs whose peculiar structure necessitates a very large or a very small unit of measurement. The metric unit is particularly slow in songs of controlled excitement (see No. 30).
Table 21 shows the metric unit of the drum, the highest percentages being between 104 and 112 and the average speed 109. Both these tests show the speed of the drum to be greater than the speed of the voice, though a proportion between the two is not evident.
The comparative speed of voice and drum is further shown in Table 22, the songs in which the drum is slower than the voice being about half the number of those in which the metric unit is the same, and less than half the number of those in which the drum is faster than the voice. The independence of the vocal and instrumental expressions is further shown by the fact that the tempo of the voice may change but the tempo of the drum remains the same, a peculiarity which is noted in the analysis of No. 168.
There may be instances in which the metric units of voice and drum are in the ratio of two to three, but the writer does not recall an instance in Chippewa music in which drum and voice coincided on the first count of the measure, one showing two and the other three pulses, or metric units, during the measure, although this ‘‘two-against-three rhythm” has been found in the music of other Indian tribes and among many other primitive peoples. Fillmore gives an instance of a Bala Bala (Bellabella) Indian song containing a 2-4 rhythm in the voice and a 5-8 rhythm in the drum, the two coinciding on the first of each measure.t. In Chippewa music,
1 John Comfort Fillmore, Primitive Scales and Rhythms, p. 173.
DENSMOR& | y CHIPPEWA MUSIC—II 13
however, the two expressions seem to be entirely distinct. Even when voice and drum have to the ear the same metric unit, the drum slightly precedes, or in some instances follows, the voice. Bulletin 45 (p. 6) contains a description of a phonograph record in which the metric units of voice and drum are so nearly alike that the same metronome indication was used for each. At the beginning of the record the drumbeat was slightly behind the voice, but it gained gradually until for one or two measures drum and voice were together; the drum continued to gain until at the close of the record it was slightly in advance of the voice. An independence of rhythm of voice and drum was noted by Doctor von Hornbostel,! and also by Doctor Myers.’
Further consideration is given the rhythm of Chippewa songs in Bulletin 45 (p. 18).
How bo THE CHIPPEWA SING?
The manner of Chippewa singing varies with the nature of the song and the skill of the singer. A nasal drawling is always used in the love songs, but in no other songs. This is not a loud tone, and it remotely suggests the call of an animal. The songs of the Mide’wiwin (Grand Medicine) contain meaningless syllables, which are distinctly pronounced and in most instances are given similarly in the various renditions of a song. These syllables are frequently interpolated between parts of a word and sometimes bear resemblance to syllables of the words. In these songs the words are mispronounced more often than in others, being changed to fit the music, which is the essential element of the song (see Bulletin 45, p. 14). In other classes of songs the vocables are throaty sounds, which differentiate the tones but can not be expressed in letters. It is said that ‘‘one must have an Indian throat to sing the songs properly.’”’ A Chippewa does not move the lips in giving these vocables, but seems to produce them by a contraction of the glottis; the tone lengths are, however, entirely distinct and rarely vary in the repetitions of the song. In addition to these styles of singing, which are universal, there is a vibrato, or wavering tone, which is cultivated among the younger singers and is considered an evidence of musical skill (see Bulletin 45, p.4). A similar phase of musical culture was noted by the writer among the Sioux of North Dakota.
1 Erich M. von Hornbostel, Uber die Musik der Kubu (aus dem Phonogramm-archiv des psychologischen Instituts der Universitat Berlin, Frankfurt am Main, 1908, phonogramme 152).
2 Charles S. Myers, M. A., M. D., The Ethnological Study of Music (in Anthropological Essays Presented to Edward Burnett Tylor, etc.), p. 237: ‘‘ Not infrequently the accents or measures in the melody are opposed to those in the accompaniment.’ P. 238: [In polyphonic music of primitive peoples] ‘‘ different simul- taneous rhythms are allowed full scope for independent development. . . . Such ‘heterophonic’ music surely demands of the native audience the same oscillations of attention as occur in us when we listen to two persons talking simultaneously,”
14 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
Concerning accuracy of intonation according to the piano scale, there is wide variance among singers, as well as in some instances, among the several intervals sung by the same person. The tran- scriptions of these songs should be understood as indicating the tones produced by the singers as nearly as it is possible to indicate them in a notation which is familiar by usage and therefore convenient for observation.!. A few additional signs are used and the peculiar- ities which can not be expressed graphically are noted in the descrip- tive analyses of the songs. Where a variation from the piano scale was marked and was repeated in the several renditions of a song, it is indicated by the sign + or — above the note, showing the tone to have been persistently sung less than a semitone above or below the note transcribed. In five records a faulty intonation at the beginning of a song was corrected in the latter part (see Nos. 54, 129, 133, 146, 164).
In the rendition of Indian music the writer finds tones which correspond to intervals of the piano scale and occasionally, in the same song, other tones whose pitch varies so constantly and by such minute gradations that they have no equivalent in that scale. Tones of the former class are capable of transcription in ordinary musical notation; those of the latter can adequately be shown only by a sound-wave chart, but, in the present work, are transcribed by the notes they most nearly approximate in pitch. Minute gradation of tone in Indian song has given rise to the statement that Indians habitually use intervals of eighths or quarter tones. Intervals smaller than a semitone are familiar to every student of Indian music, but before it can safely be assumed that they form a fixed part of a musical system it should be proved by mechanical tests that they can be accurately repeated. Such proof is believed to be lacking at the present time. It is the opinion of the writer that these minutely graded tones are survivals of a less differentiated vocal expression. In the present analysis of Indian music we observe the tones on which a purely natural vocal expression crystallizes and first coincides with that system of tones which has gradually devel- oped in the musical history of the white race. .
Tn the early part of the investigations a few phonograph records were made which were found to be ‘‘ musically incoherent,’’ the tones having no clear relation to one another or to a keynote. On inquiry it was always found that the men who sang these songs were not considered good singers by the members of the tribe. In a repetition of the song by a “good singer’’ the trend of the melody was the same, and the intervals were such that the melody ‘‘made musical sense,’ con-
1Helmnoltz, The Sensations of Tone, translated by A.J. Ellis, London, 1885, pt.3, p. 260. Translator’s footnote: ‘All these [scales] are merely the best representatives in European notation of the sensations produced by the scales on European listeners.”’
DENSMORE] CHIPPEWA MUSIC—II 15
tained a keynote, and could be expressed with reasonable accuracy in musical notation. In recording several hundred songs there have been a few instances in which singers have tried to improvise parts of songs which they could not remember and have even “made up songs as they went along.” These attempts were readily discovered and the records discarded, together with the efforts of those who, like some members of the white race, ‘‘could not carry a tune.’”’? Indi- ans distinguish clearly between competent and incompetent singers, and when the purpose of the writer’s work was fully understood they recommended only such of their number as were good singers.
The management of the breath by a Chippewa singer is radically different from that of a member of the white race. This is indicated by the fact that rests occur in only 13 (4 per cent) of the songs, about half of these being songs of the Mide’ ceremonies, which are charac- terized by forcible ejaculations. The Chippewa sing almost con- tinuously for several hours at a time, each song being repeated an indefinite number of times. In some instances the measure which connects the song and its repetition is a complete measure and is so indicated in the transcription, but in many others the song is com- pleted as transcribed and the singer at once begins the repetition, disregarding uniformity of measure-lengths.
The accents are clearly given and never vary in the repetitions of the song. By these accents the measure-lengths of the transcription are determined. In many instances it was necessary to reduce the speed of the phonograph greatly in order to discern a metric unit or any note-value on which a transcription could be based, but when this metric unit was discovered it could easily be traced throughout the song and its repetitions, and could be heard clearly when the original speed of the phonograph was restored. In the writer’s experience the metric unit and the measure-length are practically without variation in the repetitions of Chippewa songs, and the note- values are changed only when words are introduced, or occasionally in the closing phrases of a song, which are often without special interest or importance.
The songs are usually accompanied by the drum, though the rattle is frequently used with Mide’ songs and the songs connected with the use of medicine. The musical instruments of the Chippewa are described in Bulletin 45 (p. 11), and will be considered also in the group analyses of the songs in the present volume.
Wuy po THE CHIPPEWA SING?
Investigation of the origin and use of Chippewa songs leads to the conclusion that most of them are connectel, either directly or indirectly, with the idea of reliance on supernatural help. This idea rarely assumes the form of direct address, though one song
16 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53
(No. 156) contains the words “Be kindly, my manido’,” and in some of the Mide’ songs a manido’ (spirit) animal or bird is represented as speaking—“TI am a spirit to be able to become visible, I that am a male beaver” (Bulletin 45, No. 34), and “‘I am about to alight that you may see me”’ (ibid., No. 41).
It is said that in the old days all the important songs were ‘‘com- posed in dreams,” and it is readily understood that the man who sought a dream desired power superior to that he possessed. A song usually came to a man in his “dream”; he sang this song in the time of danger or necessity in the belief that by so domg he made more potent the supernatural aid vouchsafed to him in the dream. Songs composed, or received, in this manner were used on the warpath, in the practice of medicine,' and in any serious undertaking of life. Thus there are many dream songs among the songs of war, of the Mide’, and of the moccasin game, in addition to the group of dream songs in the classified analysis. An imstance of a warrior’s success connected with the singing of a dream song is shown in No. 42, and of a warrior’s defeat attributed to the failure of supernatural help, in No. 8. i
In addition to songs connected with dreams and with. triumphs gained by supernatural aid, there are love songs, and songs of physical activity (as the social dances) and of the home life (as the songs for the entertainment of children). Almost without exception the love songs are songs of disappointment and longing, though a few love- charm songs are included among those of the Mide’ (Bulletin 45, Nos. 71-76).
