Z 51 U6X CRLSSI \ << « \ XX « \ ANS AY AK MY \\\ AK AY WX \\ WY \ < \ RAY SY ~ MINA QGKY A IY \ \ \ SNS SS OSA WYAY 5 ~ lo << a Nay \\ ~~ ak ae IK Viv RQKKC WR AA WX QI See LQ _ SY ry » 7+ La Ray) » are > ee a 1 = BULLETIN 165 PLATE 1 BUREAU OF AMERICAN ETHNOLOGY ‘WuNF{ WoeqiiM Aq paiejsues} pue zayoueg dipyg Aq 8uns a1am s3uog -ewooy “unzey Aiuayzy BUOSV “JUNEY "A VUE “SIP SeUOOy uNFT plempy fewooy ‘unzy ioqyiA\ {ueyut ue se eurooy 1 poidope pur ojqong vuy eiueg Iv uso “Zayoueg dytyg 1314 07 WaT *SYURUIIOFUT pur JoZuIs BIUOOY ‘ PEROY (SHEER EH EREEMER EEN Cee EwE % ‘ ete ’ SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 165 MUSIC OF ACOMA, ISLETA, COCHITI AND ZUNI PUEBLOS By . FRANCES DENSMORE UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1957 pa a ee ee ees | ' See For sale by the Superintendent of Documents, U. S. Government Printing Office Washington 25,D.C. - Price 70 cents LETTER OF TRANSMITTAL SMITHSONIAN INSTITUTION, Bureau or AMERICAN ETHNOLOGY, Washington, D. C., March 1, 1956. Str: I have the honor to transmit herewith a manuscript entitled “Music of Acoma, Isleta, Cochiti, and Zufii Pueblos,” by Frances Densmore, and to recommend that it be published as a bulletin of the Bureau of American Ethnology. Very respectfully yours, M. W. Sriruine, Director. Dr. LEonarp CARMICHAEL, Secretary, Smithsonian Institution. FOREWORD The songs of Pueblo Indians here presented were recorded in 1928, 1930, and 1940, additional translation and information being obtained in 1931 and 1939. The work is essentially musical and the descrip- tions of various customs are intended as a background for the songs. These descriptions are presented as nearly as possible in the words of the informants. It was necessary to record Pueblo songs at a low altitude, and grateful acknowledgment is made of the courtesy of Dr. M. W. Stirling, director of the Bureau of American Ethnology, Smithsonian Institution, who made possible the securing of records of Acoma songs by members of that tribe who were in Washington, D.C. Dr. Stirling placed at the writer’s disposal the song recordings made for him in 1928, 16 of which are presented (cf. p. 4); also the Acoma portraits (pls. 1, frontispiece; and 2). Acknowledgment is also made of the assistance of Mrs. Phyllis Crandall Connor, director of the Stand Rock Indian Ceremonial at Wisconsin Dells, Wis., who permitted the recording of Isleta, Cochiti, and Zufii songs by members of those tribes who took part in the ceremonial. Continuing the former method of analysis, these Pueblo songs are compared in melodic form and rhythm with the songs of Indians living in the north woodland, on the Plains, the high plateau of Utah, the low desert of Arizona, the Northwest coast, and other regions which have previously been studied.! No linguistic study was made, and the native words are generally presented as they were pronounced by the informants. When recording the songs in Wisconsin the writer had the helpful companionship of her sister Margaret Densmore. 1See References (Densmore, 1910, 1913, 1918, 1922, 1923, 1926, 1929 a, 1929 b, 1932 a, 1932 b, 1932 ¢, 1936 a, 1938, 1939, 1943 a, 1943 b, 1956). lit AUG 26 1957 bonisido pried ocitsarolai bie coitelanan i heed | bas ‘titqlod od} bad witow ott niecroord'l me CAOWRAOT 2&@1 at bebiese7 otow hedaozotey ered acaibel oldenS to eg 1s ae? par ey ee al riya oar ho fitov oe a ald en Be i AS Bd basa ne vis eisoligi bi shontle wol- ate ganos: oldog'l bina oft ¥en Ss Be mee: qeoduiey odd To obser at inenghahven nasinoahiing yRolendsG osoteathety ugeted odd te ag agioe Sila: sh jo alnooet td ‘sauna off oldiagoyo hand abe anil 1 DO vote athlon He nf overt odr adie), jars sieeetist sesh ahiers, snitiivieseat enos alt laaneqaill aol aigiiog seronke ody duly: At se! ioyin pHicoaste tly fat ae te to Sk ite aban! cals ebtnsecrafie rodicio.A) Dire ys: obbqaithe home edt to wtotemith store abaa’) eilly Ad en Ye bastiarig owe ae old dizcooet? da iain onto) of saad to erocantgatt ‘ed agroe ifuS bees ididoo:,atolel % Isicocorse-e dt af Side He wis eyes oldeieT sav zieylene to bodjom tonriol fia 31 andy toy eddos ods diiw’ anfegde bas ntot sibolnes to vasialg did edt acisiT aff go baniboow Mixou tailio bre jenco JeowidinteK, ei} .anoxrt& to Jee ‘polbuse sood ylewoly sig ovad me Gieieres ote ise w ovidad se San obe oii feo : it aroun snag: “ie CONTENTS Rereword. 290M REID DOS SEI SOY 8 ASS TST Diu ABU) Orsi) Ist Of SONGS 9. «RIS Od, SIE Be Fi BOE OT BETA ti On Arranged in order of serial numbers_________.________.___--_____- Arranged in order of catalog numbers________________22--2---- ee Special signs used in transcriptions of songs__________________________- Names of singers and number of songs transcribed_____________________ MADR CLCTIZAGION OF NING PI ae= = 2 e he Nt ee ee iinrormants who didi mot record sOnes-2s a eee ees ee ine Acoma, Isleta, Cochiti, and Zuni tribes__.22 22° 222822226822 LOSS BELIN THSS SPECS ST 5 aig in AA Bt nf Be dee WE Donel A ald ig Atop APT CDAD, SDTV bf ah eet atin ita ak tle, ae 0 Se lie leh Gee artery clos | ates SUNG A, LT PPET DOSES 3 TEITE AT (ora gt ple es ase ae wes re A gt FNCOMAVSONGS mean G rae es where epee ea ear ne ON RUN 2 ee ee SIREN NT (00 onl pp eA a te a 8 plc ie OUE o Song concerning the water used in ceremonies_________________ NLOTHEAISON CLO; ATO AD Yee ee es Pe ee ES ee Songs connected with treatment of the sick___________________ VIE CEIPORNCE SONGS. o2 cathe ewe een ee ne ae IOWETIG ANCE SONGS one = et see te ee ae ete es ae Ie SUISUN) WAST EYE ES) 1 se ep nnd et ape Betige vie mle Aye Sy es aN epee RS DEHROMEEG BOGS. on. oe eae orc rr ee a et Patent GAnCe SOURS. 52 2et ee. toe eee ee SE Se OMANENG: GAUCC SODR 2 28 o fe i. oe ee nt ie ee ISletayROMGs mest fae SA eh wa ae he en oe Se Ot een ONES Sa 5 ass oo ate ee Be ee Bee Re REE ers, ea ete Nee i td een oe Lee ee Uke PPR eMGEEHEE BOLDS — 2 cen = 1) POO nn ete eae HOGG MINEO ANCE SONGS seme he ok 4 ne ee ee ee ee re PTD USV SEF (CLIT GS tact 1 ey Me eee ers C OOY a eee aa RY CoP TELAT RTNG? OY U1 51 A pal eli atl Me ace tal ey I he Re ik MS 2 > BERTIE PORES Nig ee le 2 le a ee Ee a De RENTS C CNB USTE WTO 11 oR Ie IPE FP Vat ee Sele Be RE ETE GAICE MOTE sco bes oon ie & Sere ee wp EA Orn=rPiMGRNO SOD ES 5s 22a tot ee eee ae Be ae) A Ba RACeESU LEMME GAA) FS SL k A a) 04 wo es gh ln ne NN of Bs Sa SEV ESTe TS cS SPIN AEE le en ee RAR TENS See 2 eRe OO VOOM: £85 LU) ce no) Se eae od eee a AUT RRINCRIINE BORA a a2 2 ae Se oe) ID ATICOXROM Oem Mare ae ls Nee ee OS pe ee Comparison of the songs of Acoma, Isleta, Cochiti, and Zufii pueblos with Ehe songsion certain otherstnbesee: eee eee ee Melodic and rhythmic analyses of Acoma, Isleta, Cochiti, and Zufi songs Spee ELECTR as oon ee oe Sn eee ee PA IMICLOCICTAT aly Sis rie tte meme tr oe toe Pee EE oe ASR os eee Eee EN pe ETE RECS CORT UN WE os eee eet meee, tn A Ss nal ie ld ed OTE GER CE DS Ageliagdy ede Meet teal at ns die i en 2 sf lalalime xe ap caer Eg tii i ARE Mh ek oN ee ILLUSTRATIONS (All plates except frontispiece follow page 118) PLATES (Frontispiece) Acoma singer and informants. . a, Philip Sanchez with drum. 6, Wilbert Hunt playing flute. a, Medicine dish and prayer stick. 6, Vase drum and drumstick. . a, Gourd rattles and notched stick rattle with bone scraper. 6, Cere- monial robe, sash and belt, and turtle-shell rattle. . Replica of headdress worn in Flower dance, and ring placed on head of woman when carrying jar. . a, Evergreen Tree. b, Anthony Lucero. LIST OF SONGS 1. ARRANGED IN ORDER OF SERIAL NUMBERS ACOMA—PART 1 Serial No. Catalog No. 1, Creation or beginning song@i2 S44 44 Pea AS oe... 1888 BeebirstrAinPodisone SBl ao soa oa ees oes see ceeeset oe 1889 3. Song when setting up Iatiku’s altar________________=_____- 1890 fo enter Spray er SOUP ss.) se es SN ae ee 1891 Bn One COs Une Wild! annals nee ee eee ee ee oe eee 1892 Heong co uner birds. 5 -_ eee ae 1893 7. Song when going for a drink of medicine__________________ 1894 8. Kasewat, matted hair or wig song.........-__.---u__u_._- 1895 Pasone OFbrAave Mane GanNce- oy Coase Se ee se 1896 ME eponevor Quwe dances fo SINE Es oe ee ts 1897 SVE GEER SSC eC DOI ee el etn oS SS RERCEONINNEN § CDE 1898 OSES CLES DASE 0 a A ee en app OANA Yes 1899 HS eaPAS LILY RUS OT er ateee Soe: th =" ata pe R S NOeRe s ee ea eae 1900 AME C ONE ShINGINPUSON Gs aac 5 ere a ee a ees 1901 15. Song telling where maidens are grinding corn_____________-_ 1902 te. Dcerand) antelope SONG. oo. 4 ae ook ae ie 1903 PePLAUING IM CASON Oe! Wy) Boer ee ee es) ee ae ee ee 1904 . Song concerning the water used in ceremonies_____________-_ 1905 :. Mothers song to a baby_._..._-..-- = 2 ape Poe BEF, 1906 SONGS CONNECTED WITH THE TREATMENT OF THE SICK . Song addressed to medicine bowl________________________- 1907 POOMSGUrINe treatment Ol the SICK esos ee ee eee 1908 WINTER DANCE SONGS =eAwittiescoldencalliste., =. S24 22 es Soe ss eb Se 1909 ~~ VW interdance song: (4) so. =... Pee Po es 1910 Me VWintermoancesong.(b) psoas oe se ae 1911 . The rain clouds are caring for the little corn plants__________ 1912 FLOWER DANCE SONGS - Openime' song, of Hower dances oo 1913 MPP ES UEC GENTLY? SOU Ose pe eee hr ey. es Re enc lace a 1914 Be HOW EE GRICE EBON Gs ey eee ee te oe pe ee ese ye ee 1915 . Song concerning a visit to other pueblos_______________--- 1916 Page VIII LIST OF SONGS SITUI DANCE SONG Serial No. Catalog No. 30: Seng addressed to a new ehiel . 29-40%. eee ee 917 CORN DANCE SONGS 31. “The mockingbird sings in the morning”____________------- 1918 32. “In the west is the home of the raingods’’_____________----- 1919 33. “The raiigods have metumied” 220 yee ws St 1920 3430 Corn plant, Tsing for-yott" 225. seee ge) es ete eet et 1921 35. Song concerning the,clouds and fog__...2..4--------=--cs- 1922 36. Hong concerning Lacuna Lake 7 2202. 22 eos eee sees 1923 HARVEST DANCE SONGS 37. “The sun youth has risen in the east?)_2. +. 42-9 4 eae! 1924 35. ‘"Dheraingods are coming back’. 0 02... 2122 ee 1925 39. ‘‘The butterfly you painted has flown away”’___-____--__-- 1926 COMANCHE DANCE SONG 20; Songsrat Comanche: dances a. 54 er a ae eee ee ee 1927 ISLETA 2 hereon pvOr tne Sunes == i <2 ee a ee ee 1992 42 iTeyStTy and sehenyellOw: CONDI epee eee ee eee 1994 fa, he sound Of the Traingodss => ewer ts et ee eee 1990 Aa RG is PAL Inge 0 te espe See re ee ee ee ee 1993 25. (SONg-tOre DOC St a2 «ert Oe ee een eee eee 1989 46. Cotmregrinding song (a) 2a ee eee 1991 47. Corn-grinding fone (b) 2 2. pe age hae ee eee 1995 1S AMISONE NA)o nas ao Soo be Ae ed ea ae ee rr 1996 AD. NW RERONE (D) erie cene e Leeee 1997 50, Warsong (6) con eee On OES OL Oa 1998 Ga. First’song of Hunci dance... 