MOOHy

ARRAN
IMMOQHVMHQH09

ee

Se

petea te eer Cte tts

ee ent

SRRRARN SERRA
~

SOND

WNMMMMWWAY

NY

S OG
RM OOO

S

CLL
ty

SOE

SS ERA

WRI.

BULLETIN 53 PLATE 1

BUREAU OF AMERICAN ETHNOLOGY

ODJIB’/WE

‘eh

SMITHSONIAN INSTITUTION
BUREAU OF AMERICAN ETHNOLOGY

BULLETIN 53

fei i wA: MUSIC—II

BY

FRANCES DENSMORE

NOV1i4 1918

WASHINGTON
GOVERNMENT PRINTING OFFICE
1913

KJMRAW

Te 14a vo
are eee A,
= ae

e1vh
)

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.

III

2 = 64 ' /aGaqet 5
e 7 . Pie | a = f 4 bichon!

ng d : 7 ret. Ves alpiede WOMANI
hs ; kas ; iat 1 ae

. , : ; a aint) ; or vd frybiiey

Vitide vert Y eae

matt }

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.

soon ledia) 62. naitaly: ai nr saute soroege it
SMUT jsowoty its hiv Hats abe
L io% Soe hits odin inne m5

: POC & . JO8
; Ort Re yi yng alk to Bie: r ibs hr
< 5 tae
foftol ait 1 vinriensdmer piemn

bignes BAW OFls cies k qq: oni

tye ‘oat gest ant to adn m4

Tes coved tt Die Al 4 iw enone: a0

, yiew died: o1 29040 MISik te oH
. ash bre

k ; cx) “Ye ti Laub "
a Sahat int. oft if : Ws voqein an ;
% . ade . rae 3 joi tte . | Rs BO “y a3}
—- ari j j , 4 uswi- tt Of “ fu
: p ie"
Lnietat Atoeanes we hs ee

9 » 4
“ ‘
‘ i rk . oy Orth 1 The
ge. :
- ‘ ct iD wveasni “8 ty He
he: . i
’ nt M urwvewgg ih
: .
a
Pd
4 -
"" .
:
e .
p Leal
¥ : ‘ :
| 4 .
Ms =
rt .
re, ,
ro
: .*
Ve ° j
@ *
- rf
.
je .
. . aw? &
& 3
¢ . *
< = oF 4
- : : ; ripe Yen

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

bo

oon Dor w

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

Ix

ga ee fs

=
te
Pals
ee
C&

pane ee Os BEES Yas 14 Fete. “te ein tg Re

+
_—
*

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.

67996°—Bull. 53—13

9
2

or)
1G
3 ° oT 9 p freseeefeee eer |i [cele] p foccefeee fee «TE REE dor 44 Be 8 11% rl ¢ Gg [erceseeneeececr ees be cab eeweneenes “(HUN
a § 01 g if “) 2 @E 1 T | 49 CF el ae Or VM b eae teat £ am | ee eae 9 Se OS A oe eres ee See 8 PATL

bo FG Ol a Cae Toe Nedl Seo site. eee |e | el Sl Ce ST hee ae | eee 91 41 | 8 ¥ rT DS AE > ae iy ae a A eer OS'S YjueaL

é , Or go lrccreefrecefecceccfecc cotter efeec ce efeeee|eee ee cfee ee feces ee fecee|oeeeeefeees g zit z lI oe eee eee eee Lyqinog

I ¢ 6 Telemed te Ste ee ae fee ae Ol p frorecefccefeceecefeeee|ec eee efeeecfeee eee fe ee] eee ee ee eea|es esses et esee ces ecesereeenee eens qweAeTT

1é GL as § | 9 @r| 1 | er) | & T |67 Sonar, b 16) | 9 G | 3é] IT | S17 L-| ¥8 CGale? eS aa as ee eae oT