The words of 248 songs are transcribed; one-third of this number contain mention of some manifestation of nature, the number and
percentages of this group being as follows: Number Percentage
Songs concerning animals. ........---------------+---+- 30 36 Sones CONCORMIND DITA. enn on heed al neo ee ing 17 21 Soles Concert tbe BEY... -+- cc. oe tn ee es 17 21 Songs concerning water.....---- WT earth Ue Ae Lee eee 11 13 Songs concerning clouds......-...-.-.:-+-+--++--025%S2 4 4.5 Songs concerning the wind ..........---.--+--04-2-+- esse: 4 4.5
Noting the large number of songs containing mention of animals, it is interesting to consider whether animals may have seemed to the Indian better fitted than himself to cope with natural conditions. The animals mentioned in the songs are the otter, beaver, weasel, marten, crawfish, rattlesnake, large bear, fox, deer, and dog; there is also (on a reservation showing Sioux influence) one reference to the horse and the buffalo. The birds mentioned are the crow, loon, owl,
1 Compare Ale§ Hrdliéka, Physiological and Medical Observations Among the Indians of Southwestern United States and Northern Mexico, Bulletin 34 of the Bureau of American Ethnology, Washington, 1908, pp. 222-227, 243, 244, -
DENSMORE] CHIPPEWA MUSIC—II 7
raven, plover, eagle, ‘‘ thunderbird,” and ‘‘water-birds.’’ Reference to water occurs principally m songs of the Mide’wiwin, the emblem of that organization bemg a shell, and all its traditions beg asso- ciated with water and with aquatic animals.
A spontaneous outburst of melody, givmg expression to either joy or sorrow, does not characterize Chippewa songs; indeed, the nature of the songs is more frequeutly objective than subjective, more often connected with accomplishment than with self-expression.
A comparison between the content and the tonality of the songs may now be undertaken. As we are accustomed to connect a minor key with the idea of sadness, it is interesting to mquire whether the same mode of expressing sadness obtains in Chippewa songs. First, it is observed that, apart from the love songs, there are few songs ef sorrow. The series of 340 songs contains 142 in minor tonality, of which ouly 20 (14 per cent) are songs of sadness, comprising practically all the songs of this character. Among the 85 Mide’ songs there are only two songs of sadness (Nos. 174, 175); these are burial songs. Many Mide’ songs mention sickness, but always with an affirmation that it will be cured by supernatural means. Six of the 88 war songs contain the idea of distress (Bulletin 45, Nos. 120, - 150; present collection, Nos. 10, 17, 34,36). It will be noted that two of these refer to the grief of the enemy (Nos. 10, 34), and in one a condition of distress is relieved by the use of medicine; the three which may be considered songs of unlightened sadness are the songs of the departure of warriors (No. 150, Bulletin 45; No. 17 of the present work) and the song of the warrior left to die on the battlefield (Bulletin 45, No. 120). In a similar instance (No. 33) the song of the wounded man left to die is distinctly major in tonality.
Among the 30 love songs 11, or more than 33 per cent, are songs of sadness and minor in tonality. Of the unclassified songs only one contaims the idea of distress, with a minor tonality—this is the song of the little boy who was afraid of the owl (Bulletin 45, No. 121). Two-thirds of the moccasin game songs are minor in tonality; in this connection it may be noted that the result of the moccasin game was always a matter of uncertainty.
Most of the Chippewa songs are major in tonality, and most of the old songs were “‘dream songs’’ used in the Mide’, the practice of medicine, and the pursuit of war, the essential nature of a ‘‘dream”’ bemg associated with the idea of reliance on supernatural help. In contrast with the large proportion of major songs, and of dream songs of various classes, it is found that a minor tonality is used, practically without exception, in songs directly expressing sadness, distress, or uncertainty. These observations may have a bearing on the further study of the psychology of Indian song.
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cine eg | OFE ir eg Saar lira) ee Ges GR RECT HOS LORRE Coe ates Spake salts)? See aCe [ooo alee eat ee el Ceol Ty pre eae lt iofeur suIpue ‘1oulud SUTUUTseg ge NSS z ioulu Sutpue ‘olen SuLmUIseg ¢ 8 Feber eieetd aha GORDO SE Jourt divys 5 e Ni Reabe tea clrpatm rn owas naieasstineal pie luni dew [oe Sena|sossetts acct esate tales Area S|AR EA Pie «line cog ec pees oe eae Jofeur yey VW S$ IL ales Oe Neale ee "7 >"> JOUTUL 4) If OF ai ata eden eal ekaialiiade oui le ane iaaal iofeut *) e }G)ab epee Poetce So) i) bem to eacaedl iscsi | DUE Be Sab] PCE eon AO oan a imesh atom anise scat rah gi Saba IS Te Joutu dievys of L Sie Cg Ree EE CN Ra acca pe a ce al ci cae Uae Cia stag by mB IGT) 8 PR) [emp a SO a ee Jofeur yep D ¢ Vink | set oe Goatees tease aac ih adie Lie oe RP Cae a eee oe eel Rec eS el er Se ee | Same Wee ot aor: chee ieee ae Lt SCRE Giri ech: IOUTUL Jf 6 Pomme anaemia ie oes eee sitet | dys pfiulite senna ni genes | rome eee) open <Sain rss ord ste clea gr st aa ibaa Wall a See So ne ee ~soleul “ TE ARE TSR SSE Ny Shee ER a TM Bae eee Nl i Stamey Ceti Fela beta) aM i ca -cae Peno ak t ac ahr | dita aie ane he bob btn st > 1OUTUI Of e gee dbp JE: Ege SS Bg de |g acts ey Ste a yc Red esc Cede (CT ate Sula ahd hala Ste bal asf begs Pee [areata ichage ata 2p 2 ete Jofeur of ¢ ea ReaD ee ala emcema a er ral hyip he tam se telnet alii omacinn§ fold iein| aok nb tel creceerii genes igi em ff aan le sat tedine eon alegielsie nave Seeger enor IOUTUL IBY Of - ¢ (eR REL E GEES a ar aa Salt ta (eh aera cy vy Sa ace ec ak Oca eat ello techni | fem WD SWE cial ta ela aD dit Jofeur yey g§ ZL a sb ae BA eT es as * LOUTUL a ¢ ens aig er ee See aor sienna a lames cl tal ap lng on ea ponmmntelammancinletnntiaslaiehrme aera se ale te Masel ale Ake Mipiy mecial Nice a oa ie Seis ealeeiele eae ae --roleur g f MN 2 aces hres sas Arita nice ial sips ta gwen |e ie peace een 3 ebook» J ball iipns Ape eee clscy ho erae rs Berns Sema kr SUN eee our dieys 9 e tie 10 se SFT apse Be RE Ses ees saya Fee AIT ae SER RS I i a ees arf l(t ast RN EO a pn Jofeul yey ¢ BR aera tne 4:2 EAN edo dk Pert CEs bow heel normals charg om nic ra Rinks Sea] => 2 mira pg he Haggai i] oe yma» Sess nnn rt sa “IOUT ¢ oO Se TOE Seo occ Ged yer Sasi Pema gta My Ge ae cecal Rar ee ele ate ab ike mmm by ei ies Rl baal Cea en ko ~-rofeur 9 ¢ eerste) Ng 12 eiileg ate 4 | dPss <ach ip cane 52) ses aizab| ate Sale Sati oho) We a IP ed age te eee eee “IOUTU z fey RENE RES IE Soe 1 SARL ee Same nO Pe OME cee Ee ct a i ie ea eee |) AR (oo al ae ave lee eed ab ante pee co iofeut g z Hee peerless poets ol Pareer | peamacies|e nema cate eee ele mre ey Wig tl |ese gem a(n ooo S[ps eae sree es ouruL yey |
[BULL. 53
BUREAU OF AMERICAN ETHNOLOGY
28
wel} gs fects foecceche@ feeceeeb ag feeeeetb on freee} or [ooecee og feccecc] gg feeceee] ag freee] gg (cccccecccc rece eet ppg, See cet fee | ere | ester |b eae sete sere | Maa crea owl a, feta Inc all Seine terete terstal lis cE wverel inl ave eltarera'e stal|inreicta||2 oAcie allowtaca|cmulsicm|laarce| emer Am gp [occcccccccccecc 2 guaran ut pequosuery, Avett el fice alee) [foe aed mae 6) tm ney ell eh es e\l amie a tate! ieliee wieifiwiw ers <=]! wjeln Kalusele‘ave'|ia weievel|(mers/a'n e's at o|\e/ere is sie | einai ae a\aiale safe mi] /ats else wi lacetw t Z Seas ae ee eee eerie eo SUIT Co, Theses alee gap | L lcccclcc fete feeee fence Ree I S561 ol eee na eyelet ee I nn eee Cee Pee ee eee eee eee our g-¢ é F g I ee ee es +] T ee ed es (9 T settee [oe cease maliacms é T ee i oy OUT} 8-E een Z SRE Blin Clete Penn Ennene been Chern ren Glenn Phen Ce tren bend eenne been Pereen nena an lt '¢ a eee eee eae Se ee lt secs ecfecee|eeseee|oee eles ese s|esee|ececee|eeeeeeeeeslecee|es seca] ees e/ereeeefesee|eeeree|eee[eeeeesleceefeseeee]eeeel [ fcccccrcetceteesersesee este oun p49 e | 6 g T TE lO | ESCO Ron ea ey or) pean |e Anes It el Reree acl ere eeiet sy metry 5 g T va F 8 T t 4 CIC AIRF oO CR yo ee aul} F-¢ 6 g eRe 3 tach Pass éT Ee le eae ee | fae aa ato I NSCS | iat |e al 1 @ [DORN || dao 65 rok aA anak ee cacao eas ae OUull} $+ ieee ROC mesa Pe egrets 126 ee | == "|F 2 va Logs 379 CeCe Gtemee laser. cle |nOie saMOG | oe = NMOGE |e cee ier gains ao et oe ea aeons OUll} FE ie | 6FI | && ZL 2219 | 9 G | OOF | €§ | 6 ¢ | oF i 4y|6 | 0g ST | 1g cP | 9¢ 82 | & GGald, <a ren Cl ean orn carey eee lea oul!) $-Z | —UI OINSOUT SILT —_ — —_ = u i! — GYNsvan LSuIt JO WHLAHU— 9 ATavy Pia ope fool ae errs eect eg beeen @ feeceeed gg feeeeeeb on [eee] or frecece] og freee) gg [ccc] tg [rece] gg [occccecccccccccccecececeseeo ees ppqog. see eee GFL ee eee re ed ee ee - ne ee ee! - ee GF So rnise cnr wises ests SULMO UE Peduosmen tT, Lg Gila asta es tOGon || Penne io a ssa ‘er |e jor.|t ja |e \er jerler | ze] oe -| et} e¢ | sz |'-* ‘emsvout Jo syed poyueoowun uo Suruulzeg &9 681 | 49 FI | 09 y | £8 L |00r | | &¢ % | 06 6 | 68 LT | 19 LT | 8¢ TS | 7d 88 | £7 (S| ec ainsBeul JO sjred poyuesoe wo SuTUUTZeg re | eee —— — SS ee ee ee ——. |§ ——_—__ | ——— | | —————— |_| jue}. “100 |... _| “4190 | , +100 | . “190 | . *yu90 |. "7190 |. +199 +7190 |. +7900 *yu90 *yU190 | . wog | ON | gog | ON! gog |ON| gog | ON! gog |ON) gog |'ON| gag |ON| gag | ON) gog |ON| gag | ON) gag | ON] gag | ON sa 3 3 3 3 3 jo SYI3 YIM | = sBu0s s3u0s s3uos s3u0s af : 18) 0, dl queUIUIe} | po}ooMUOD| + 9ouep eouep eouep eues iyo ai ee a . are oy} | ssuo0g odig Zuiss0q | S,ueUtO MA | UISedD0;T v 10} sdu0g