2~.22-eteee- es 1999 52: ‘Second song of Hunel dance... 2) 2. 2000 53. Rinalisongiof Hunciidance: 232. at Sk Se eee 2001 54. Song of Hortynine danee (a). 5-2 = 2 eee 1986 55: Song ot Hortynine dance (0). = 2.2 oe ee 1987 56; Song of Portynme dance (¢) 2222-22 2 ea eee 1988 57. Song of the horned toad when putting her children to sleep_ - 2002 58..“‘Lady crane, you stole my com’ 222-2222 -4220- 55 -4eeoee 2003 COCHITI 59. Song on evening before the Buffalo dance_____------------ 2008 60: Buffalo-dance'song (aoe. oan oe ee eee eee ee ee 2011 6b. Bufialo-danece song (b) oe be 2012 62: Buifalo dance song (€)..- 2... 2 2oe5- 25 See eee 2005 63. Ouwe Mance’song....... se see lao. ete 225 bs se 2007 64. \Cormedance song. 22 ea see oe ee eee 2006 G5. Cormprinding song. 22 ooo. oh ce eee 2010 G6. Hunting song...... 2... alone te tin oo eee 2 ones 2004 Ov, Antelope song... --4... 224 Sexe oe ee ee eee 2009 Page 42 LIST OF SONGS IX ZUNI RAIN DANCE SONG Serial No. Catalog No. Page fen a Mera) ts COMING lo se ee oo ee a ee 2464 97 69>-Che' mockingbird speaks tl’ 6) 4 6 ee Le 2465 98 (Oy URaIN. Gance songs - 82 20 oo) SU SI GRIS y Bee OT Ee a 2466 99 Wiha bhe raincGds speaks 2 ies Baer ob eek Om 2467 100 fa; The badger woman-speaks= = == boss 552- 10 U Le ee eee ee 2468 101 qo At the’'rainbow spring. 22. = + 9. 2 OO SOs eut Os ese oy, 2469 102 CORN-GRINDING SONGS pie Corm-erinding sone (a) 2 Jb tLe) 2 es eh 2470 = 104 ger Cora-prinding song ‘(b) 33 22 hb ee ee oe ees be 2471 105 peeern-rrinding Sone (C) i.e. 222 tS 8 eee ee ed 2472 106 Men rE eT VeHIy CMEC SONG] 0 he me eo te es i eA eee 2 w= 2473 =107 oa Plessure dance sone (ajo = Sh 2 ee ee ee oe 2474 107 foe eieasure Gance song (D) 2k og oe ee 2475 108 Be onmuche aarce song (ao. 2) 2c ea ee a ee oe 2476 109 ar Comanche aance song (b)=_2 2) 222 eee ee 8 Se eee hee 2477 = 1110 DE rlOGER Gane SONG. en ee Oe ee AS ea eu eek 2 2478 #8111 2. ARRANGED IN ORDER OF CaTALoG NUMBERS ACOMA—PART 1 eee Title of song Name of singer S. Page 1888____| Creation or beginning song- ------ Philip Sanchez -_- 1 5 ES89__=1| First raingod: songs i222). -......|.2.-- (6 La jer eine 2 6 1890____| Song when setting up lIatiku’s |__--- rs NS 3 6 altar. 189i ===} dauter's prayer song-2--2Sss2e2e{e2-22 dosstee=e= 4 8 1892____| Song to the wild animals_________]----- 0 Reena a 5 8 Pe0o====|- Sone to the birdsss: 222-2 S22 Scie dees 6 9 1894____| Song when going for a drink of |__-~_- OS oe iG 10 medicine. 1895____| Kasewat, matted hair or wig song_|_---- (0 Cf a ee ema 8 ipl 1896____| Song of brave man’s dance_-_-_-_-___]_---- Gomera ie 9 12 ieev...+| pong, Of Ouwedance-s_ 2222222225, SS Lib eyelids 10 13 Perse se GIS HONE — ae Oo ee ee 11 bya Aenea tate 11 14 LOGE AC OCHUGL BONE =e en = ee ee lne eee GOS mee eae ae 12 15 O00 Saal Ashiya SONGi A ses sees ecc re Sa |pesoe doe 13 16 Py. Corn-prinding sone sss et ie Gove erase 14 17 1902____| Song telling where maidens are |____- G0tce sae 15 18 grinding corn. 1903____| Deer and antelope song-_-_____-__|----- 6 al gS Bg 16 19 Catalog No. 1904___- 1905. . -2 1906_—=2 1907-22 190822 2 19092222 1910____ 198. ¥ 1ov2 Se U2 1S peas 1914____ TONS 226 1S tos. 3 a1 br os TS fl te ene 1919255 1920... 1921 2s 2 1922) re2y2 192322 5 1924¢ 7... 1920 s=_& 19262.) Wed aoe 1980228 19872 £ 1988. 1989- "28 180° Ue 1991 Le Ls res Lh eae 1904. -_: 1985.5 OSG. 2s 199 t 2228 1Sssaece LIST OF SONGS ACOMA—PART 2 Title of song Name of singer Punting song 5.222 2-.ee ete sc. Philip Sanchez -_- Song concerning the water used in |____- 00.22 eee ceremonies. Mother’s song to a baby_____------|----- BQsee-1eeee Song addressed to medicine bowl---_|__-_- do asites eee Song during treatment of the sick__|___~- Choe Bee A little golden calliste_......__-_|_---- Go2s520 2225 Winter dance song (a) 222.2220 2)52e: 6 (6 ee ppss Winter dance song (b)_----------|_---- doi aoe Me “The rain clouds are caring for the |___-_- do. _2e08 at little corn plants.” Opening song of Flower dance_-_-_--|----- douse es Butterfly song...-..__ Bae. RoaveG _- 002 -2-4E es lower dance sonpee sacs. s eee ees |e doves 2 ee Song concerning a visit to other |____- (0 Ko uted sth oie pueblos. Song addressed to a new chief_____|____- 3 Ke elle ame “The mockingbird sings in the |___-- C6 (0 ve peti eigen morning.” “In the west is the home of the |___-_- 6 (0 pple Rod = 2 raingods.” “The raingods have returned’”’_____|____- coset ess “Corn plant, I sing for you)’ — - 4.5 =- does. See tes Song concerning the clouds and fog |_____ (6 (0 emer rae Song concerning Laguna Lake_____|_____ doses eee “The sun youth has risen in the |_____ dositx . ot east.” ‘(he raingods:are coming back’. .|.-.-.do.-2 252. - 42 “The butterfly you painted has |____- (8 (6 J tee la flown away.” Song of Comanche dance________-|__--- One eee ISLETA Song of Fortynine dance (a)____-- Anthony Lucero_- Song of Fortynine dance (b)__--~-|----- AG=- a2 ae Song of Fortynine dance (c)______|_-___- (ss aC AP DONO TOaNDCE = @ ee ee ie ee et eee Gos ae Bee The sound of the raingods___.__-_|-___- Gove ae enna Corn-grinding song (a) 1-2-2222 02). 2 dO. eee ithe coming7/oOr the sun ao eee ee dO: 22a vial b rats yao oe) age tl Cer ean FOR Ti a aaa GO. eee The sun and the yellow corn______|____- (6 Ko eee eee Wd Corn-grinding song (b)_-_-------_|--__-_ (6 Cs tai se es Wistrtsongy (a) ae wa Ute eee | eee Ot ye ae Warsong (b)s2s2255. sae. eens.) bees (6 Fo pleted oe ot Wear sour (0) scene So eee dosser=sea= Serial No. Page 21 22 24 26 27 30 31 LIST OF SONGS xI ISLETA—Continued eat aioe Title of song Name of singer coral Page 1999____| First song of Hunci dance_______-_ Anthony Lucero_- 51 74 2000___ | Second song of Hunci dance-----__|____- dese2 343 92ue 52 75 2001____| Final song of Hunci dance___-.__~j____- Co (oa 53 76 2002____| Song of the horned toad when put- |____- 8 0 pm 57 80 ting her children to sleep. 2003__-_| ‘‘Lady crane, you stole my corn’’___|_____ (3 0 pag Minne eg ae 58 81 COCHITI 2u0ts525) Hunting songs. i222 i.e. Tyee Evergreen Tree___ 66 94 2005__.-.| Buffalo dance song (c)_.2322252.-\-.-.2 dott ewe 62 86 2eUb e222 «Comm Gangs Song. J20) 2.0 or eB oh Co ee See 64 91 BO te | OMWedaAnCe BONS sae ook eal Se C3 {oO Ee 63 88 2008___-_| Song on evening before the Buffalo |_____ OOo Bec 59 83 dance. 2e0gLe “Antelope songic 212s. sAPMIAE ee 8 Gon. ae 956 67 95 2010». -.)) Corn-srinding songs. 2.2 sees 2 | yo. Goutero..F hii 65 92 a0. .|. buitato.dance:sone (4). 222. |S (2 (oye A 60 84 2012.—_.| Buftalo dance song (b) 2... ..--=|.-.- (6 oa Dn 61 85 ZUNI 2464.11 \" The rai‘is coming” <2 -< ot Falling Star_____- 68 97 2465_-__| The mockingbird speaks____._.___]__-_- d0o eee 69 98 feos... orate dance sOn~. #06 2-20 io GOs see 70 99 2A0(—-- |, Lhe raineoGs speak... | as (6 Genco an 71 100 2468____| The badger woman speaks____.___|__-_- (6 0 pla a pe 72 101 2469____| At the rainbow spring.___________|_---- dows 3 Se 73 102 2055) Cor-crinding song (a)_._- 9 hs. alse ee ro Fo eae ap: Rea rae ee 74. 104 2471____| Corn-grinding song (b)___________|_-___- doupiey 2). 75 105 2472____| Corn-grinding song (c)___-_____-_|---_- dowissie sis 76 106 2473____| Harvest dance song______________|--_-- dot s2ee5 _ 77 107 2474____| Pleasure dance song (a)__________]___-- domtnsser: | a! 78 107 2475____| Pleasure dance song (b)__________|___--_ dotaée fa5k. 79 108 2476____| Comanche dance song (a)________|__--- doshas 2s 80 109 2477_.._| Comanche dance song (b)________|_____ dobseivses+ 2: 81 110 meio. —\ iyeer Gance SONPe oe COE Se 82 | 111 XII LIST OF SONGS SPECIAL SIGNS USED IN TRANSCRIPTIONS OF SONGS rs placed above a series of notes indicates that they constitute a rhythmic unit. The letters A, B, C, and D are used to designate sections, or periods, consisting of a number of measures. NAMES OF SINGERS? AND NUMBER OF SONGS TRANSCRIBED Philip: Sanchez. (Acoma songs)... -.-.40-e > - Sser naa e ces 40 Anthony Lucero (Iisleta songs)... .... - 2-2-3 6sen eae one eee 18 Eiverpreen Tree (Cochiti songs) +. 2 9 ee ee seer eae 9 Palling Star Cen Songs). =... .ccwenac ee oes =e See 15 LOMA oe ot eS 2 82 CHARACTERIZATION OF SINGERS ACOMA Philip Sanchez (Ho-ni-ya) (pl. 2, a) was born at Santa Ana Pueblo and was adopted at Acoma as an infant. He was the only singer who required an inter- preter. His songs and information were translated by Wilbert Hunt. ISLETA Anthony Lucero (Pawi’tla) (pl. 6, b) had been absent from his home in Isleta only a few months when he recorded the songs here presented, and he expected to return home in a short time. He said that his common name is derived from a Spanish word meaning “light” or “‘brilliant.””’ His native name is Pawi’tla, which was not translated. COCHITI Evergreen Tree (Ho’cuke) (pl. 6, a) is known by the English translation of his nativename. Heis a native of Cochiti Pueblo but is familiar with the songs of the entire region. In addition to the Cochiti songs, he recorded songs of the Zuiii, Navaho, and Hopi which were transcribed but are not included in this work. Evergreen Tree has presented Pueblo songs and dances in public exhibitions for many years. ZUNI Falling Star (Mo’yatcun’ne) was born at Zufii where his father was a singer and dancer. He is also known as Tony Kaima’si, a name which has no meaning. When about 9 years old he went to the United States Government School at Sante Fe, N. Mex., remaining until he was about 16 years ofage. Since that time he has lived in Zufii and taken part in all the dances, but has never been a leader of the dances. He had never taken part in a public exhibition until 1940 when these songs were recorded, and he expected to return to his quiet life in the Zufii Pueblo. INFORMANTS WHO DID NOT RECORD SONGS ACOMA Henry Hunt. Wilbert Hunt. Mrs. Henry Hunt. James Paytiamo. ZUNI Margaret Lewis. 2 The native names are being presented in their common English spelling. MUSIC OF ACOMA, ISLETA, COCHITI, AND ZUNI PUEBLOS By Frances DENSMORE THE ACOMA, ISLETA, COCHITI, AND ZUNI TRIBES Three linguistic families are represented by the Acoma, Isleta, Cochiti, and Zuiii tribes. The Acoma belong to the western and the Cochiti to the eastern division of the Keresan family, the Isleta belong to the Tanoan and the Zufii to the Zufiian families.’ The native name of the Acoma is Ako’me, meaning “‘people of the white rock” and their home is on a rock mesa, 357 feet in height, about 60 miles west of the Rio Grande in Valencia County, N. Mex. This has the distinction of being the oldest inhabitated settlement in the United States. It is mentioned as early as 1539 by Fray Marcos de Niza and was first visited by members of Coronado’s army in the following year. The early Spanish chroniclers estimated its houses at 200, and its warriors at the same number. It is said that as early as 1540 the Acoma were “feared by the whole country round about.” They took part in the Pueblo revolt against the Spaniards in 1680, killing their missionary, Fray Lucas Maldonado, “but largely on account of their location and the inaccessibility of their village site, they were not so severely dealt with by the Spaniards as were most of the more easterly pueblos. . . . The Acoma are agriculturists, culti- vating by irrigation corn, wheat, calabashes, etc., and raising sheep, goats, cattle and horses. In prehistoric and early historic times they had flocks of domesticated turkeys. They are expert potters but now do little or no weaving.” Isleta is a Tigua pueblo on the west bank of the Rio Grande, about 12 miles south of Albuquerque, N. Mex. The native name of the pueblo is “‘Shiewhibak” meaning ‘‘a knife laid on the ground to play whib.”’ The term “whib’ was applied to a native footrace, and the name may have been derived from the location of the old village which was on a narrow delta between the bed of a mountain stream 3 The information on these tribes is quoted or condensed from articles by F. W. Hodge in the Handbook of American Indians (1907, 1910). a | 2 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 165 and the Rio Grande. It was the seat of the Franciscan mission of San Antonio de Isleta prior to 1629. The population of Isleta in 1680 was about 2,000 when the Spanish settlers along the lower Rio Grande took refuge in this pueblo after the uprising that year. Isleta was later abandoned. It is said that the present pueblo was built in 1709 by scattered families of Tigua, gathered by the missionary Juan de la Pena. The population of Isleta was about 1,100 in the early part of the present century. The Cochiti is a tribe belonging to the eastern branch of the Keresan linguistic family, living on the west bank of the Rio Grande, 27 miles southwest of Santa Fe, N. Mex. They were found living in this loca- tion by Ofiate in 1596. They ‘‘took an active part in the revolt of 1680, but remained in their pueblo for 15 months after the outbreak. . . . -Cochiti was the seat of the Spanish mission of San Bonaventura, with 300 inhabitants in 1680, but it was reduced to a visita of San Domingo after 1782 ... The Cochiti people occupy a grant of 24,250 acres allotted to them by the Spanish government and con- firmed by United States patent in 1854.” Zuiii is the popular name of a Pueblo tribe which constitutes the Zufiian linguistic family. Their home is a permanent pueblo by the same name, on the north bank of the upper Zufi River in Valencia County, N. Mex., and in summer they also occupy the three neigh- boring farming villages of Pescado, Nutria, and Ojo Caliente. ‘‘The first real information regarding the Zufii tribe and their seven pueblos was gained by Fray Marcos of Niza, who in 1539 set out . .. to explore the unknown region to the northwest ... The first Zui mission was established at Hawikuh by the Franciscans in the summer of 1629 ... At the time of the great Pueblo rebellion of 1680 the Zuiii occupied but three towns, excluding Hawikuh.” The Zufi ‘are quiet, good tempered, and industrious, friendly toward the Americans but jealous and distrustful of the Mexicans and bitter enemies of the Navaho. They adhere tenaciously to their ancient religion, which is closely interwoven with their social organization. . . . In 1910 the population was 1,640.” MUSICAL INSTRUMENTS * The information concerning musical instruments was supplied chiefly by the Acoma. This was not a subject of special inquiry with the Isleta and Cochiti singers, but some data were obtained from the Zui singer. 4 Grateful acknowledgment is made of the courtesy of Dr. Walter Hough, curator of anthropology, U. 8. National Museum, who allowed the Acoma to select from the exhibit cases the musical instruments, cere- monial articles, and the ring used on a woman’s head when carrying a jar, shown in the accompanying illustrations. DENSMORBE] PUEBLO MUSIC 3 Drums.—The drum used with a majority of Acoma songs is a cyl- inder with two heads of hide, lashed together with thongs, and is struck with a drumstick having a round, padded end. Philip Sanchez, who recorded the Acoma songs, is seen with a drum which belonged to him (pl. 2, a). A larger drum of the same sort is used with the Winter dance. A vase or jar with a cover of white hide (pl. 3, 5) is used only by a young girl in the Flower dance. The drumstick used with this drum consists of a stick with a large hoop at the end. When in use the lower edge of this hoop is struck upon the drum- head (cf. p. 34). Pounding on a roll of stiff hide is mentioned on page 20, and a unique position of the drum is described on pages 107 and 109. The tapping together of two sticks was substituted for a drum when these songs were recorded. Flutes—Each dancer in the Flower dance carries a cane flute. The flute shown in plate 2, 6, played by Wilbert Hunt, is similar to the Acoma flute. Rattles —Two sorts of rattles are used by the Acoma, exclusive of the “scraping sticks’ which are classified by the United States National Museum as notched stick rattles. The gourd rattles (pl. 4, a) carried by boys in the Flower dance are painted in bright colors. These dancers carry a gourd rattle in the right hand and wear a turtle-shell rattle (pl. 3, a) fastened to the right leg below the knee “to mark the time as they dance.’”’ Gourd rattles are also used by medicine men when treating the sick. Notched stick rattles—This instrument, commonly called scraping sticks, consists of two parts, a stick having notches cut horizontally across its surface and a shorter stick, or a bone, that is rubbed across the notches (pl. 4, a). In a typical instrument the notched stick is 20 to 25 inches in length. A sketch of this instrument among the Zuni, made by Falling Star, shows the notched stick and rubbing stick about the same length, which is unusual. The notched stick is rested on a resonator to amplify the sound, this varying in different localities. The Acoma use a squash for this purpose, the Ute use a shallow basket or a sheet of tin, the Yaqui use a half gourd, and the Papago use an ordinary household basket. A shallow box was used as a resonator in recording songs that required this accompaniment. This instrument is used by the Acoma with only two dances, one being a “‘sacred’’ dance and the other a social dance. The former is the Situi, and the latter was not designated. The history and distribution of the notched-stick rattle is interesting, the earliest example, so far as known, having been used in Confucian 4 BUREAU OF AMERICAN ETHNOLOGY (BULL. 165 ceremonies in China. It is found in various forms in Japan, Mexico, Guatemala, Puerto Rico, and other countries, and was used by the Negroes in Africa and by the Maya Indians. ACOMA SONGS The study of Acoma music was made possible in 1928 by the courtesy of Dr. M. W. Stirling, director of the Bureau of American Ethnology, Smithsonian Institution. While Dr. Stirling was making ethnological studies with a group of Acoma Indians in Washington, D. C., he had dictaphone records made of 60 of their songs. The actual work of making the recordings was done by Anthony Wilding, Dr. Stirling’s assistant. All the songs were sung by Philip Sanchez and interpreted by Wilbert Hunt, this being done prior to the writer’s arrival. Dr. Stirling (1942) published the results of his studies with the Acoma in a bulletin of the Bureau of American Ethnology, entitled “Origin Myth of Acoma and Other Records.” The complete group consisted of Edward Hunt (Gi-rri), his wife Maria (Shou-tu-wi), their two sons Henry Hunt (Ki-wa) and Wilbert Hunt (Tse-gi-se-wa), and Philip Sanchez (Ho-ni-ya), who, as stated, was born at Santa Ana Pueblo and adopted as an infant at Acoma (pl. 1, frontispiece). Dr. Stirling kindly made his recordings available for study, and 16 are included in the present series as part 1. All untranscribed records were studied, and they contained no important peculiarities not in the songs that are presented. Twenty-four Acoma songs were later recorded for the writer and are presented as part 2 (p. 20). Additional details concerning Acoma songs and customs were obtained in 1931, at Wisconsin Dells, Wis., from James Paytiamo, a cousin of Wilbert Hunt living at Gloriata, N. Mex. ACOMA SONGS: PART 1 The 16 songs in this section were recorded by Philip Sanchez for Dr. M. W. Stirling and, as stated, are presented with his permission. The class or use of the song is generally indicated by its title. DENsMoRE] PUEBLO MUSIC 5 (Catalog No. 1888) No. 1. Creation or beginning song Analysis.—The monotonous introduction which precedes this song is charac- teristic of pueblo songs and is shown in a majority of the following transcriptions. (Cf. Densmore, 1926, p. 7; and Densmore, 1938, pp. 52 and 183.) A short rhythmic unit occurs throughout the melody and its count divisions are reversed in the 17th and 18th measures. All the tones of the octave except the seventh are present, and the ascending and descending intervals are about equal in number. The repeated portion was sung three times, the transcription being from its third rendition. Slight variations occur in the repetitions of the song, which are not important and cannot be shown in notation. 378090—57——2 [BuLL. 165 BUREAU OF AMERICAN ETHNOLOGY (Catalog No. 1889) First raingod song No. 2. Analysis.—In this melody we have a familiar tone material used in an un- -toned scale (ef. footnote 1, table 6, p. 115) but the principal interval is a descending fourth. The introduc- The tones are those of the fourth 5 familiar manner. sures On 4 and is followed by major triad.,The descending fourth returns in the middle portion of t tory phrase contains only this interval and at its close. four ‘mea he melody (Catalog No. 1890) Song when setting up Iatiku’s altar No. 3. DENSMORB] PUEBLO MUSIC 7 Analysis.