&& SOT | && antares Oo ace le | ee “"") 86 & | OF I 98 | L } £8 IL | 9¢ &% | 6¢ 02 | 98 oak "SoS ee eee ee UVM
i g OT ed ee ee ee ee t g él 9 ] T ee ee ee | ¢ UyXIS
ro) T P Pe ee ee ee ee ee ee ee va g | g T wmeeee es ee ee ee ee ee YQuse WIL,
2 : | —ay} uo SuUUIsag
7, ct == = a +: Se.
I HLONAAM OL NOILLVWIGU SLI-ONOS HO ALON LSUIA—s% ATAVL
io
a = Ore ee 1 | ee Simic 6) ie ao i lars Le || (hi [ere (| Zan 08) (owe 88) | aes TS) ease? 4 COSINE oe STON F
=) af ea Ne SS NN SS i a Ee a ee ee ee
fe see eee T g I OR ECR DR Van al at ee es ee ee ee ee ee Jofeur surpue ‘IOUTUL Suluuise g
Ee ee Ss z g ‘fae | “aie eal Ce lh Oe a Sad ste ~ 5 bits. oa l= » See Se ee RE t HS Sia ee SecGen af acl RRS ole ee Se JouTuL surpud ‘1ofeul SsuTUULse g
5 er GPL | 8& 8 | 0¢ F 9419 | && T | & G | Od LS| 49 £1 | 09 8T | 09 PF | Te GI | &@ ACg)S coe = ae ge ado Aqiyeuo} LOU
re 4G S6I | 6? II | 09 Po) @ er | Tt 1 49 G | 6 G | 08 & | && 9 | OF GI | OF PP | 94 68 | 6d Sonia. ae SS ee eee ae Aqtyeuo} Joley
(jo) oes —s oe —_, pe ed +l

*ym00 | . “4180 | . qu00 |. | *que0 |... _| "9980 *queo | ..._| "que |. _|°4100 lec) “qu90 “que | ..._| “qt |.
wog | ON | og | ON| 30g ON) Jag | ON| sog ON! Jeg ON! Jog ON! Jeg oN qeg | ON| 10g ON! Jog | ONt gag | ON
ica
fo a.
5 pa ae. 3 3 3 3 3

jo S}JI3 WIM | ssuo0s ssu0s s3u0s s3u0s r
[R10 bie de jueuruTe} | pejoouu0o| eouep gouep gouep oures ies ar sate sit
: -19}09 94} | + ssu0g edi g Surss0q | SueUIO A | UlsBo00/ ‘
Ioj ssu0g
ALITVNOL—T STV
SISATIVNV OIGOTHN

oO
re 1SYNOS OPE AO SISATVNYV aqaLvTadv

19

TH

CHIPPEWA MUSIC

DENSMORE |

*sou0} 6 UBY} Sse] JO sseduroo v SuTAvY pure oru0jJednNs oY} UO SuTUUTZEq SSu0g ,
*SOTLO} OT UBT} SSo] JO sseduUIOO & ZUTARY PUL JULIPOUT OY} UO SUTUUISEG SSUOG g
*Som0} TT UBT} Sse] JO SseduLod B SUTARY pu JURUTUIOpdnNs oy} WO SuTUUTseq SsU0g »
*souo} ZT UBY} SSeT JO ssedu10d & SULARY PU JUBUTULOp oY} UO SuTUUTZEq SSO 9
*Souo} ET UB} SSoy JO SseduIod B SUTALY PUB JURIPSUIGNsS oY} WO ZuTMUTsq SsuUOg ¢
“(SOs YHOYsNoIYY BjouAOY Oures) GF UTTING ‘Z6T “ON +
“(SOS JNoYsNoIY] ojouAOY Oures) YOM YUoseId ‘19 ‘ON ¢
‘(30s ynoysnoryy 9}0u Koy Oures) Gh UTZETING ‘68T “ON z
*MOI} BOY Issey
JO seseq ulej1ed SulMUIeJep UI vdUE\SISSe IO] ‘BOyTO WOVE soyeIg poyuyg ‘1oUTUIeXe ‘peo “YW “O “IP 0} OSTe ‘stsA[euR Jo se[qe} esoy ur peAo[dule spoyyour oy} Surpaesor
SUOTJSESSNS a[qvNyeA JO; ‘uTnesny_ [BUOTJeN soqyeVjIg peytug ‘Asojodorqjue yeorsAyd Jo 10jvINd “VYQIPIA, SoTV “Iq 01 Ssoupa}qepul Jey Sespe_MouyoV AT[NJoywss IoWIM OL, 1

{ | | |
eae “oe tags Mie |csact}ig la essere ips IS Sly. testo pee slep eta) Opts" 1 eel athe anieringpal at Sikind tie wioe Dhitat bade she URE
= \- I | I | as Ss bE : | —E z|
[Tae MS mt Ae anak Oe Tete eae sal ce ani ee al Je AGG Are se Vee ON a) ERA ll Re cee Sea ees cocoa a acto cea DILL
ee | 2 OS ea Gi NG. NGG al aS alla eek paaeal S7 € | 06 f | OF Steves 8 | 6 61 | @I 9 | 9 CUe aie dace Ps tana aks, ¢ Laie ae Ene UW
£9 | 626 94 9T)} 9 19 0°0¢ | F oor | & | ie Ok Z 78 9T | 99 0Z | OL | 69 9 | G& | &9 02)" ee rome CUS Wee Lataay chr gu pease SN oro.