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SISXTIVNY OINHLAHYA
29
II
CHIPPEWA MUSIC
DENSMORE |
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[BULL. 53
BUREAU OF AMERICAN ETHNOLOGY
30
I Ps eee Tn ee ee ee Eee am eee ee Ce ee ere eee rrr 69 gs 6 ee en ee ee Zz I I c ee ee a ae ae | 09 ee es I ce cecececefec scree ee efeee estes cele ee eee ee ee] ere ee eee lentes ese ee|eee seers eel ecer ert eeleweerereeeleeeereeeee| y Peper tet etter eres ee eer er ec res eres ests tge pet oe z wesc recece|ecseeeeeeleee eet eeee|eee ese re ee eect eer eeeleeeeeecees|eeeeeeeerel 7 seeeercre[eeeeeee ened 7 Feet etter ects teeceeeee rece tereteceresestg@ De nce eens z ce ceeeteee|ee cece ee elec eect eee elee cess cece] se eeeeee eel ee rece eee elee sere rere! g setereteceleececeeeee[eee ects ee e|ee reese ee ee eee eeeer seer ee reres scree ees sge eecaes stood I Pree Coleen Cee Cee Pere Cee oi re retteeteleneecetecefee seer ee elec cee g erect eee e ee reece ete e eens eerie ge Satis ae I ce teceteeelee cece cee e|ee cece ee elec cece eee eee eect eee efee eect eee elee tense cafes eee e eee eleeeeee eee eleeeeeere eel 7 vote cette terre rere ces eee eer ee eee ece sop “yua0 Jeg | JequInN WerIprTyo syi3
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31
CHIPPEWA MUSIC—II
DENSMORE]
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[ BULL.
BUREAU OF AMERICAN ETHNOLOGY
32
*qUe0 Jag
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338
‘CHIPPEWA MUSIC—II
DENSMORE]
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34 BUREAU OF AMERICAN ETHNOLOGY [BULL, 52 Group ANALYSIS OF 340 Sones
One purpose of the following analysis is to determine whether there is any evidence of connection between the motive which prompts the singing of a song and the form assumed by the song. For this test the origin and use of the song will be considered. The songs most nearly related in origin are the Mide’, the dream, and the war songs, as many songs said to have been ‘‘ composed in dreams”’ were used in the ceremonies and practices of the Mide’ and also on the warpath. The songs classified as ‘dream songs” were given as such by the singers. No special use was assigned them, and they were probably used by individuals in dances until they gradually became general throughout the tribe, usually after the death of the composers.
Fic. 1. Mide’ rattle.
GRAND MEDICINE SONGS (MIDE’ NA’GUMOWI’NUN)
This group comprises Nos. 1-90 in Bulletin 45, and Nos. 154, 155, 156, 174, 175, of the present work. The Mide’wiwin (Grand Medicine) was the embodiment of the native religion of the Chippewa and has many adherents at the present time (1912), new members being admitted and others advanced to higher degrees in the order. Many characteristics of the Mide’ songs are given in Bulletin 45 (pp. 14-20). The musical instruments accompanying the songs are described on pages 11-12, and illustrated in plates 1 and 2, of that work. The Mide’ rattles shown in Bulletin 45 are of wood, with sewed covers of “untanned hide. In figure 1 above is shown a similar rattle, but made entirely of wood, which formerly belonged to a prominent member of the Mide’wiwin at Waba’cifig (see p. 251). The principal classes of the Mide’ songs are those of the initiation ceremony and those con-
DENSMORE] CHIPPEWA MUSIC—II aD
nected with special ‘‘medicines.”’ The latter are sung by members of the Mide’wiwin in connection with the use of medicines for the curing of the sick or the working of charms, and also in the dances which follow the meetings of members, either for a feast or an initia- tion. Throughout these songs the element of affirmation is very strong; indeed, many have a triumphant tone. The idea underlying them all is the securing of a definite result through supernatural power, the music being an indispensable factor. In the initiation the desired end was the transference of ‘spirit power” to the candidate by the men and women who were initiating him, also the renewal of the same power in the members of the order who witnessed the ceremony, and the prolonging of their lives to old age. In the songs connected with special “medicines” the purpose to be accomplished was the healing of the sick and the producing of a certain effect on one or more per- sons, as in the use of various ‘charms.’ Thus it is seen that this purpose was usually objective, the effect on the singer being only secondary, that the means of securing benefit was supernatural, and that the singer had full confidence in its bestowal as well as in its efficacy.
In the first table of analysis it is noted that 72 per cent of the Mide’ songs are major in tonality, this proportion being the same as in the songs of the begging dance, and exceeded only by the group of dream songs, which contains 76 per cent of major songs. The propor- tion of songs beginning on the dominant (either the twelfth or the- fifth) is 70 per cent, the largest of any except the begging dance songs, which contain 71 per cent, the dream, the love, and the moccasin game songs ranging from 52 to 56 per cent. Of songs beginning on the octave, however, the Mide’ songs contain only 12 per cent, which is less than the proportion of most groups, and about half that of the dream and the war songs. Sixty-three per cent end on the tonic, six groups showing a larger proportion. The feeling for the dominant is again made evident in the compass of the songs, 50 per cent having a range of either 12 or 5 tones, which is much larger than in any other group. In songs having a range of an octave, however, the Mide’ songs show only 22 per cent, while the love songs contain 37 per cent and the pipe dance songs 67 per cent
In tone material the Mide’ songs are below most other groups in the number of songs on the five-toned scales, showing only 33 per cent, while other groups range from 39 to 51 per cent. The Mide’ songs show the largest percentage, with one exception, in the songs having the octave complete except the seventh, namely, 14 per cent of the number, the allied groups being the war songs with 13 per cent, and the begging dance songs, which show 28 per cent. In purely melodic structure this group contains 77 per cent, a larger percentage than any
36 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
other except the love songs, woman’s dance songs, and songs for the entertainment of children. The proportion of songs having the first progression a downward interval is 88 per cent, which is much larger than in any other group. The percentage of downward progression in the entire group of songs is the same as in the begging dance songs and larger than in any other group. In the number of descending minor thirds this group 1s exceeded only by the dream songs, and in the ascending minor thirds by the dream and the war songs. The average interval is the same as in the begging dance songs, being 2.9 semitones, the average of the entire series being 3.1 semitones, or a tenth of a semitone more than a minor third. This group is lowest of all in songs beginning on the accented part of the measure, and lower than most groups in songs beginning in 2-4 or 3-4 time.
The drum-rhythm of all these songs is a rapid, unaccented beat which occurs in no other group except the war songs. The proportion of songs containing a rhythmic unit is larger in this than in any other group. Table 22 shows the percentage of songs in which the drum is faster than the voice to be larger in this than in any other group except the dream and the moccasin game songs, the former being 1 per cent and the latter 31 per cent greater.
Here, then, is a group of songs known to be used as a means for accomplishing a purpose, namely, the securing of a definite effect, usually on a person other than the singer, by supernatural power; and the characteristics of this group are found to resemble the beg- ging dance songs more frequently than they do any other group. A prevailing major tonality is noted, and the feeling for the dominant is more marked than for the tonic; the songs open with less directness of ‘‘attack” than others, but contain a rhythmic unit more frequently than other groups. The expression is freely melodic, downward in trend, and is characterized by the interval of the minor third. A drumbeat faster than the metric unit of the voice is noted in songs of controlled excitement, and 51 per cent of these songs show this peculiarity. This is evident also in the moccasin game songs, and is found in war song No. 30.