—This melody contains two peculiarities that occur in other pueblo songs, these being a change of pitch level and a structure that is designated as a period formation. The former has been discussed at length in a previous paper (Densmore, 1938, pp. 52-54, 182, 183). The pitch level is generally raised during the performance but occasionally it is lowered, the change being either a semitone or a whole tone. In some instances the change is affected in a large, ascending interval, the remainder of the performance being on a higher pitch level, but more frequently the change is gradual and extends over a number of measures, after which the new pitch is maintained to the close of the rendition. A singer from Santo Domingo said that his grandfather taught him to raise the pitch during the singing of certain old songs, and Margaret Lewis, a Zuni informant (cf. pp. 20, 103), said that her people raise the pitch level during the songs for rain but in no other class of songs. An intentional change of pitch level was not discussed with the pueblo singers whose songs are here presented but was noted in the recordings of Acoma, Cochiti, and Zufii songs. In all instances the transcription is on the pitch of the opening measures. In the Acoma songs the pitch level was raised in Nos. 3, 5, 6, 7, 8, 10, 14, 20, 23, 24, 25, 30, and 39, and lowered in No. 22. In the Isleta songs the pitch was lowered in No. 47. In the Cochiti songs the pitch was raised in No. 66 and lowered in Nos. 62, 63, 65, and 71. Only one song from Zuni contains a change of pitch, the rendition of No. 73 containing a lowering of pitch, followed by the raising of pitch to the original level (p. 102). The change of pitch varies from less than a semitone to a tone and a half. Several renditions of the present melody were recorded, and at the close of the performance the pitch level was about a semitone higher than at the beginning. The period formation is a melodic structure that was first noted by the writer in the songs of the Tule Indians of Panama. In clearer form it was found in 38 of 54 Yuman songs (Densmore, 1932 c, pp. 694-700), and in 16 songs of Santo Domingo Pueblo (Densmore, 1938, pp. 52 and 183-184). It occurred in several of the oldest songs of the Choctaw in Mississippi, and in songs of the Cow Creek or northern group of Seminole in Florida by whom they were called “long songs.” ® This structure consists of 2, 3, or occasionally 4 phrases designated as rhythmic periods and marked by the letters A, B, C, and D. The second period is usually higher than the first and has a more lively rhythm, especially in its opening meas- ures. In a song containing three periods this characteristic often appears in the third period. There is usually a recurrence of the first period, and slight changes of rhythm may occur throughout the periods. Rhythmic units are indicated in the usual manner and are sometimes different in the several periods, while in other songs the same rhythmic unit usually occurs throughout the melody. The present song contains two periods, others with this structure being Nos. 4, 5, 7, 8, 11, 18, 14, 17, 19, 21, 24, 25, 26, 29, 33, 34, 35, 36, 41, 48, 50, 51, 53, 54, 55, 56, 65, 66, and 67. The following songs contain three periods: Nos. 22, 23, 27, 28, 30, 37, 38, 39, 42, 48, 44, 45, 46, 47, 49, 59, 62, and 64. The only song containing four periods is No. 39. Thus the present group contains 30 songs with 2 periods, 18 with 3 periods, 1 with 4 periods, and 33 in which this formation does not occur. This melody contains only the tones of the minor triad and second. The entire song lies above the keynote and its trend is downward. 5 Since the present paper was written, Bur. Amer. Ethnol, Bull. 136, Anthrop. Pap. No. 27, and Bull. 161 have been published. See Densmore, 1943 b and 1956. [BuLy. 165 BUREAU OF AMERICAN ETHNOLOGY (Catalog No. 1891) Hunter’s prayer song 4 No. Analysis.—Two consecutive descending fourths are the principal intervals in period A of this song. fir A change of rhythm and a higher pitch appear in the followed by the descending fourths C-—G and B-flat-F. The tones are those of the fourth 5-toned scale. ? of period B st and second measures Several rendi- change in pitch and only unimportant changes in the melody, these changes probably being due to differences in the words. and show no tions were recorded (Catalog No. 1892) Is ima Song to the wild an No. 5. Blea 100 Irregular in tonality PUEBLO MUSIC DENSMORB] imals—Continued Song to the wild an No. 5 Analysis.—During the four renditions of this song the pitch was raised more than a semitone, the transcription being from the first rendition. The interval of a descending fourth forms the framework of the melody, followed by a descend- A fourth has been noted as a characteristic interval in songs ing whole tone. Attention is directed to the change of rhythm at the opening of period B, the eighth notes concerning animals, but the melodic structure of this melody is unusual. The measures in 7—8, 5-8, and 3-8 time occur in all the renditions and probably correspond to the meter of the words. being in groups of three instead of two. The differences in the renditions are slight and consist in the occasional repetition of a measure or the introduction of an eighth rest for taking breath. (Catalog No. 1893) No. 6. Song to the birds 10 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 165 Analysis ——This delightful melody contains the tones of the minor triad and second. The song lies partly above and partly below the keynote and is charac- terized by the interval of a fourth, frequently noted in songs concerning birds or animals. The semitone is somewhat infrequent in Indian songs but occurs nine times inthis melody. A pleasing variety of rhythm is given by the successive eighth notes in contrast to the count division of a 16th followed by a dotted eighth note. The pitch was slightly raised during the repetitions of the song. The repetitions differed in some unimportant note values, but the quarter notes were steadily maintained, giving stability as well as vigor to the melody. (Catalog No. 1894) No. 7. Song when going for a drink of medicine Analysis.—Several renditions of this song were recorded, the performance being about 1 minute in length. During this time the pitch was raised about a whole tone. As in other instances, the transcription is from the first rendition, before the pitch was perceptibly raised. Certain unimportant changes appeared in the note values of period A, in later renditions. The melody is based on the minor triad A—C—E, with a descent to G at the close of the first, second, and last phrases. This is the first song in the present series with a return of period A at its close. 1] PUEBLO : MUSIC DENSMORD] (Catalog No. 1895) No. 8. Kasewat, matted hair or wig song 72 12 BUREAU OF AMERICAN ETHNOLOGY {BULL. 165 Analysis—In many pueblo songs a rise of pitch extends over a considerable time, but the pitch of this song was raised a semitone during the first 12 measures of the first rendition. It was then raised gradually during the remainder of the performance, so that the entire change was a whole tone during about 1 minute of singing. The pitch is that of the opening measures, and the tones are repre- sented as nearly as is possible in notation. The changes of tempo are frequent, which is unusual. There is an ascent of an octave to the beginning of period B, with its change of rhythm, and a return at the close to the whole-tone progressions which characterized the first period. (Catalog No. 1896) No. 9. Song of Brave Man’s dance Analysis—The keynote is the lowest tone in this song and its prominence is interesting in connection with the title of the song. A similar emphasis on the keynote was found in the songs of Sioux and Chippewa medicine men and seemed to express their confidence in themselves (cf. Densmore, 1918, p. 53). Attention is directed to the rhythmic units of the song and to the triple measures which begin with the same count divisions as the units. The rhythm is somewhat monotonous, suggesting a long continued dance. More than one-third of the intervals are semitones. Ascending and descending intervals are about equal in number. A song of the Ouwe Dance among the Cochiti is also presented (No. 68). DENSMORE] PUEBLO MUSIC 13 (Catalog No. 1897) No. 10. Song of Ouwe dance Analysis—The glissando on descending fourths followed by an ascending interval gives a swaying effect to this melody, suggesting the motion of the dance. The melody is framed on a major triad with the fifth as its lowest tone. The pitch level was slightly raised in the repetitions of the song. The next song is sung during the playing of a game in which a marble is hidden in one of four cylinders, each side of the players, in turn, guessing its location. It was said ‘‘if the guessing is correct the marble will be found in the third cylinder.”” In a description of the hidden-ball game among the Pueblo, by Culin, the tubes are made of wood (Culin, 1907, pp. 357-364, 367-382). In a similar game wit- nessed among the Papago by the writer, the tubes were made of bamboo reeds (Densmore, 1929 a, pp. 72, 73, 78). 14 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 165 (Catalog No. 1898) No. 11. Game song Analysis.—A broad sweep characterizes this melody, in contrast to the game songs of other tribes which are small in compass and simple in progressions. This melody has a compass of 12 tones, spanned by 4 ascending intervals in the 9th and 10th measures. The melody ascends 11 tones by 3 intervals in the fourth and fifth measures. An ascending seventh followed by a descending fifth occurs twice. The tone material is that of the fourth 5-toned scale and the melody lies partly above and partly below the keynote. DmNsMoRB] PUEBLO MUSIC 15 (Catalog No. 1899) No. 12. Agochudi ® song d = 120 Irregular in tonality k - 5 =a i ae eae) See SS ee SSS = Analysis —The monotonous introduction is particularly long in this melody. The tone material is scanty and consists only of the tones E-flat, B-flat, and C. Their sequence is such as to suggest E-flat as the keynote but the song is classified as irregular in tonality. 6 “A gochudi” is said to be ‘‘not a pure Acoma word.” [BuLn. 165 BUREAU OF AMERICAN ETHNOLOGY 16 (Catalog No. 1900) No. 13. Ashiya song sl 126 rhythm, and melodic Analysis.