| | | | | —ay) uo Surpuy

HLONAAM OL NOILVTHU SLI-ONOS JO ALON LSVI—€ ITV
| l pra | |
Pye al OFE eg 1\ eae eee |e; bar Fee KS ee Lett ee i OL ee eats lglieeece a 9 og ee foo Ig 8 | CORE ihe F GaGisi 21 IGE SER eae TIT 4
ener = \ | (ea er as a eee, RUA Ta Ree AL |
A eae Ae E oly | sele Ese | 7 ea st eee ee 7A nee eee ree | ee Ge ENS ee : E Peemee seer bh ariek
ry ye agen onl | ees eter Sie aac 2 Ara «o's |aie gies al Bi ae Ta es o°9 T vy) 1Z | 7 | Teale a ad |é hig Po eat ti Rnntetels Matias yyUsAes
} | 1 | | } \

GT T¢ Or (Gl raed Na i 9216 Ces ae 71 T | 06 va 11 |@ && -| OL} 24é | ¥6 | SI yD a lt i in ST Erte rate. Gos VABIIO
¢ Ge lease ea el Eo T oer ssss | Sy er OS pees amin ‘OL I og I cs es seeeee | Pa fol cpa ees Beall | 9 et SCR ator oe on ere eees 6 puodvag

[BULL. 53

BUREAU OF AMERICAN ETHNOLOGY

20

- APOJEUL ot]} UT GUO} 4soMOT OY} ATQVIAVAUY JSOW]S ST 01004 OZ, ,, ‘So}BIS OWA ‘(Q9g “A

‘ZIGT ‘OSpuqurey ‘AT “JOA “pD.VG sa.s0y “padxg “yup -squvg ‘sday ul) sIoAW ‘Ss *9Q “Id Aq pezdyeur ‘sapuvysy Aviinyy ey} JO <3u0s oy} Ut pojou st Ajtaer~Noed wes y 1
“UY OY} UO Spud YOIYAs “eZT “ON ydeoxe ‘orM0} oY} UO PUP GU04 [eUY ey} MOTO Sat} ZUTUTL}UOD SJUOS [[e YIOM YUeSeId OY} UT
“UNE Pq} UO pus Yor ‘26 “g8 ‘28 “SON Jdeoxe “o1U0} 9Yy} WO pu eUO} [VU 9} MO[Eq Seu} SuTUTeJUOD SBUOS [[B CF uneyng uy

GLI ‘99T 26
06 ‘LF rat
eyt [cece
oot [ttt
#21 ‘09 6 | OST ‘9ZT ‘6T
PST ‘SZT 66 [69 ‘29 ‘99 ‘LT
66 88
GLI ‘69T ‘TAT ‘OZT “6r ‘98 | O9T ‘ZET ‘09
6F
ant (reese aaa:
YIOM cp ng,

yueseid ‘"sON [Beg

“SON [tlleg

| |
aaee : Ones on ja OST.
I g I re I I
I € I z I I
ae ‘ ozs A peer:
eocecece it seceeces! I eee eee -_-
3 9 Be twillé g g
8 L Fs € g F
eae 2 eae Saco fy
§ 6 ¥ 9 é €
Gia uis ee T Ale icpttercn phil par (ar ataea = tote alee sa I
Pe 6 Fiimie @ Ord ae Pie. es oes | een oe
“ease ay, I
061 | L08 | 06 Ifl | 06 | 991
|
*que0 | . “yu90 | . “yWe0 | .
PCy oN dg ON I0q oN
[BIOL juosorg | SP Her