In the Mide’ songs are found peculiarities which may be connected with the motive and the mental state of the singer: (1) The rhythmic unit suggesting a definite, crystalized idea; (2) the major tonality, a confidence in securing the desired end; (3) a preference for the dominant, the unaccented initial tone, and the freely melodic form, all suggesting an indirect approach; and (4) the rapid drumbeat which is, in many instances, associated with controlled excitement.
For the rhythmic units of the Mide’ songs see pages 309-313.
DENSMORE] CHIPPEWA MUSIC—I. 37 DREAM SONGS (INA/BUNDJIGAN’ NA’/GUMOWI’NON)!
This group comprises Nos. 108-121 of Bulletin 45 and Nos. 94-104 and 128-153 of the present work. The songs in this group are not composed (in the usual sense of the term) but are said to have ‘‘come to the mind of the Indian when he was in a dream.”’ We can not fully understand this dream or trance of the Indian; we can only accept his statement that by isolation and fasting he was able to induce a certain condition in which he ‘“‘saw a vision” and ‘‘ composed asong.”’ In the belief of the Indian fasting is a condition essential to certain classes of musical composition. It is a well-known fact that in a condition of inanition the brain enters on a phase of abnormal activity akin to that produced by narcotic stimulants. The com- position of songs during or immediately following an abnormal mental state has been noted among other Indian tribes. Thus, for instance, Mr. James Mooney states that ‘‘persons taking part in the ghost dance voluntarily sought the trance condition, and on emerging from that condition frequently embodied the story of their vision in a song.”’
In some instances the Chippewa stated that they sang songs heard in their dreams; thus in the description of No. 112, Bulletin 45, the man said that he ‘‘sang a song which he heard the trees singing,’ and in No. 119, in the same bulletin, he ‘“‘repeated the song which the crows sang.’”’ Nos. 94-99 of the present work are supposed to be the ‘‘songs”’ of the thunderbird, the deer, and the buffalo, which the man saw in his dream. Nos. 1, 102, 103, and 104 of the present work are said to have been learned from manido’, which appeared in human form to the dreamer. Mention of the manifestations of nature occur in many dream songs; these are considered on page 16.
It is noted that 16 per cent of the dream songs relate to flight through the air. The sensation of aviation in dreams, due to some disturbance of the nervous equilibrium, is not an uncommon phe- nomenon.
In the circumstances attending both the composition and the use of the dream songs the underlying idea was that of expectancy and acquirement. To the Indian a ‘‘vision” was more to be desired than any material thing. Through the vision he was assured of supernatural aid which would enable him to succeed in life, and the song was one of the means by which he summoned that aid in his hour of need. Considering this idea of acquirement, so closely associated with the dream songs, it is not surprising to find them, in analysis, allied to the woman’s dance songs and the songs con-
'The writer gratefully acknowledges the assistance of Dr. AleS’ Hrdli¢ka, curator of physical anthro- pology, United States National Museum, and of Mr. James Mooney of the Bureau of American Eth- nology, in studying the relation between physiological conditions and musical expression.
38 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
nected with gifts. One of the principal features of the woman’s dance is the presenting of gifts, an invitation to dance being accom- panied by a gift. Frequently these gifts are valuable articles, as ponies, rifles, and beaded garments, and the dancers wait with pleas- urable expectancy to know what presents will be bestowed on them.
At this dance the writer has often observed the interest with which the Indians watch a man who rises and walks across the dancing circle with an attractive gift in his hand. The feeling is expressed in song No. 177, Bulletin 45, which contains the words, ‘‘I have been waiting a long time for you to come over.’”’ There is some similarity between this and the mental state of the man who patiently awaits the coming of a supernatural visitant. The songs connected with gifts are sung at the social dances and are frequently interspersed with woman’s dance songs. If the ‘gift is so large as to require special celebration these gift songs are used. Some of them accompany the giving and some the receiving of the gift, but all concern an actual event and have not the element of expectancy associated with many of the woman’s dance songs.
Among the dream songs the proportion in major tonality is 4 per cent larger than in any other group, comprising 76 per cent, the songs of the Mide’ and of the begging dance each showing 72 per cent. This group is largest also in songs beginning on the twelfth, the group of love songs ranking next in this respect. The Mide’, however, contains the highest percentage of songs beginning on the dominant, comprising a large number of songs beginning on that interval but having a compass of less than 12 tones. The number of dream songs beginning on the octave is 1 per cent greater than in the Mide’ but less than half the proportion shown by the war songs. Further resemblance to the Mide’ is shown in the ending of the songs, 63 per cent ending on the tonic, as in the Mide’, though seven other groups show a larger percentage. Thirty-seven per cent of the songs have a compass of 12 tones, as in the Mide’, the highest proportion except in the woman’s dance songs, 40 per cent of which have this compass. In tone material this group shows a difference from the Mide’ and a similarity to certain other groups, 51 per cent of the songs being based on the five-toned scales while the Mide’ shows only 33 per cent based on these scales; the allied groups are the woman’s dance songs, the songs connected with gifts, and the songs for the enter- tainment of children, 50 per cent of each being on the five-toned scales. The proportion of songs containing only the tones of the major triad and: sixth is the largest except in the pipe dance, consti- tuting 26 per cent of the number. The proportion of songs con- taining the octave complete except the seventh is only 2 per cent, in contrast with 14 per cent in the Mide’. The dream songs differ
DENSMORE] CHIPPEWA MUSIC—II 39
widely in structure from the Mide’ songs, 49 per cent bemg harmonic and 16 per cent melodic with harmonic framework (a class in which many songs are harmonic except for one measure); thus, 65 per cent of the dream songs are harmonic in feeling, compared with 23 per cent in the Mide’ and 44 per cent in the war songs. In the proportion of songs beginning with a downward progression this group is next to the Mide’, 77 per cent beginning thus. In total number of down- ward progressions this group shows 66 per cent, the same as the woman’s dance songs and the songs connected with gifts. The pro- portion of minor thirds in both ascending and descending progression is much larger in this than in any other group. The average interval is the same as in the woman’s dance—3.1 semitones, this being also the average interval of the entire series. The beginnings of these songs are more direct than in the Mide’, 74 per cent beginning on the accented part of the measure, contrasted with 47 per cent in the Mide’, while the proportion of songs beginning in double time is larger than in either the Mide’ or the war songs, comprising 55 per cent of the number. The time is more variable in this than in any other group except the unclassified songs, 94 per cent of the songs containing a change of time. A triple drum-rhythm is found in 62 per cent, the same percentage as in the songs connected with gifts. A rhythmic unit occurs in a majority of the songs. Both voice and drum have in general a rapid metric unit; in 52 per cent the drum is faster than the voice, a larger proportion than in any except the moccasin game songs.
The structure of the dream songs is more centralized than that of the Mide’ songs, the harmonic form and the large percentage of songs on the five-toned scales referring the tones distinctly to a keynote. In a general sense it may be said that the Mide’ songs were used for the purpose of affecting persons other than the singers, while in the dream songs constituting this group (with the exception of the ‘“‘doctor’s songs”) the purpose was to secure an advantage more or less personal. The analysis shows that in some respects this group resembles the Mide’ songs and in other respects shows similarity to the songs of the woman’s dance and the songs connected with gifts. The dream songs are even more strongly marked by major tonality than are those of the Mide’, which ‘they resemble in the prominence of the dominant, but they are different from the Mide’ and allied to the songs of the woman’s dance and the songs connected with gifts, in the harmonic form, the proportion of songs on the five-toned scales, the proportion of upward and downward progressions, the average interval, the accented beginning, and the triple drum-rhythm.
The rhythmic units occurring in the dream songs are given on pages 514-317. ,
40 BUREAU OF AMERICAN ETHNOLOGY [punn, 53 WAR SONGS (MIGA’/DIWIN’ NA’GUMOWI’/NUN)
This group comprises Nos. 122-132 and 154-172 in Bulletin 45, and Nos. 1-50, 63-66, and 80-93 of the present work. On the war- path these songs were accompanied by a small drum (see pl. 7). At the dances in the viliage, preceding the departure and after the return of a war party, a large drum was used and the drummers were seated around it. In recent years the war songs are sung at the social dances of the tribe, accompanied by a drum similar to that used in the Drum-presentation Ceremony (see pl. 18), but, according to the writer’s observation, less elaborately decorated.
The war songs are of four kinds—-the dream songs of individual warriors, the songs concerning war charms and medicines (these two having a connection with the supernatural element), the songs of the conduct of the war expedition, and those which commemorated its success (the last having no supernatural element). It is said that “‘in the old days no warrior would have dared sing a war song that was not composed in a dream,” referring of course to the first two classes of . war songs. The third class includes the songs of the war messenger, the dog feast, and the departure of the war party, and the fourth class includes the songs which were composed by a returning war party or in the victory dances which followed a successful expedition. The boundaries between these classes of songs are not strongly marked, and this division should be understood therefore as general in character.
Fifty per cent of the war songs are major in tonality, the same proportion as in the songs for the entertammment of children. The proportion of war songs beginning on the octave is 27 per cent, the largest of any except the love songs. Seventy per cent of the songs end on the tonic, the same proportion as in the woman’s dance, but larger than in the Mide’ or in the dream songs. Seventy-six per cent of the songs have a compass of ten or more tones, being exceeded only by the dream and the moccasin game songs, which contain 77 per cent having that range. The percentage of songs on the five-toned scales is less than that of five other groups, but the proportion of songs containing the octave complete except the seventh is larger than in any other group except the Mide’ and the begging dance. The sixth lowered a semitone occurs more frequently in this than in any other group. The purely melodic songs comprise 56 per cent, and the allied class of melodic songs with harmonic framework comprise 25 per cent, showing the war songs to be largely melodic in structure, the proportion being exceeded only in the love songs, woman’s dance songs, and songs for the entertainment of children. In 66 per cent of the songs the first progression is downward. The number of intervals of a second is much above the average, showing freedom of melodic
DENSMORE] CHIPPEWA MUSIC—II Al
movement. The average interval is one-tenth of a semitone below the average interval of the entire series of songs. Fifty-one per cent of the songs begin in double time, but this is not steadily maintained, 66 per cent of the songs containing a change of time. The triple rhythm is said to be the drum-rhythm of the victory dance, com- monly known as the scalp dance; but this is found in only 35 per cent of the war songs, 42 per cent showing the even beats which characterize the Mide’ (see footnote, p. 10). Seventy-one per cent contain a rhythmic unit, the largest proportion except in the Mide’. The metric unit of the voice is rapid, and that of the drum is of medium rapidity; the drum is faster than the voice in only 44 per cent of the songs, the same proportion as in the begging dance and the woman’s dance, and much less than in the Mide’ and the dream songs.