—The two periods of this song differ in tempo, , occur- period al in the first Attention is directed to the consecutive descending The fourth is the most prominent interv ring in several connections. structure. fourths in the eighth and ninth measures and to the descending fourths in the a compass of only four tones and The second period has the rhythm is agitated, with triplets of eighth notes. changes occur in repetitions of the song. succeeding measures. Several unimportant DENSMoRB] PUEBLO MUSIC 17 (Catalog No. 1901) No. 14. Corn-grinding song Analysis.—The first period of this song has a compass of 11 tones and the second period has a compass of only 5 tones. In the third and fourth measures the melody descends from its highest to its lowest tone. No rhythmic unit occurs in this period. The second period begins with two short phrases that seem to answer one another and are designated as rhythmic units. These are extended in a third rhythmic unit and varied in the closing measures of the song. The pitch was raised a semitone during the first rendition, and an additional semitone during the remainder of the performance. As in other instances, the transcription is on the pitch of the opening measures, the pitch of individual tones being indicated as nearly as is possible in notation. 18 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 165 (Catalog No. 1902) No. 15. Song telling where maidens are grinding corn d-92 Irregular in tonality & US be ee es 2 ee 6a BS ee OF ee ee ee El GES ees a) ss (A = pr Analysis—The dictaphone record of this song comprises the melody with its repeated portions as transcribed, followed by four reptitions of the repeated portion. In some of these repetitions there are slight changes, probably con- nected with the words, but the triple measure and those that follow are repeated without change. The intervals are somewhat uncertain and the song is classified as irregular in tonality. The rhythm is interesting and the song has an indi- viduality that suggests both pleasure and activity. 19¢ (Catalog No. 1903) PUEBLO MUSIC DENSMORD] No. 16. Deer and antelope song Analysts.—The most prominent tone in this song is A, yet the melody contains the tones of the fourth 5-toned scale with D as its keynote. compass of only six tones, The song has a but the number of progressions is unusually large. Twenty-six of the 40 intervals are whole tones. 20 BUREAU OF AMERICAN ETHNOLOGY [Burn. 165 ACOMA SONGS: PART 2 The foregoing songs, as stated, were recorded for Dr. M. W. Stirling, who kindly made them available. The remaining Acoma songs were recorded by the present writer. HUNTING SONG The hunting customs of the Acoma center around the possession of a small object called a hunting dog (cf. p. 94). Information on this subject was supplied by James Paytiamo, a native of Acoma, who said the hunting dogs, or fetishes, used by this pueblo were made by pre- historic people and found by the Acoma. They are not natural formations.’ Every successful hunter has a collection of these hunt- ing dogs, inherited from his ancestors, and when a young man succeeds on the hunt he is presented with one of them. A ceremony accom- panies the presentation. If a young man does not receive one as a gift he makes one for himself, hides it and goes to find it, taking a witness with him. A hunting dog acquired in this manner is believed to have the same power as one given ceremonially by an old man, and, it is worn at all times, tied in a corner of the neckkerchief. When a hunter has killed an animal he puts the hunting dog beside it, as though feeding the game to the dog. A prayer is offered at this time. The hunting song here presented is social in character and would be sung at night, in the camp, when the hunters were getting near the game. Such a song might be composed by the leader of the ex- pedition who would sing it alone, the other hunters dancing. Such songs were sometimes composed by one man and sometimes by two men working together. The accompaniment usually consisted of beating upon a packet of stiff deerhide with a wad of sheephide inside it. The packet was about the size of a small pillow and was laid on the ground. One man beat upon it with an ordinary stick. He knelt beside it on one or both knees, changing his position as might be necessary for his comfort. When a hunting party returned successful, the leader might start the same song and all the company would sing it with him as they danced. 7A “hunting dog,’’ or hunting fetish of the Zui, was seen in 1939 at Wisconsin Dells, Wis. It was part of a necklace of turquoise and shell owned by Blue Sky from Zuiii, the husband of Margaret Lewis. Blue Sky inherited this necklace from his grandfather. The opportunity to see it was accidental. It had been placed in the noonday sun and the writer chanced to be present when it was brought into the building. Margaret Lewis (pp. 7, 103) said, ‘‘ Turquoise dies if it is not put in the sun once in a while” and this necklace had been placed in the sun “‘to give it life.’ Among the pieces of turquoise was a ‘“‘hunting dog,’”’ recognized at once. It was a natural formation, somewhat oblong in shape with a projection at one corner that sug- gested a little, pointed head. In this ‘‘head”’ were two tiny black dots, supposed to represent eyes. The size of the piece was about 1 inch by 1}4inches. It was said ‘“‘when a hunter attended a hunting ceremony he carried such a ‘hunting dog’ in his bag, together with corn pollen and certain medicines believed to attract animals, especially the deer.” N MUSIC TBLO PUL DENSMORE] (Catalog No. 1904) Hunting song 17 No. 378090—57——-38 22, BUREAU OF AMERICAN ETHNOLOGY [BULL. 165 Translation Deer-youth, the one who is four times ahead, That is the one of whom I am thinking, It is the kind of robe and the kind of face, the whole body and the kind of health he has, That is the one I am thinking about. Antelope-youth, the one who is four times ahead, That is the one of whom I am thinking, It is the kind of robe and the kind of face, the whole body and the kind of health he has, That is the one I am thinking about. Somewhere along the edge, under a pine tree, There you are looking for me, you are waiting for me, Now I shall follow where you have gone. Somewhere out on the plain, somewhere among the sages, There you are looking for me, you are waiting for me, Now I shall follow where you have gone. Analysis.—The framework of this song is a major triad with minor seventh added (cf. Nos. 18 and 21). In the first period the tones of the triad occur in descending order. The second period is preceded by an ascent of an octave and its opening measures are framed on the descending tones G-sharp—-E-—C-sharp —-A-E. The song closes on the major triad with the keynote as its highest tone. The principal interval of progression is a fourth. SONG CONCERNING THE WATER USED IN CEREMONIES The water used in ceremonies is brought from four directions. The next song is concerning this water and is sung by medicine men as they go in quest of it, also by women as they bring the water to be used ceremonially by the men. (Catalog No. 1905) No. 18. Song concerning the water used in ceremonies Densmore] PUEBLO MUSIC 23 No, 18. Song concerning the water used in ceremonies—Continued Analysis.—The first period of this song is based on a major triad and the second period is based on the same triad with the minor seventh added, a frame- work noted in the song next preceding. In several instances these tones occur in unbroken descending order. The minor third between G and B-flat is the most frequent interval in the melody. Next in frequency is the major third which comprises 20 of the 75 progressions. The use of A natural in two measures is interesting, also the ascending seven with which the song begins. MOTHER’S SONG TO A BABY In some Acoma families it is the custom to select a baby’s name on the fourth night after it is born. Certain songs are sung, and the name for the baby is suggested by the words of these songs. It is said that the songs are “very pretty’ and the words are chiefly about the flowers. A different sort of song is here presented, this being a song thata mother would sing to her baby. It was said “the medicine man is always offering prayers for the little babies and this song tells of the medicine man’s prayer through which the baby received life.” [BuLL. 165 BUREAU OF AMERICAN ETHNOLOGY 24 (Catalog No. 1906) No, 19. Mother’s song to a baby DpENsMoRB} PUEBLO MUSIC 25 No. 19. Mother’s song to a baby—Continued Translation First, the little baby through the medicine man’s prayers has been given life, Here and there, with the medicine man’s song. For the baby the songs have been sung. Next, the baby’s mother, With the songs of the rain gods she has cared for the little baby. Here and there the mother with the cloud cradle,’ The little baby was cared for, It was nice that the clouds came up like foam, As if it was among those soft little clouds, With this the baby was cared for. Analysis.—After a short introduction this song consists of two periods. Each period is major in tonality but has its own keynote. The repetition of the first period shows some rhythmic changes in repeated tones, probably due to a difference in the words. The melody progresses by larger intervals than is usual in Indian songs, about one-third of the intervals being fourths. Next in frequency are major thirds and whole tones. SONGS CONNECTED WITH TREATMENT OF THE SICK The healing practice of the Acoma is based on the belief that sickness can be ‘brushed away.”® The medicine man who is giving the treat- ment dances around the sick person and brushes his flesh with eagle feathers, beginning at his head and brushing downward to his feet. The feathers used in the treatment are the longest wing feathers of the eagle, and the medicine man holds two in each hand. Having passed the feathers over the flesh of the sick person, he ‘‘knocks the sickness out of the feathers,” repeating the action at frequent intervals during the treatment. He has 4 to 10 assisting medicine men, accord- ing to the number in his society; they shake gourd rattles and join him in the songs. 8 The “‘baby carrier,”’ in which a mother carries her baby, is called a cloud cradle. ® Information concerning the treatment of the sick was given by Henry Hunt, Mrs. Henry Hunt, Wilbert Hunt, and Philip Sanchez, the entire Acoma group being present only on this occasion. 