SONOS JO SSVdWOO OL NOILVIUU SLI-ONOS JO ALON LSVI—'?F ATIVE

i

ALON
CRS aE Ge ee eas Bae a te IP Scar Soe Cee DROS Somer G Rn Erte Senora Ss fore: eae OS [BOY
Fee Laas Le Sa Se ae ae ge RL gS ets ag ae 2U0} [BUY 94} MOleq PITY} JOUTUL B SuTUTe}UOD sSsUOg
a ere ein ee Aad Fede ae De PATE Sa Se Se aes Powe 9u0} [eUY oY} MOjeq YIANO}J B SuTUTeyUOD siuog
po tT ae Saag aa dINSBAUL SNOTAVIA B UT MOTO YFXIS [ILM MOTEq 9U0} OTOT AL
es Se eg et ee eae dINSBIU SNOTAaIA B UT MOTAG Y}INOJ YALA MOTI 9U0} s[O A.
[et cin ena tn enn wat nit ena n ee wana cee wean en nena nee ence rete ccs rena cennems MOTaq 00} BOUL
|i Cem eee "Gee ay Wels Wane RE Gata aba oy cee MOTEq Pa} JOUTPY
fee Seseeaeren 8, Sashes =! ape says ale 8 Sa Amy at als/ A aia £ ope oie a ateie\ eeplags in aio m.m\w Sige rnc ee) Bessie s Minions aa aie MOTAG pay soley
OS 0S Ie SASS en Pe Gee ANE tak =o Aes, i: Se Ree EN, See NY at NEES Moped yVINOg
SPR Oroidisi eS Sayan ee eceuaie: « eeiemre eh Hae outa cine isi C RS Seen DS Secon ed eed hair ne es MOTE WITT
| —Aq pspesdeid AjeyeIpeurury
ticle wie Sinlele o.s'e s ola.n ince w vleepielmelwate bla clenh alee IUMNa Ie alee te eee PRM AEA 2eRer Ea LORRI otrek L Suos UT 90} JSIUSIET
a IN a I) A a NO RR IAC FO, fo Te 21 oe os ee ae trea “--""SU0S UT 9U0} JSOMO'T

—Sf 9U0} [VUY OTA Ul ssuog

ponutjJU00—SISATVNV OIGOTAW

CHIPPEWA MUSIC—II

DENSMORP ]

scbuce z g Loree eRe FL eee RE RR a“ EER PRG PRS sno eyo epee mnie cade reese <2 oy pare DELI} JOfERL
é] GF g LORY ae Is | oa eae “""") &E 1 ee rao I (Pp fk i ee Sle € | 96 €1 | Ié (1a as RS RS Sa Y}XIs pue pets} 1ofey
an a I cecal saiphabie eee lle saca rel age) && Medley ce leeeenaliast ere el cee re Nes eal ee aie ae Se Sea eo ace eae eee ae dee oe TT TO AOR DIAM Ln OG Ti
I ; “Aba | Repaid [kl neta esr eas | ie fats |= +] Ta sels e°9 I g | (Ae 4 leoeatinaaiel se ze fie PS SH|PSEE ol oa tcw es 2S ee eee oasbousa ---pery lofeyy
Senn z weveeefeeee] gg fg ferret a[eeeeceleeeefeeeeee]eeee| eee ee [eee efee ee e]ecee]ee ee cafeeeeecereefecee[ee ese e[esea|eseeeeleeee|oeeeeeeeeessseesesre+s+sgregg pamoy-aay Wyla
9 88 66 9 96 |G CRAY Geel aera Le aleve | T | 06 a II|¢c | OL € | & GZ | 67 cS | 1é OCS Ce eee eden Ae mys a[voS pouo}-9AY YANO
él OF UbOhen Calms am sch G Ried: Seer ae a5 Fs) Opa e EOP O NOL aac leee eleelalie: CHS TE oe ak ee ees ayeos peuo}-oay puooag
Por eae ei "ESE? AEN a t] I Sarl i nol Bl ele ths blag Al Sl ol ok. Seem a aaa cnle inetie ME RE ITIL
TVIYUALVW ANOL—9 ATH L