The group of war songs is probably less homogeneous than any other, and its correspondences to other groups are diverse. The relation to the Mide’ songs seems stronger than any other, being both melodic and rhythmic; there is also a melodic correspondence with the dream songs, the relation to these two groups being attributable to the common element of communication with the supernatural. Both the Mide’ and war songs are principally melodic in structure, but the feeling is for the dominant in the former and for the tonic and its octave in the latter. Definiteness of idea and assurance of success are suggested by the prominence of the rhythmic unit and the major tonality. The correspondence with the woman’s dance may come from the fact that this dance was a favorite one during the periods of peace between the Chippewa and the Sioux. It was said to have been given to the Chippewa by the Sioux. The begging dance also was received from the Sioux, and with that group the war songs show both melodic and rhythmic correspondence. The relation to the moccasin game songs is only in the compass, which may be attributed to the element of excitement in both groups; this element does not affect, however, the tempo of the war songs or the relative speed of voice and drum, as it appears to do in the moccasin game songs. Regarded as a whole, the characteristics of the war songs are control, definiteness, and a strong centralization, the melody tones being referable to a keynote in a greater degree than in many other groups of songs.
The rhythmic units occurring in the war songs will be found on pages 318-325.
LOVE SONGS (SA’GIi/DIWIN’ NA’GbMOow!’NUN) This group comprises Nos. 133-141 and 163-167 of Bulletin 45 and Nos. 105-1138, 157-160, 170, 177, and 178 of the present work, the
“Jove-charm songs” of the Mide’ not being included. The love songs were unaccompanied by any instrument, but lovers frequently played
49 BUREAU OF AMERICAN ETHNOLOGY [BULL 53
on a musical instrument commonly called a flute, but similar in construction to a flageolet, being blown at the end instead of at the side! The instrument is called bibi’gwan. (See pl. 2.) This instru- ment was procured at Lac du Flambeau, from a middle-aged woman, who said it had belonged to her grandfather. It is 214 inches long and 14 inches in diameter. A test of the instrument shows its lowest tone to be about a quarter tone above G, second line, treble clef; in the octave above this the tones are clear, but in the second octave the instrument does not respond. It is worthy of note that the fourth produced by this instrument was less accurate than other intervals and that the seventh was very faulty and not a clear tone. Uncer- tain intonation on the fourth and seventh is noted in Bulletin 45, pages 4-5. The following melody, played on this instrument, was furnished by Rev. C. H. Beaulieu; it is said to be very old.
Fo aot ear roe
Attention is directed to the prominence of the subdominant, which has been found to characterize 11 per cent of the love songs (see No. 106).
The love songs of the Chippewa are plaintive in character, usually expressing sadness and disappomtment. Thirty of these songs have been recorded and only one of this number is inspired by happiness (No. 177). The words of seven are not transcribed. In most in- . stances the words, which are continuous throughout the melody, were not accurately repeated in the repetitions of the songs, but it has usually been possible to give a free translation indicating the char- acter of the words. Only one love song expresses a promise and one a request, six concern the departure of a lover, and five concern loss and longing. Two express jealousy and offense, two fickleness, and two relate to an attempt to drown disappointment in drink. It has been already stated that the words of the love songs are some- times impromptu, and that new words are sometimes fitted to old tunes, the general idea remaining the same. Expression by means of a combination of words and music is much more free in the love songs than in any other group, and they may be said to constitute a distinct phase of musical culture and practice.
Although these songs are indicative of an unhappy state of mind, 40 per cent of them are major in tonality. In this group the per- centage of songs beginning on the octave is larger than in-any other except the war songs. Eighty-six per cent begin on either the tonic, octave, or dominant, nearest to this being the songs of the begging dance, which show 85 per cent, and of the moccasin game, 84 per cent.
1Contributions to the History of Musical eats by Charles Kasson Wead, in Report U. S. National Museum, 1900, p. 426, Washington, 1902.
(4LN14 S:YSAO1) LE1IO3SDVI4
@ 3LV1d €S NILSTING ASOIONHL]A NVOIYAWYV JO NVAYNG
DENSMORE] CHIPPEWA MUSIC—ItI 48
The proportion of songs ending on either the tonic or dominant is 93 per cent, larger than in any other group except the pipe dance songs and the songs for the entertainment of children. Ninety-seven per cent of the love songs have a compass of an octave or more, and four songs have a range of 14 tones.
The love songs have the highest percentage among songs contain- ing all the tones of the octave, the begging dance songs ranking next; the omitted seventh, which characterizes the war songs, does not appear in this group, and the octave complete except the second occurs in 17 per cent of the number. The five-toned scales appear less fre- quently in this than in any other group. In accidentals the sixth is sharped more often than in any other group; the flat third, which we are accustomed to connect with the idea of sadness, does not appear, and the flatted sixth occurs only twice. Two songs have the third omitted, a peculiarity found to exist in several songs concerning women (see analysis of No. 53). Ninety-three per cent of the songs are purely melodic in structure, a proportion much higher than in any group except the woman’s dance (100 per cent), the group nearest it being the songs for the entertainment of children, which contains 87 per cent of melodic songs. Half the love songs begin with an upward and half with a downward progression, the proportion being the same in the woman’s dance, the gift songs, and the songs for the entertainment of children. The love songs, so eminently songs of sadness, contain a smaller percentage of minor thirds (in both ascend- ing and descending progression) than any other group. The pro- portion of ascending fifths is much larger than in any other group, and seven ascending intervals of a twelfth are found, showing, as in the preceding Tables, a strong feeling for the dominant. The aver- age interval is 3.4 semitones, the highest except in the moccasin game and the pipe dance songs, two classes comprising songs of a high degree of excitement, in which the average interval is 3.5. In contrast to this the metric unit of the voice is slow. The proportion of songs containing a change of time is much above the average, and most of the songs do not contain a rhythmic unit.
The interval of the twelfth is prominent, showing a feeling for the second overtone as in the Mide’; it will be recalled that the war songs show the first overtone, which is the octave. Completeness and free- dom of expression are suggested by the melodic form, the large com- pass, and the use of all the tones of the octave; an element of excite- ment by the largeness of the average interval, and an element of control by the slow metric unit, while a lack of definitely formed thought is suggested by the small percentage containing a rhythmic unit.
For the rhythmic units occurring in the love songs see pages 3259-327,
44 BUREAU OF AMERICAN ETHNOLOGY [puny 53
MOCCASIN GAME SONGS (MAKIZIN’ATA’DIWIN’ NA’GUMOWI’NUON)
This group comprises Nos. 142-145 and 168-176 of Bulletin 45, and Nos. 125, 126, 161-163, and 176 of the present work. It is said that in the old days most of the moccasin game songs were ‘‘com- posed in dreams” but only a few such are included in this series.
The instrument used to accompany these songs is a drum, speci- mens of which vary but little in size, provided usually with deerskin heads (see pl. 3).1. With this drum is used an ordinary short drum- stick the end of which is wound with cloth. Small pieces of tin are sometimes set in the frame of the moccasin game drum, to add a jingling effect.
In the analysis of these songs may be noted a large proportion in minor tonality, exceeded only by the songs of the woman’s dance and the songs connected with gifts. Eighty-four per cent begin on, and all end on, either the tonic or dominant. None of the songs have a compass of less than an octave, resembling in this respect the woman’s dance and the pipe dance songs. One-third of the songs are on the second five-toned scale, this being the largest proportion in the entire collection, the closest approximation being the woman’s dance songs. The several five-toned scales comprise 43 per cent of the entire num- ber, and apart from these the group presents a wide range of tone material. Only one song contains an accidental—the flat sixth. Forty-two per cent of the songs are harmonic in structure, the group beg exceeded in this respect only by the dream songs. The per- centage of descending minor thirds is below the average, notwith- standing so large a proportion of the songs is minor in tonality, this group resembling the love songs in this respect. The average interval, which is the same as in the pipe dance (3.5 semitones), is the largest in the entire series. Eighty-nine per cent of the moccasin game songs begin on the accented part of the measure, being exceeded in this respect only by the woman’s dance songs with 90 per cent, and by the pipe dance songs with 100 per cent. With the exception of the woman’s dance and the gift songs this group maintains the time throughout the song more steadily than any other group, a feature which is surprising in view of the excitement of the game. Thirty- three per cent of the songs contain a rhythmic unit, the percentage of songs in the entire series containing such unit being 62. In this the moccasin game songs are seen to be below the average, songs for
1 The instrument here illustrated was obtained at White Earth; it is said to be very old. The cover has been renewed from time to time, the design being duplicated on the new cover, as in the instance of Odjib’we’s war drum (p.62). The diameter of the drum shown in plate 3 is 183} inches, the thickness 2} inches. A single piece of deerskin forms both heads; this is sewed with strips of hide on which some of the hairremains. Inside the drum are three tightly stretched cords, each provided with small pegs tied atequal distances. At the writer’s request the former owner of the drum fastened a cord across an ordi- nary hoop (pl. 3) in the same manner as the cords are fastened inside the drum. The pegs are tied to the cord and before the cover of the drum is putin place the cord is twisted to increase the tension, permitting the pegs to vibrate against the deerskin,
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATES
MOCCASIN. GAME DRUM
The upper figure shows the arrangement of one of the three cords inside the drum together with the pegs fastened thercto.