26 BUREAU OF AMERICAN ETHNOLOGY [Bunn 165 It is customary for members of all the medicine societies to speak somewhat as follows during the private treatment of the sick: You can see that I am an ordinary human being. It is a spirit that cures the sick through me. It is not within my power alone but I am taking the place of the spirit that has the power. Anyone who wishes may “‘say a few words to encourage the medicine man.” Every medicine man has a dish called aiwuna yisti (pl. 5) which he uses in the public treatment of the sick. This treatment is ceremonial in character and many medicine men take part in it, some being actively engaged in the treatment while others sing and shake gourd rattles. The medicine dish (pl. 3, a) used in this ceremony is different from the medicine bowl, or dish, mentioned in the song concerning Laguna Lake (No. 36). Into this bowl the medicine man puts a substance made from a snake. He claims that by looking into the bowl he receives clairvoyant power and also is enabled to cure the sick person. The bowl is covered during part of his performance and he removes the cover when desiring to increase his power or knowledge. The use of the “prayer stick” (pl. 3, a) was not described. The following song is used by members of all the societies of medicine men. (Catalog No. 1907) No. 20. Song addressed to medicine bowl DENSMORE] PUEBLO MUSIC 27 Free translation Medicine bowl, you are going to brush away the sickness Analysis.—This is a pleasing melody with a simple rhythmic unit and a compass of nine tones. It progresses chiefly by whole tones, which comprise 19 of the 33 intervals. Next in frequency is a minor third. The pitch is raised slightly in repetitions of the song. There were no words in the song next following, which was sung during the actual treatment of the sick person. (Catalog No. 1908) No. 21. Song during treatment of the sick Voice d = 208 Drum @ = 104 = See Drum-rhythm below ! Drum-rhythm gee cant Analysis.—The framework of this melody consists of the minor triad A-—C-E and the major triad F—A-C, the tones of both triads occurring in descending order (ef. analysis of No. 17). The minor third A-C is the continuing interval between these triads and the most frequent interval in the song. No secondary accent occurs in the first and seventh measures which are transcribed in 7-8 time, & secondary accent was, however, given on the fifth count of the third from the final measure. The rhythmic unit is simple and gives steadiness to the melody. 2Q8 BUREAU OF AMERICAN ETHNOLOGY [Buny. 165 Several consecutive renditions were recorded and show no differences other than the occasional use of an eighth rest as a breathing space and the use of C instead of A in next to the last measure. The drumbeat in quarter notes was heard in the 5-8 and 7-8 measures, the adjustment being by a delay of the beat at the end of these measures. The drum and voice are synchronous at the beginning of the next measures. A treatment of the eye was described by Mrs. Henry Hunt, who said that she had often been benefited by it and knew of others who had been helped. The treatment was given by a medicine woman in this manner. She cleansed her mouth, chewed a certain medi- cine, and then put her tongue into the eye of the patient. She some- times removed foreign bodies from the eyes of her patients. Certain persons made a specialty of this treatment of the eye. A peculiar importance is given by the Acoma to men who have been struck by lightning. Such men are affiliated, but it does not appear that they constitute one of the medicine men’s societies. It is they, and no others, who treat dislocations and fractures. It was said that when lightning strikes a man he is supposed to be killed but that he will be ‘‘put together by the lightning” if another member of the tribe does not see him before the thunder sounds. For this reason the Acoma tell each other not to look at a companion if he is believed to be struck by lightning. They say to each other, “Cover your eyes and turn aside until after you hear the thunder.” A man who has been struck by lightning is considered ‘‘initiated.” He is taken in charge by a man who has been previously struck by lightning, who guards him for 4 days. During this time the man stays alone and purifies himself with medicine. The members of this group take turns in massaging his whole body, especially his abdomen, and one man of the group adopts him as his son. He is allowed no food during the treatment. On the fourth day he is allowed to eat and go outdoors, and, after performing certain acts, he can treat dislocations, fractures, and similar forms of distress. As a sign of authority he must be able to show the scar made by the lightning on his body. The man who has taken him as a son goes with him to the place of the accident to search for the flint tip of the lightning bolt. It is the Acoma belief that every bolt of lightning has a flint tip and this, when DENSMORD] PUEBLO MUSIC 29 found, becomes the fetish of the man who was struck by the lightning. When treating a fracture he presses this over the affected part and also uses it in setting a bone. In his treatment of a fracture, such a man uses a splint from a tree that has been struck by lightning. He binds the broken bone with this splint and leaves it in place until the bone has had time to heal. He then removes the splint and massages the flesh with medicine and replaces the splint. He does not use grease in massaging the fracture, which is the custom among the Sioux and Chippewa (cf. Densmore, 1918, p. 261, and Densmore, 1936 b, pp. 334, 335). WINTER DANCE SONGS The Acoma call this the Zufii dance because it was obtained from that Pueblo, but the Acoma have composed their own songs for it. The dance is also called Bask, a term used in no other connection. Midwinter is the time for this dance which is held in the village plaza. It is a pleasure dance in which many young people take part. There is no special costume, but both young men and girls carry a branch of spruce in each hand, holding it erect as they dance. The girls wear their best raiment, including buckskin sandals and wrappings from ankle to knee; they also wear ceremonial blankets. The singers usually number about 20 and the accompanying instrument is a drum similar to that shown in plate 2, a, but larger. One man beats upon it. The dancers form in a double line, two young men being followed by two young girls, who, in turn, are followed by two young men, and soon. The singers and the drummer walk beside them. The entire company moves forward a distance of about 200 feet, then turns and comes back again, the men and girls with a dancing step while the singers walk near them. In dancing this distance they sing four songs without stopping. Occasionally the dancers go back to rest in their chamber. Four songs comprise a set, as stated, and two songs of a set are presented (Nos. 23, 24). Before singing these songs the singer recorded a song that he designated as “‘official,’”’ though used in a social dance (No. 22). In its original connection this song was sung by a field chief when going out to visit the country and,the sheep herders at night. It was part of his duty to protect the tribe by this watch- fulness. 30 BUREAU OF AMERICAN ETHNOLOGY [Bunn. 165 (Catalog No. 1909) No. 22. A little golden calliste Voice @ = 132 Drum @ = 132 Drum-rhythm similar to No. 24 Irregular in tonality Translation There in the eastern turquoise chamber There this morning a baby golden calliste (eagle) was born Analysis—Two renditions of this song were recorded, the performance lasting about 1% minutes. During this time the pitch was gradually lowered almost a semitone. The transcription represents the melody as nearly as possible, being on the pitch level of the first rendition. The song is classified as irregular in tonal- ity. The first four measures are chiefly on the descending tones G-E-C-A, fol- lowed by six measures suggesting C as their keynote. The principal tones in the second period are C and A, while the closing measures suggest the key of A minor. Attention is directed to the ascent of a ninth between the periods. The drumbeat is synchronous with the voice during the first period, but is indistinct during the second period of the melody. DENSMORD] PUEBLO MUSIC 31 (Catalog No. 1910) No. 23. Winter dance song (a) Es ar... Va BAS) aw es Gs = Analysis.—Like the song next preceding, this contains a change of pitch level but, in contrast to that melody, the pitch is raised. This change is less than a semi- tone in 144 minutes of performance. The melody is typical of songs on the fourth 5-toned scale except for the use of F in the lower octave. The melody progresses chiefly by whole tones, though the fourth is a prominent interval. The following is the fourth song of the group, which is always sung immediately before the dancers go back to their chamber for a brief rest. (Catalog No. 1911) No. 24. Winter dance song (b) - @ = 182 A ees Se Irregular Uh SONY oi ue bee alam (4) e — (BuLy. 165 BUREAU OF AMERICAN ETHNOLOGY 32 No. 24. Winter dance song (b)—Continued (1) minutes and the pitch Analysis.—The renditions of this song occupied 1% was a semitone higher at the close than at the beginning of the performance. The pitch was raised perceptibly during the first half-minute and the new pitch level was maintained with a fair degree of accuracy. The general trend of the melody sug- DENSMORB] PUEBLO MUSIC 33 gests the key of B-flat minor but the song is classified as irregular in tonality. The opening measures of period B introduce a new rhythm with a triplet of eighth notes on the unaccented portion of the measure. In the last seven measures the count divisions are reversed, the triplet of eighth notes appearing on the accented beat of the measure. (Catalog No. 1912) No. 25. The rain clouds are caring for the little corn plants Translation Nicely, nicely, nicely, nicely, there away in the east, The rain clouds are caring for the little corn plants as a mother takes care of her baby. Analysis.—In this song the pitch level was raised less than a semitone in 1% minutes. The tone material is that of the second 5-toned scale. The structure differs from that of a majority of recorded Acoma songs in that the melody lies entirely above the keynote which occurs as the first and last tones. This is a rhythmic melody yet no phrase can be regarded as arhythmic unit. Attention is directed to the second measure which is in triple time, and to the fifth and sixth measures which contain the same phrase but are in double time. 34 BUREAU OF AMERICAN ETHNOLOGY [Buuy. 165 FLOWER DANCE SONGS In February or March of each year the Acoma hold a dance ‘‘as an invitation to the flowers to bloom again.”’” This dance is not related to the ceremonies intended to bring rain or secure good crops but is a simple gathering of the people, beginning at sunrise and ending at sunset. Visitors often come from other pueblos to see the dance which is held in the plaza. The Acoma name for this dance is ‘‘gaspirdth,” a word not used in any other connection. The most prominent person in this dance is an unmarried girl who may be selected from any family in the village and is usually a girl known to be proficient in the songs and use of the drum. The dancers are 20 unmarried boys, the leader being the boy who first “started to get up the dance,” and the next in leadership being the first boy he asked to help make the arrangements. The girl wears a ceremonial blanket as a robe (pl. 4, 6), and her hair is arranged in “squash blossoms.” ‘The boys wear leggings and moccasins, and their bodies are painted pink without decorative designs. Beads and shells are around their necks and wrists. The sash commonly worn by Acoma women is worn by the boys at this time, being worn over the right shoulder (pl. 4, 6). Their headdresses are made of artificial flowers and eagle down. The women make the flowers of cloth in all colors and arrange them in a fillet with three tall tufts of eagle down, one above each ear and one in the middle of the front. A replica of this headdress was made by Wilbert Hunt (pl. 5). If a boy has long hair, it is tied in a bunch at the nape of his neck. The Flower dance is old but only one old song is used, this being the song with which the girl opens the dance. Generally the other songs have been composed since the previous dance, though a song 5 or 6 years old is occasionally used, the words being changed and “the song fixed up a little.” There is no formal preparation for the dance, but the boys gather to select and rehearse the songs. They have a meeting place where they gather before the dance and to which they withdraw for the feast at noon, coming and going often to this room during the dance. When all is ready for the dance, a ceremonial blanket is spread for the girl to kneel upon. She kneels on one knee and beats a vase drum, using a stick with a wide hoop at the end (pl. 3, 6). The under surface of the hoop strikes the drumhead, the hoop being at right angles to that surface. This vase drum and stick are not used at any other time. The dancers stand in a line in front of the drum, with their faces toward one end of the line. Each boy has a turtle-shell rattle (pl. 4, 6) fastened below his right knee, its sound marking the time as he dances. DENSMORB] PUEBLO MUSIC 35 In his right hand he carries a gourd rattle and in his left hand he has a cane flute. The girl then sings her song alone. It is short and has no words. At first the drumbeat is slow, then it grows faster and comes to a sudden stop, which is the signal for the boys to join in the singing and begin to dance. The action of the dance consists in a motion of the right foot, upward and downward, and a turning around so that the dancers face in the opposite direction, having the drum alternately at their right and left hand. (Catalog No. 1913) No. 26. Opening song of Flower dance Voice @ - 126 Drum ¢ = 126 Drum- beats as indicated A Analysis —This delightful melody begins with a monotonous introduction. This is followed by two periods of almost equal length, the first having a descent of nine and the second a descent of eight tones. The prolonged tones give an effective swing to the melody, especially when approached by an ascending pro- gression. Attention is directed to the double rhythm of the drum, continuing through the triple measures. The repetitions of the melody are alike in every respect. Immediately after this song the boys begin a song which they have previously selected and the girl, without singing, beats the drum throughout the rest of the dance. The song of the boys may be one which has been composed since the previous dance, such as the song next following. The first three lines of the words were repeated. (Buu. 165 BUREAU OF AMERICAN ETHNOLOGY 36 (Catalog No. 1914) Butterfly song No. 27 Ge aye i>] Qo .- Ss 4 =Z, lhe +r oan G3 » 35 osk , a vee oe a 2 (ob) ~-_ 2 Eb = RX —_ oS o = > AK 37 PUEBLO MUSIC DENSMORB] “song—Continued No. 27. Butterfly 378090—57——_4. 38 BUREAU OF AMERICAN ETHNOLOGY [Bun. 165 Translation Butterfly, butterfly, butterfly, butterfly, Oh look, see it hovering among the flowers, It is like a baby trying to walk and not knowing how to go. The clouds sprinkle down the rain. Analysis.—Two records of this song were made, the second being chiefly as a record of the drumbeat. This consists of a quarter-note beat in the 2—4 and 3-4 measures, with an additional beat on the fourth count of the 5-8 measures. The drumbeat was clear during almost the entire length of the first record and the beat was the same as in the record made especially for observation of the drum. The form of this melody consists of a short introduction followed by three periods, designated as A, B, and C, the song closing with a repetition of the second period. In this song the third period is the shortest and contains the highest tones. The next song could be used at any time during the Flower dance. The words were not translated. (Catalog No. 1915) No. 28. Flower dance song Voice P| = 108 Drum # =108 A Drum beats as indicated DENSMORE] PUEBLO MUSIC 39 No. 28. Flower dance song—Continued Analysis.—This melody is based on the second 5-toned scale and consists of 3 periods. About one-third of the intervals are larger than a minor third, eight being fourths, an interval often associated with motion. Attention is directed to the drumbeat in the 5-8 and 3-8 measures, being similar to that in the preceding song of the Flower dance. : eg Just before noon the “country chief” calls from the plaza telling the women to take their gifts of food to the meeting place of the dancers. The women ‘take nice baskets of food to make the men happy.” The Acoma have no fresh fruit and this feast consists of dried fruits and bread, with freshly killed mutton. The dancers return to the plaza after their noontime feast. A man walks beside the girl, carrying the drum. Everyone sings—the girl, the drum carrier, and the boys—as they return to the plaza. Their song concerns a visit to other pueblos and tells what food they were given. ‘The words with period A were sung twice. 165 (BULL. BUREAU OF AMERICAN ETHNOLOGY 40 (Catalog No. 1916) No. 29. Song concerning a visit to other pueblos 69 e = 69 Rhythm similar to No. 24 Voice | Drum and rattle DENSMORDJ PUEBLO MUSIC 4] Translation (With period A) Up from the fish-lake I came out, When I had come I roamed around, Then I went away and arrived at Kawai’ik (a Laguna village), There I arrived, then again I left there, Then I arrived at Kwiisti village, There I arrived, and then again I left there and arrived at Tama’ya, There I spent two nights. When I left there I came to a cliff and looked down on a village beside a river, I descended the cliff and arrived at that village—Wi’lapa’ ti, I went up and down the village looking around. (With period B) Then my parents [clan relatives] there invited me to a meal, They invited me to a meal of all kinds of fruit, and I counted mutton, matchini [thin bread baked on a rock] and a soup made of venison and chili. Then my parents [clan relatives] there invited me to a meal, They invited me to a meal of all kinds of fruit, and I counted mutton, matchini, and a soup made of venison and onions. Analysis.—In the rhythm of this song we find variations of 1 or 2 simple patterns but no phrase that can be regarded as a rhythmic unit. The tempo is much slower than in the preceding song and the drumbeat is similar to that in other Flower dance songs. Ascending and descending intervals are almost equal in number, the melody containing 38 of the former and 43 of the latter progres- sions. The song has a compass of 11 tones and is based on the fourth 5-tone scale. This song is continued until the party reaches the plaza. Every- thing is then done the same as in the morning, the girl singing her song alone and the boys taking up the singing and beginning to dance at the prescribed signal. At evening, when the dance is finished, the boys ‘‘go and jump in the river to bathe,” thus ending the day. Another Flower dance called the Zufii Gaspirdih is danced the same as at Zufi, but the Acoma make their own songs. The action of this dance is like that of the Acoma Winter dance and it is danced in mid- winter, in the plaza. Any number of young people, boys and girls, take part in it, the formation consisting of two men followed by two girls who, in turn, are followed by two men, and soon. One drummer and about 20 singers walk beside the dancers who move forward a distance of several hundred feet, then return, with the drummer and singers beside them. SITUI DANCE SONG Similar to the raingod dance is the Situi, danced by men who be- long to a certain society. This dance is understood only by members of this society but is a source of pleasure to the people. It may be 42 BUREAU OF AMERICAN ETHNOLOGY [Buny. 165 given at any time, winter or summer, either in the plaza during the day or in the kiva at night, and it continues for 1 or 2 days. The songs are accompanied by scraping sticks with squash resonators, played by about 18 women whose faces are covered by yellow masks, like those of the raingods. The funmakers are in evidence, moving among the people, spreading the blankets on which the women musicians are to sit and placing the squash resonators in front of them. The scraping sticks are used with no other sacred dance and with only one secular dance. The position of the dancers is the same as in the Flower dance and there are several musicians. The men are ina line and face alternately toward the right and left while the women musicians, seated in a line on their blankets, face the dancers. In the words of the next song we find a belief that abundant rain is due to the power of a new chief in an eastern village. (Catalog No. 1917) No. 30. Song addressed to a new chief Voice @ = 112 Scraping sticks A = 112 See rhythm Be Ss sessile below DENSMORE] PUEBLO MUSIC 43 No. 30. Song addressed to a new chief—Continued Rhythm of scraping-sticks SIPDIPOrP Translation I wonder if somewhere in an eastern village a new chief has arisen for the year, This is what I said, I wonder if somewhere in an eastern village a new chief has arisen for the year, This is what I said. From the north direction it has rained, From the west direction the water comes in streams, In front of the streams of water. Down toward the east the lightnings come down and strike the earth. All of us receive life. Now chief, for this life-giving rain, you must love the earth and the sky. We all receive the benefit from the rain, It is the duty of the chief to look after his people, This is what I ask you to do. From the south it is raining, From the east the water is coming in streams, In front of the streams of water toward the west, From there westward the lightning strikes the earth, All of us receive crops. Now here, chief, are crops. With this you may love your people. This I ask of you. 44 BUREAU OF AMERICAN ETHNOLOGY [BULL 165 Analysis.