DENSMORE] CHIPPEWA MUSIC—II 45
the entertainment of children (38 per cent having a rhythmic unit) ranking next. The rhythmic unit appears to represent a definitely formed thought and conveys that impression to the hearer. In this connection it will be noted that the chief concern of the moccasin game player is to give no clue to his thought, thus mentally eluding his opponents. A wide range is shown in the speed of both voice and drum, and in comparing the metric units of the two it is found that the drum is faster than the voice in 82 per cent of the songs, the per- centage for the entire series being only 46.
Thus the moccasin game songs constitute a group which in some phases of analysis shows itself allied to the groups of dance songs (the woman’s dance, the pipe dance, and the begging dance), though its songs were never used in dances. This resemblance is in the form of the song, not in the rhythm of the drum, which is peculiar to the moccasin game. It will be recalled that many dream songs and war songs were used in dances and that the phonograph records of those songs show a drum-rhythm similar to that of these three groups of dance songs, but many of the war songs and all the dream songs were essentially personal in character. The social element was strong in the moccasin game and in these three kinds of dances. The woman’s dance and the begging dance were open to all the men and women, and the pipe dance is said to have been ‘the principal good-time dance” of the old Chippewa. In similar if not greater degree a moccasin game was a center of interest in the camp; it is said that “the whole tribe” always gathered around the players, watching the game and betting on the result. Thus the social element may be said to be the point of contact between the moccasin game and the dance eroups. A resemblance to the love songs may be noted in the seeming discrepancy between the tonality and the character of the intervals. Perhaps it may be said that these two groups have in common a certain elusiveness and whimsical changeableness. Direct- ness is shown in the accented beginnings of the songs and their endings on the tonic, but this is contradicted by the small percentage of songs containing a rhythmic unit. The rhythm of the drum is the usual moccasin game rhythm (see No. 125).
The rhythmic units occurring in the moccasin game songs are given on pages 327-328.
WOMAN’S DANCE SONGS (IKWE’NIMIWIN’ NA’GUMOWI'NUN)
This group comprises Nos. 177-185 of Bulletin 45 and No. 164 of the present work.
The woman's dance is a social dance in which an invitation is usually accompanied by a gift. This dance is described in Bulletin 45 (p. 192) and is illustrated in plate 45 of the present work. The dance is said to have been acquired long ago from the Sioux, but the
46 BUREAU OF AMERICAN ETHNOLOGY [BULL 53
songs in this collection are supposed to have been composed by Chippewa. The drum used to accompany the woman’s dance is the large drum similar to that used in the Drum-presentation Ceremony but less elaborately decorated.
Seventy per cent of the woman’s songs are minor in tonality, this being the largest proportion of any group except the gift songs, which show 75 per cent. Half the songs begin on the dominant and one-fifth begin on the octave above the tonic. The proportion end- ing on the tonic exceeds the average of the series. Forty per cent have a range of an octave, and 40 per cent a range of a twelfth, this being the highest percentage in the group. Half the songs are on the five-toned scales, this proportion being the same as in the gift songs and in the songs for the entertainment of children. Only one song contains an accidental, and all the songs are purely melodic in structure, the love songs (93 per cent) being the nearest rivals in this respect. The upward and downward progressions are evenly divided, as in the love songs and in those for the entertainment of children. One-fourth of the intervals, in both ascending and descending pro-. gression, are minor thirds. It will be recalled that the moccasin game songs, with almost the same proportion of minor tonality, do not show so great prominence of minor thirds. The average interval is the same as the average for the entire series-—3.1 semitones, the same interval being shown by the dream songs. In definiteness of beginning these songs exceed all except the songs of the pipe dance, 90 per cent beginning on the accented part of the measure. Conti- nuity of measure-lengths is greater in this group than in any other, 40 per cent of the songs showing no change of time. The triple drum-rhythm occurs with all the songs. Considering the definiteness of beginning, the large proportion of songs ending on the tonic, and the steadily maintained length of the measures, it is surprising to’ find that the proportion of songs containing a rhythmic unit is the smallest except in songs of the moccasin game and for entertainment of children. The proportion of songs having the same metric unit of voice and drum is largest except in the pipe dance.
The rhythm of the woman’s dance songs is particularly “catchy” and pleasing, but the element of what might be termed intellectu- ality does not enter into this merrymaking, and perhaps this lack is one of the factors essential to the development of a song from a small group of tones. In tonality we note a correspondence with the gift songs and recall that gifts were an important feature of the woman’s dance. Simple pleasure allied this group to that of the pipe dance songs and the songs for the entertainment of children, and some cor- responding characteristics are shown by the analysis.
The rhythmic units occurring in the woman’s dance songs will be found on page 328,
pENSMoRE] CHIPPEWA MUSIC—II 47 BEGGING DANCE SONGS (BAGOSAN’NINGE’NIMIWIN’ NA’GUMOWiI'NUN)
This group comprises Nos. 187 and 188 of Bulletin 45. and Nos. 114-118 of the present work.
The begging dance, like the woman’s dance, is said to have been derived from the Sioux. In the writer’s observation of this dance among both Chippewa and Sioux the large drum is used; this is carried by two or three men as the begging party goes from tent to tent. This dance is described in Bulletin 45 (p. 171) and its tradi- tional origin is given on page 228 of the present work.
The percentage of these songs in major tonality is 72, the same as in the Mide’ and 4 per cent less than in the dream songs. Seventy- one per cent begin on the dominant, resembling the Mide’ songs, in which 70 per cent begin on the dominant. Fourteen per cent only begin on the tonic. The proportion of songs ending on the tonic is 24 per cent below the average (see Tables 2 and 3), indicating a slight feeling for the keynote. The percentage of songs beginning on the ninth is almost double that in any other group. The ninth is usually a tone of approach to the octave. The number of songs on the five-toned scales and the number with the octave complete except the seventh are equal. Only one song contains an accidental, and 72 per cent are purely melodic in structure, this being 6 per cent above the average. The percentage of downward progression is 67, the same as in the Mide’, and the largest in the entire series. The percentage of ascending fourths is the largest in the series except in the pipe dance. This interval has been found to characterize songs concerning motion; it is considered in the analysis of song No. 22. The average interval of this group is the same as in the Mide’, and is the smallest in the entire series except in the songs connected with gifts. The percentage of songs beginning in double time is the largest except in the pipe dance and the songs for the entertainment of chil- dren, and the time is more steadily maintained than in any except these groups and the unclassified songs. A small proportion of these songs contains a rhythmic unit, the related groups being the woman’s dance and the songs for the entertainment of children. The num- ber of songs having the same metric unit of voice and drum ‘is the same as the number in which the drum is faster than the voice.
In the analysis of the Mide’ songs a similarity between that group and the songs of the begging dance was noted and some corre- spondence of motive was traced. In the analysis of the begging dance songs are found similarities to the songs of the pipe dance and the woman’s dance, the songs for the entertainment of children, and the songs connected with gifts; and some similarity of motive also can be traced between these groups. The purpose of the begging dance was, of course, the securing of gifts, Underlying the other
48 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
three classes of songs is a strong element of pleasure and simple amusement. The woman’s dance, with its exchange of gifts, is greatly enjoyed by the Chippewa, much interest surrounding the ‘‘return present,” as everyone who is given a present is expected to return one of equal value. The pipe dance is a ludicrous pantomime, and the songs for the entertainment of children usually end in laughter. The element of pleasure is equally strong in the begging dance. The writer has seen a merry party going from tent to tent, singing the begging dance songs. This dance forms the great recrea- tion in a camp. There is the discomfiture of the people who are not prepared with proper gifts of food (the recollection comes to the writer of a woman running after a begging dance party with a pail of maple sugar which she could not find when they were at her tent), and there is the pleasure of forcing people to give who are not disposed to be generous. Added to these factors is the delightful uncertainty as to the nature of the food to. be bestowed and the pleasant anticipa- tion of the varied feast to follow. No one acquainted with a Chippewa or a Sioux camp would be surprised at the resemblances shown in this analysis.
The rhythmic units of the begging dance songs are given on page 329.
PIPE DANCE SONGS (OPWA’GUNINI’MININ NA’GUMOWI’NUN)
This group comprises Nos. 171, 172, and 173 of the present work.
The pipe dance was performed solely for the merriment of the tribe. Tn its original form it passed out of existence long ago and only a few of its songs remain. ‘The number of songs in this group is so small that the percentages are less significant than in other groups, but some general characteristics of the songs are shown by their analysis.
Most of the songs are major in tonality and begin on the third, but all end on the tonic. One song has a range of but four tones, the only one having a similar range being a dream song. The major triad forms the framework of two-thirds of the songs, none contain an accidental, two-thirds are purely melodic, and the downward progressions are much greater in number than the upward. The average interval is the same as in the moccasin game songs and the element of excitement was probably almost as great in one as in the other. All the songs begin on the accented part of the measure, all begin in double time, and all show a change of time. Two-thirds of the songs contain a rhythmic unit. Considering the element of excitement in the dance, it is surprising to find the metric unit of - voice and drum the same in all the songs, none of the other groups showing a percentage of more than 56. This can scarcely be regarded as an original feature of the pipe dance music, but may suggest the mental attitude of the Indian at the present time.
For the rhythmic units occurring in these songs see page 329.
DENSMORE] CHIPPEWA MUSIC—II 49
SONGS CONNECTED WITH GIFTS (mI’/GINE, MA/MOYA’NE, NA/GUMOWI'NUN)
This group comprises Nos. 151-153 and 189-191 in Bulletin 45, and Nos. 123, 124 of the present work. These are the songs which accompany gifts, usually the gift of a pony, and are sung by the recipient or giver, together with the singers at the drum. The songs are used in the social dances. Three-fourths of the songs are minor in tonality, and one begins in major tonality but changes to minor by lowering the third and sixth a semitone, the keynote remaining the same. Half of these songs begin on the keynote, and half end on the tonic. Eighty-eight per cent of them have a compass of an octave or more, the allied groups being the moccasin game, woman’s dance, and begging dance. Half the songs are on the five-toned scales, as in the woman’s dance and the songs for the entertainment of children, and all contain the tonic triad. Only one song contains an accidental and in this the second is lowered a semitone. Sixty-two per’cent of the songs are purely melodic in structure. Half begin with a down- ward progression, the same proportion occurring in the songs of the woman’s dance and the songs for the entertainment of children. The minor third constitutes more than one-fourth of the intervals in both ascending and descending progression. The average interval is the smallest in the entire series, being only 2.2 semitones. Eighty-seven per cent of the songs begin on the accented part of the measure, a proportion exceeded only by the songs of the moccasin game, the woman’s dance, and the pipe dance. Sixty-three per cent begin in 2—4 time and contain a change of time. The drum-rhythm is that of the social dance. . The percentage of songs containing a rhythmic unit is the same as that of the entire series. In half the songs the metric unit of voice and drum is the same, and in half the voice is faster than the drum.
The rhythmic units occurring in these songs are given on pages 329-330. :
SONGS FOR THE ENTERTAINMENT OF CHILDREN (A’DIZO/KE NA’GUMOWL NUN)
This group comprises Nos. 149 and 197 in Bulletin 45 and Nos. 51-53, 127, 179, and 180 of the present work. Nos. 149 of Bulletin 45 and No. 127 in this volume represent different versions of the same song, recorded on widely separated reservations, which present some differences on analysis. It will be noted that, with the excep- tion of the lullaby, all these songs are characterized by a marked sense of humor and usually mimic the interests and occupations of the tribe.
Half these songs are major and half are minor in tonality; half begin on the tonic and three-fourths end on the tonic. Two songs
67996°—Bull. 53—13——4
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are on the fifth five-toned scale and two on the fourth five-toned scale, these comprising half the group. From two of the songs the third is omitted (see analysis of No. 53). None of these songs con- tain an accidental and 87 per cent are purely melodic in structure, Half begin with a downward and half with an upward progression. The minor third is especially prominent in the descending intervals. The average interval is the same as in the war songs, and we note that three of these songs are concerned with a child’s game of war and one with war between animals. Half the songs begin on the accented and half on the unaccented part of the measure. Three- fourths begin in 2-4 time and the percentage of songs marked by a change of time is the largest except in the dream songs, the pipe dance songs, and the unclassified songs. Sixty-two per cent contam no rhythmic unit, this proportion being exceeded only in the moc- casin game songs. In the rendering of these songs, as well as in those of the moccasin game, a high degree of excitement prevails. Most of the songs were recorded without the drum; in one song drum and voice show the same metric unit, while in another the drum is slower than the voice.
The rhythmic units occurring in these songs will be found on
page 330. UNCLASSIFIED SONGS
This group comprises the following songs: Nos. 146, 147, 148, 150, 186, and 192-196 in Bulletin 45, and Nos. 67, 68, 119-122, 165-169 of the present work. These songs present a wide variety of inter- est, including songs of the ca’wtino’ga (southern) dance, the divorce ceremony, the friendly visit of one band to another, and a ‘song concerning an historical incident. As the topics of the songs are so diverse it does not seem expedient to consider the group as a unit. The rhythmic units found in the songs are, however, of interest (see pp. 330-332). '
MELODIC AND RHYTHMIC RESEMBLANCES BETWEEN SONG GROUPS (BASED ON TABLES 1-22)
The preceding analysis suggests connection between the idea of the song and its musical form, and also indicates resemblance between groups of songs containing asomewhat similaridea. Tables (pp. 51-58) have been prepared in order that these resemblances may be more con- veniently observed. For instance, it will be noted that the Mide’ songs resemble the begging dance songs, the idea common to both bemg desire for acquirement, in the former for the acquirement of super- natural power and in the latter for gifts of food. Turning to the analysis of the begging dance songs, they are found to be allied to the three groups of songs in which the element of pleasure is strongest— the songs of the woman’s dance, the pipe dance, and those for the
DENSMORE] CHIPPEWA MUSIC—II 51
entertainment of children, the begging dance combining the idea of acquirement with that of pleasure. It may be noted also that the begging dance and the pipe dance songs have in common a large proportion of intervals of the ascending fourth, which have been found to characterize songs concerning motion (see No. 22), and it is recalled that the persons engaged in the begging dance made the circuit of the entire camp and that the pipe dance was a contortion dance. Turning to the analysis of the songs for the entertainment of children, we find that group allied to the pleasure songs and also to the war songs, and recall that one-half the songs of this group relate to mimic warfare or warfare between animals.
From further study of structural resemblances between groups of Indian songs it may be possible to ascertain whether a rhythmic unit is usually found in songs of definitely formed thought, whether a feeling for the tonic and its octave is strongest in subjective songs, and to throw light on other peculiarities suggested as subjects of more extended investigation by this comparative analysis of the content and form of Chippewa songs.
TABULATED ANALYSIS OF RESEMBLANCES
1. MIDE’ SONGS
General motive of songs: The securing of a definite result through supernatural power, the person affected being usually some one other than the singer.
Melodic resemblances of Mide’ songs to— Dream Songs a, In major tonality b, In proportion of songs beginning on octave c, In proportion of songs ending en tonic d, In compass of twelfth e, In first progression downward Love Songs In purely melodic structure Woman’s Dance Songs In purely melodic structure Begging Dance Songs a, In major tonality b, In proportion of songs beginning on dominant c, In proportion of songs containing octave complete except seventh d, In proportion of downward progressions e, In average interval Songs for the Entertainment of Children In purely melodic structure
ot ~]
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Rhythmic resemblances of Mide’ songs to— Dream Songs In proportion of songs in which drum is faster than voice Certain kinds of War Songs In double drum-rhythm Moccasin Game Songs In proportion of songs in which drum is faster than voice
2. DREAM SONGS
General motive of songs: The securing of supernatural aid in per- | sonal undertakings.
Melodic resemblances of dream songs to— Mide’ Songs a, In major tonality b, In proportion of songs beginning on octave c, In proportion of songs ending on tonic d, In compass of twelfth e, In first progression downward Love Songs In proportion beginning on twelfth Moccasin Game Songs In harmonic structure Woman’s Dance Songs a, In five-toned scales b, In compass of twelfth c, In proportion of downward progressions d, In average interval Begging Dance Songs In major tonality Pipe Dance Songs a, In proportion containing major triad and sixth b, In songs having compass of four tones Songs Connected with Gifts In five-toned scales Songs for the Entertainment of Children a, In five-toned scales b, In proportion of downward progressions
Rhythmic resemblances of dream songs to—- Mide’ Songs In proportion of songs in which drum is faster than voice Songs Connected with Gifts In triple drum-rhythm
DENSMORB] CHIPPEWA MUSIC—II 53 3. WAR SONGS
General character of songs: (1) Dream songs of individual warriors; (2) Songs concerning war medicines; (3) Songs incidental to a war expedition; (4) Songs concerning success on the warpath.
Melodic resemblances of war songs to— Mide’ Songs In proportion of songs containing octave complete except seventh Dream Songs In compass Love Songs a, In proportion of songs beginning on octave b, In melodic structure Moccasin Game Songs In compass Woman’s Dance Songs a, In proportion of songs ending on tonic b, In melodic structure Songs for the Entertainment of Children a, In equal major and minor tonality b, In melodic structure
Rhythmic resemblances of war songs to— Mide’ Songs In double drum-rhythm (of certain classes of war songs) Begging Dance Songs In proportion having drum faster than voice
4. LOVE SONGS
General character of songs: The expression of disappointment, loneli- ness, and sadness.
Melodic resemblances of love songs to— Mide’ Songs In melodic structure Dream Songs In proportion of songs beginning on twelfth War Songs a, In proportion of songs beginning on octave b, In melodie structure Moccasin Game Songs a, In proportion of songs beginning on tonic, octave, or dominant b, In average interval
54 BUREAU OF AMERICAN ETHNOLOGY [BULL 53
Melodic resemblances of love songs to— Woman’s Dance Songs a, In relative proportion of downward and upward pro- eressions b, In melodic structure Begging Dance Songs a, In proportion of songs beginning on tonic, octave, or dominant b, In compass of an octave Pipe Dance Songs a, In proportion of songs ending on tonic or dominant b, In average interval Songs Connected with Gifts In relative number of downward and upward progressions Songs for the Entertainment of Children a, In proportion of songs ending on tonic or dominant b, In relative proportion of downward and upward progres- sions
Rhythmic resemblances of love songs to— Begging Dance Songs In change of time Songs for the Entertainment of Children In change of time
5. MOCCASIN GAME SONGS
Elements in moccasin game: Controlled excitement, desire for suc- cess and gain, pleasure, and confidence in supernatural aid.