—Three records of this interesting song were obtained. In the first record, from which the transcription was made, the voice was without accompani- ment, the second record was accompanied by scraping sticks without 4 satisfactory resonator, and in the third record a shallow wooden box was used as a resonator. The scraping sticks were crude and intended only to record the sound of the strokes. This rhythm was in triplets of eighth notes with a downward stroke on the first, a rest on the second, and an upward scraping on the third unit of the triplet. In portions of the second and third recordings it coincided with the voice. The first recording comprised two renditions, sung without a pause, the renditions being identical in every respect except the occasional singing of A-E—E instead of A-A-E or the taking of breath in a different measure. The trans- scription contains 132 progressions, the most frequent being the major third which occurs 45 times. Next in frequency is the fourth, occurring 37 times, while the minor third appears only 8 times. The rise in pitch level is greater than in any other song under analysis, being a tone and a half. CORN DANCE SONGS At Acoma Pueblo the Corn dance is called Ya’kahu’na and is said to have originated with the Corn clan. A group of good singers meet and compose new songs for each season’s dance. Wilbert Hunt said that he had “helped with the Corn dance songs.”’ The six songs next following may be sung at any time during the Corn dance. ‘The words of the next song were sung with its second rendition. In the first rendition a different bird was mentioned but the singer could not identify the bird by its English name. (Catalog No. 1918) No, 31. ‘‘The mockingbird sings in the morning”’ Voice P| = 76 Drum @- 76 45 PUEBLO MUSIC DENSMORE] “Mockingbird sings in the morning’’—Continued No. 31. Translation For the sake of the people in the morning he speaks, In the morning he speaks, in the morning he sings, In the morning he sings The mockingbird, the mockingbird, Analysis.—The transcription comprises an introductory phrase of 2 measures followed by a melodic phrase of 10 measures which is repeated with slight changes. It will be noted that the rhythmic unit is a duplication of the introductory phrase The measures in 3-8 and 5-8 time are usually consecu- with a change of accent. The count -note beat of the drum throughout the two. divisions are simple, as in similar songs. tive, with a quarter 2. twie song were sung e next The words of th 46 BUREAU OF AMERICAN ETHNOLOGY [BULL. 165 (Catalog No. 1919) No. 32. ‘‘In the west is the home of the raingods”’ Voice #= 88 Drum # = 88 See drum-rhythm below Translation There in the west is the home of the raingods, There in the west is their water pool, In the middle of the water pool is the spruce tree that they use as a ladder, Up from the water the raingods draw the crops which give us life, East from there, on the place where we dance, they lay the crops, Then up from that place the people receive crops and life. Analysis.—A count division of eighth notes occurs almost without interruption in this melody. The phrase designated as a rhythmic unit occurs five times and provides a basis for studying the rhythm of the song as a whole. Attention is directed to the measures in double time that begin with the same count divisions as the unit, and to a measure in 7-8 time that resembles the rhythmic unit, also to the final measure which contains a different arrangement of the count divisions which occur in the unit. The song contains 70 intervals, 31 of which are minor thirds and 23 are whole tones, next in frequency being the fourth which occurs 11 times. The melody contains all the tones of the octave except the sixth and has @ compass of nine tones. DENSMOBRE] PUEBLO MUSIC 47 Concerning the next song it was said “women of the yellow corn clan carry an ear of yellow corn in each hand and make motions with them as they dance.’’ The same is done by women of the blue corn clan, and occasionally white corn is carried in the dance. This song contains many syllables that have no meaning. (Catalog No. 1920) No. 33. ‘‘The raingods have returned’”’ Voice @ = 168 Drum @ = 84 Drum-rhythm similar to No. 24 Translation Nicely again the raingods have returned. Life-giving crops as a gift to the people they have brought. Nicely again Nawish [a raingod] has arrived, Rainclouds and game as a gift to the people they have brought, Nicely the kernels of corn turn yellow, They form the yellow color. (Repeated, mentioning blue, then white corn) Analysis.—This song is less clear in tonality than a majority of the Acoma songs under analysis. The keynote (C) occurs only in the upper register and the third occurs only in the second measure of the song. The principal interval is a whole tone, which comprises about two-thirds of the progressions. The minor third occurs only five times, while the major third and larger intervals are 16 in number. The rhythmic form is clear and contains two rhythmic units. Attention is directed to the rhythm of the words of the next song, given as nearly as possible in the words of the interpreter and divided according to the cadence of his recitation. The rhythm suggests that of a dance, though different from the rhythm of the melody. 4S BUREAU OF AMERICAN ETHNOLOGY [Buuy. 165 (Catalog No. 1921) No. 34. ‘‘Corn plant, I sing for you’’ Voice # = 100 D @ = 100 Drum-rhythm similar to No. 32 C Translation Nicely while it is raining, Corn plant, I am singing for you, Nicely while the water is streaming, Vine plant, I am singing for you. Analysis.—This melody comprises an introduction and two long periods with- out the recurrence of the first period which characterizes many of these songs. The same count divisions occur in both periods, but no phrase is indicated as a rhythmic unit. About three-fourths of the progressions are whole tones. The third above the keynote occurs only once and is unaccented, but the sixth occurs frequently. The song is classified as major in tonality. The words of the following song were not translated but were said to be about the clouds and the fog. DensMorp] PUEBLO MUSIC 49 (Catalog No. 1922) No. 35. Song concerning the clouds and fog Voice A = 88 Drum @ = 88 Drum- rhythm sumilag to No. 32 Analysis.—This song is characterized by a change of tempo which is maintained for two measures and followed by a return to the original time. These changes are probably connected with the words. The form of the melody is similar to many other Pueblo songs and consists of an introductory phrase and two periods, each of which is repeated. The third above the kenyote is more prominent than in the song next preceding, but the placing of the melody above and below the keynote is the same as in that song. Although groups of four 16th notes occur with frequency, the rhythmic unit is designated as a series of eighth notes in a triple measure. The melody contains a variety of ascending intervals, but the most frequent is the whole tone which comprises almost one-half of the intervals. In explanation of the next song, used in the Corn dance, it was said there was once a beautiful lake near Laguna which “broke” and the waters drained away. The bowl mentioned in the song is different from the ‘‘medicine dish’ mentioned in connection with song No. 20. [BuLu. 165 ETHNOLOGY BUREAU OF AMERICAN 50 (Catalog No. 1923) Laguna Lake v. "I © g concerning. No. 36. Son -rhythm A No. 32 42e= = Drum 92 to coy DaNSMORB] PUEBLO MUSIC 51 Translation (Period A) There was once on the west side of Laguna, On the lower west side, A bowl like that in which the medicine man mixes herbs and water, It used nicely to produce cattails, plants and pollen, It used nicely to draw the raingods to paint it with sprinkling rain, making a picture of the rain. Now here above us, from the north direction, the duck raingods fly. They are looking for the medicine bowl west of Laguna. Alas! ssa ae” “Steven seaimonalt OP .Mwd Jondta- con é tel —clunt hon t bas teu goiter sososk.. agnor oldaud bia cam? osowaed somek ineeet Ra a adearsl DOt-308..q0.,b .0f 8 Jews) b 20 6 BAIGkTD ank4 Ansar of .olaum odoqatéA bra sane sloge A 5 with wut . o£ i Dit. &w aef asin } Yo cael tf th wen ~ ‘ SECS = KE ‘Te-0008 | fonda is ced 2ull tesvdives .ootvaM wot olden onaimod ofaes? ‘ a nae 4 cont SI ‘on Ct ick Voadi ssmA sv singe ejuslieD has witooV 8 : wal .SS-0X-.qat .qowlsaA (insio) delta to emai bal | in ole EA a O80 lvl Joads .remA iy H 8S of gal qodiaAk lum waiootig | 081 © Lol diwll fonds szaemA ntl .clhvm ofb 9 gpoloaitid casivaA lo seas belt ole ogadan a ab, obtal .sitol to eaoisea nortan aaaW zo4 aod ced jovizsli Yo dase ‘a wibn) seshamA to dondbanlt of ore) £ bas f «iq 6 Moh Joadia ‘.- JW wor iv fondt semA welt .ebvoost seddo bas amooA to eeu mo ty ' * J ? hy Y ’ Mian) +04) .S9STEO OKITA THOMEAIVO® .@ Pee oe n} a \ ; ; Pel ahi Soe U j A ¥ - j A yet) Peri { ly n es ede vel Wass a ‘ j ’ = 7 ‘ Oa. we au tat ie vl any | ae a rae BUREAU OF AMERICAN ETHNOLOGY BULECE RINGS) (PEATE 2 flute. ring Wilbert Hunt play 3 b, a, Philip Sanchez with drum. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 165 PLATE a, Medicine dish and prayer stick. 6, Vase drum and drumstick. BULLETIN 165 PLATE 4 BUREAU OF AMERICAN ETHNOLOGY ‘oe [[eys ~9[11n} pue Vyeq pue Yses ‘aqol [BIuOUTIIO>+) q ‘todeios 9u0q UqIM opel yous peyo ou pue So[.el pAnofr) ‘y BULLETIN 165 PLATE 5 BUREAU OF AMERICAN ETHNOLOGY “rel ButAiies usyA URUIOM Jo pray UO pade|d Bulr puv ‘souULC] JOMOL,] UL UIOM ssoipproy Jo voI|day BUREAU OF AMERICAN ETHNOLOGY BULLETIN 165 PLATE 6 b, Anthony Lucero. € 3 a, Evergreen Tree. 7 ete i t q ATS Sah | “OTA 3 9088 01421 914