Melodic resemblances of moccasin game songs to— Dream Songs In harmonic structure Love Songs In number of songs beginning on tonic, octave, or dominant Woman’s Dance Songs ~ a, In minor tonality b, In second five-toned scale c, In compass Pipe Dance Songs In average interval Songs Connected with Gifts In minor tonality
DENSMoRE] CHIPPEWA MUSIC—II 55
Rhythmic resemblances of moccasin game songs to— Mide’ Songs In proportion of songs in which drum is faster than voice Woman’s Dance Songs a, In proportion of songs beginning on accented part of measure b, In time steadily maintainéd Pipe Dance Songs In number of songs beginning on accented part of measure Songs Connected with Gifts In time steadily maintained Songs for the Entertainment of Children In rhythmic unit
*
6. WOMAN’S DANCE SONGS
Elements in the dance: Pleasure and securing the gifts offered with the invitation to dance.
Melodic resemblances of woman’s dance songs to— Mide’ Songs In melodic structure Dream Songs a, In five-toned scales b, In compass of twelfth ¢, In proportion of downward progressions d, In average interval Love Songs a, In melodic structure b, In proportion of downward and upward progressions Songs Connected with Gifts a, In minor tonality b, In five-toned scales c, Inrelative number of downward and upward progressions Songs for the Entertainment of Children a, In five-toned scales b, In proportion of downward and upward progressions
Rhythmic resemblances of woman’s dance songs to— Moccasin Game Songs In time steadily maintained Pipe Dance Songs . In number of songs beginning on accented part of measure Songs Connected with Gifts In time steadily maintained Songs for the Entertainment of Children In rhythmic unit
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A 7. BEGGING DANCE SONGS
_ Elements in the dance: Pleasure and acquirement.
Melodic resemblances of begging dance songs to— Mide’ Songs a, In major tonality 6, In proportion of songs beginning on dominant c, In proportion of songs containing octave complete except seventh d, In proportion of downward progressions e, In average interval Dream Songs In major tonality Love Songs In proportion of songs beginning on tonic, octave, or dominant Pipe Dance Songs In number of ascending fourths
Rhythmic resemblances of begging dance songs to— Woman’s Dance Songs In rhythmic unit Songs for the Entertainment of Children a, In proportion of songs beginning in double time b, Inrhythmic unit
8. PIPE DANCE SONGS
Elements wn the dance: Ludicrous pantomime and contortion.
Melodic resemblances of pipe dance songs to—
Dream Songs a, In proportion of songs containing major triad and sixth
b, In songs having compass of four tones Love Songs a, In proportion of songs ending on tonic or dominant b, In average interval Moccasin Game Songs In average interval
Rhythmic resemblances of pipe dance songs to— Moccasin Game Songs In proportion of songs beginning on accented part of measure Woman’s Dance Songs In proportion of songs beginning on accented part of measure .
DENSMORE] CHIPPEWA MUSsIC—II 57 9. SONGS CONNECTED WITH GIFTS
Comprising songs which are sung when a gift of considerable value is given or received at a social dance.
Melodic resemblances of songs connected with gifts to— Dream Songs In five-toned scales Love Songs In proportion of downward and upward progressions Moccasin Game Songs In minor tonality Woman’s Dance Songs a, In minor tonality b, In five-toned scales c, In proportion of downward and upward progressions
Rhythmic resemblances of songs connected with gifts to— Dream Songs In triple drum-rhythm Moccasin Game Songs In time steadily maintained Woman’s Dance Songs In time steadily maintained
10. SONGS FOR THE ENTERTAINMENT OF CHILDREN
Comprising songs of mimic warfare and of warfare between ani- mals—two songs intended only for amusement, and one lullaby.
Melodic resemblances of songs for the entertainment of children to— Mide’ Songs In melodic structure Dream Songs a, In five-toned scales b, In proportion of downward progressions War Songs a, In equal major and minor tonality b, In melodic structure Love Songs a, In proportion of songs ending on tonic or dominant b, In melodic structure c, In proportion of downward and upward progressions Woman’s Dance Songs a, In five-toned scales 6, In proportion of downward and upward progressions
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Rhythmic resemblances of songs for the entertainment of children to— Love Songs In change of time Moccasin Game Songs In rhythmic unit Woman’s Dance Songs In rhythmic unit Begging Dance Songs a, In proportion of songs beginning in double time 6, In rhythmic unit
—_— oo
WAR SONGS OF THE MISSISSIPPI BAND OF CHIPPEWA
Odjib’we (pl. 1),' the last great warrior of the Mississippi Band of Chippewa in Minnesota, sang the songs which were associated with his own expeditions, related the story of his war parties, and described the war customs of his people, so that the white man might know about them when the last warrior of the Chippewa should have been forgotten. These songs and narratives constitute the greater part of the following chapter.
At the age of 89 Odjib’we still possessed a voice of unusual strength and sweetness. The first phonographic records of his songs were made in August, 1909. A second set of records was made two weeks later for purposes of comparison, the songs being accurately repeated. At the expiration of several months the entire material was translated into Chippewa for revision by Odjib’we, some new songs were added, and many were sung or recorded a third time. In these repetitions it was noted that certain tones which were shortened or prolonged in the original rendition were similarly shortened or prolonged; also, that a slight sharping or flatting of certain tones was repeated. The records occasionally vary in unimportant melody progressions or in note-values which do not affect the length of the measure, and a few songs show changes in words, Odjib’we stating that it is permissible to alter the words, but that the ‘‘tune”’ and the meaning of the words must not be changed.* The original record of a song was not played when securing a repetition, hence the identity of the renditions shows how clearly the melody was retained in the mind of the singer.
1 The name of this warrior is identical with the name of the tribe, the word being applied also to a member of the tribe (singular Odjib’we, plural Odjib’weg). The corrupted form ‘‘Chippewa,’’ the only form which seems to have been used in Government publications, has never been adopted by the Indians. Many variants of this name were used by early writers, among those cited being, Achipoés (Perrot, 1671), Ochipoy (York, 1700), Chepeways (Croghan, 1760), Tschipeway (Wrangell, 1839), and Otchipwe (Baraga, 1878). (See Handbook of American Indians, Bull. 30, B.A. E., pt. 1, pp. 280-281.) In the first volume of treaties published by the Government the form “‘Chippewa”’ appears. (See Indian Treaties and Laws and Regulations relating to Indian affairs, compiled and published under orders of the Department of War, Washington City, 1826.)
The meaning of the word Odjib’we (pronounced Ojib’way) has been a subject of much discussion. (See William H. Keating, in Narrative of an Expedition to the Source of St. Peter’s River, vol. 2, p. 151, Phila- delphia, 1824; Gov. Alexander Ramsey, in Report of Commissioner of Indian Affairs, Washington, 1850, p. 83; and William W. Warren, in History of the Ojibways, St. Paul, Minn., 1885, p. 36.) The derivation of the word from a root meaning “‘to pucker”’ is established, but the connection of the idea is a matter of dispute. The form of moccasin to which some have attributed the name is shown in plate 36. It is possible that the word Ojibway may have been derived from a place name in the country from which the tribe came many generations ago.
2 See description of song No. 37, p. 119.
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Truly Odjib’we was a musician as well as a warrior. More than 70 of his songs were recorded, and these were only part of the melodies at his command. In the long years of his blindness, passed in the Old People’s Home at White Earth Agency, Minnesota, he loved to sing. Several of his comrades were there also, and they loved to recall the days when the sweep of the prairie, from horizon to horizon, belonged to the Indian. Niski’gwfn (‘‘ruffled feathers”),' who fought beside him in the great struggle at Ca’gobéns’ village, was also there, and how good it was to talk over the old times! And Maif’gans (‘‘little wolf’), plate 9, was there, too. Although Maifi’- gans came from Mille Lac, he had lived at White Earth for almost a generation. He, too, loved the old ways and the old songs. Maifi’gans is a cripple, his feet having been frozen when he was a boy, yet he is remarkably active. He attributes his rugged strength to the constant use of a native remedy called the bi’jtkiwtick’ (‘‘cattle herb medicine’). This is a kind of medicine used by warriors in the old days, and Main’gans, as his contribution to the war chapter of Chippewa music, described this medicine for the writer, secured specimens of the herb, and sang the songs connected with its origin and use. On one occasion Niski’gwtiin was present when Odjib’we was recording songs and added to the collection his own dream song and one or two others. The songs of the mi’nistno’wick (‘island herb medicine”) were sung by Na’waji’bigo’kwe (‘‘ woman dwelling in the midst of the rocks’’), who well remembers when the herbs were dug to make this medicine for the departing warriors. Few persons on the White Earth Reservation are more skilled than she in the lore of native medicines. Personal reminiscences were given also by Meja’kigi’jig (see footnote, p. 83), Ma’djigi’jig (“moving sky”), and A’kiwén’zi (‘old man”’), all of whom took part in the wars against the Sioux, the two last named fighting under Odjib’we’s leadership. These persons furnished the material in this section.
Odjib’we died in April, 1911. Many of the songs herein preserved were known only to him. He stood alone, his preeminence unques- tioned by his tribe throughout northern Minnesota. His hand was never lifted against the white man, but when war was glory he led his people to victory over the Sioux. May he rest in peace.
The final battles in the hereditary warfare between the Chippewa and the Sioux were fought in central Minnesota. This warfare, which began before the tribes became known to the whites, had its origin at the time of the westward migration of the Chippewa (Ojibwa), who found their progress barred by the Dakota, a Siouan tribe. The conflict continued with intervals of peace until brought to an end by the removal of the Minnesota Sioux by the United States Government.
1 See pp. 77-79.
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BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 4
HOLE-IN-THE-DAY
DENSMORE] CHIPPEWA MUSIC—II 61
On August 19, 1825, a treaty was negotiated at Prairie du Chien, Michigan Territory,t in which the Chippewa and the Sioux agreed on a line of demarkation between their territories. This line (sur- veyed in 1835) extended diagonally across what is now the State of Minnesota from near the site of the present town of Moorhead to a point on the Saint Croix River a few miles above Stillwater? In spite of the agreement, however, the war parties of both tribes continued to range