Ree | (1) lee emits |e C4 | eee | ack rofl | aca Lt es | amen {2a || esc bam et Col ce og || 88 acai a We (04 lec} ei ce R I CECeSETSTLa TE
g Gre El os cal acai eee a ke eas ak a. § LENSES | es Soc a aa Sal Tate wall 77 F | I 1s | Re | cao | eee Game Cl tonne eee Se Greet? rion souo} Waa},
8 (idee Nace ee: ae || Relea: aes O° 87a) Pel a S| yp ie. |fceaeie = 5189 eg Dales AMOTWEL wuOeler | his nee cp perro eee 77 sau0} W9a}IITL,
08 €or | 71 Con es Mica oalie dh mecca “"""1 6B z | OF r | és Oya a Gc | és 87s. wen |g ro i ea alee peta SaU0} OATOML
6 its Or CA | (S71 eH | |e | i lags aaa | eee pes | Ve 4 ft5 Tee rat vag rales Pie ee ee ee ails Sau} WaAST A
IT 8e vé CN Seis I SBT gnc. aa Sal Oa T | OF E392 SBOE € II OL | 71 L d LTA | eet phew gan Pp ey PEE ap” souo} UAT,
g sl |¢ Tale eh Fees oh Ali ec Mle ag | rae ito ge lfe oh ease aes SE ae ANAS Ue ale 2-38 Berle PN | ae asics cir etal $90} OUIN
lé TZ | 68 9 98 |& Fae |i reel aa T4107 Ae Sl te Ae allie — AS ee SOT Or. SINS aes MING at epeteee earereees dese ~sol0} IUSIG
g 91 OL (An lean ras set @ poke FOSS ges eas | aie | es foal ee eal eo ale. Tener ery Coales. 9 oI halNSGOt Das Atoeens Weelee bi S90} UaAVG
& (0) Ge | cicadas sation | Le Nit CELA: Veo] te || Seager aia aaa | (aaa: ea | ipaimaeii «| eee 5 | atten a 1) thay I lt @ I t Po fseat Hie ie ieee shew S0U0} XTS
va el’ weeeee --- Ge Thaler 4 eee (ees ie eae ed er - \ scree eo. Pears ero esa Mees | reer |e lense] | Sactee Soar rat | BP ataenee Rese abecow tomcat vs SoU0} dAT
sapere z weceee[eeeefeeeese|eeeefeeeeesdeeel go Fl peau pase fachat |i ha cds ie tr acer a p [occcefctefeccccccccceeetees cesses ss +g9m03 anog

} —Jo ssuey
aa ON bel ON ee ON fe ‘ON Se ON ee ‘ON beg ON be ‘ON ve ‘ON ese ON ees ‘ON yee ‘ON

|
gall ee 3 3 3 3 3
TRIOL . ae iaueee Te cone cep adap oer ve oe ee pees
: we sal s3u0g odig Burss0q | S,UeULO AA | UlseoD0;T J

DNOS JO SSVAWOO DNISIUDWOO SHNOL JO WHAWON—'S ATAVL

[BULL 53

BUREAU OF AMERICAN ETHNOLOGY

22

“yua0 | . -yu00|.._|*queo].._|-yue0 |... | qua |.
gag | ON | goqg | ON] tog | ON! og | ON] aog | ON
Es |
uerpTypa 2
jo Sys TIM | = ssuos
[e107 gpuen Dep yuourute, | pejoeuuos] aouep
FesepPUL) | _ioyu9 aq) | ssuog edrg
Joy ssu0g

"4100 | . “190 | .
lad ON Idg oN
s3uos s3u0s
9gouep sourp

Buisz0gq | S,UeULlO A

*\u190

weg | ON

s3uos
sures
UISBDD0;,

ES sen eae tae ates a YJANoJ pues pA} LOUTPY
Bee ee ae puodes ydeoxe aje[duL0d 8AvIDO

> (hse tre ete mimo |v eieie So Oe elm (hei eg a oc amines aan par) ydeoxe aje[d Lod 8AeIVO

“yued

10g ‘ON 19g poh

| eb ety !
s3u0s s3u0s
OA0'T IGM

-**puodves pue YWNoJ ydeoxe ojJe[AULod 9AeIO
ea par) pue YyANoy ydaoxe aye[dutood vAvyOO
FRASER SOF Ynoy ydaoxe ajo]dUL0d 9AvIDO
-***puodes pu’ Y}XIS Jdaoxe 9Je|A U0) aALIDO
ere YAANojJ pue YYXIs ydvoxe oja[dUlod 9AezIDO
aide? oe oe YIXIs Jdeoxe oj}e[dUlo0d 8ABIDO
““puodes puB YYUIAVS JdeoxXe oJe[AUIOD 9AB}O
-*> pq} pus yyUeAes ydaoxe aja[dULoOd 9AvIDO
>, WJINoJ pue YUIAs ydaoxe 94a]d M109 9AvIDO
--- UJXIS pue YJuaAes Jdeoxe 940] W109 9ALIO
Mt ial Se YUIAeS 4deoxe ojo[d UL0d 8ABIDO
hae eee eS 9J0[AULOd BAB}O
Fiz is Saas Sa seane se iae **-puodas PUR PRL} IOUTIY
oS Sac oT nea WWNof pus pel} LOUTH
Sere soorescesse ss“ UyXIs puw PBI} IOUT
ee Ci ***-YQUdAGS PUB PRI) LOUTW

SoA eo aloes I p [ccccstctettttetesestsss sss peng JOU
i ead T T [itctcc orto puooes pue peri Jolepy
*yu90 aihorspy yl ane
jog | ON] seg | ON
s3u0s ssuos
mead PPIN

ponurjaoo—TVIYALVW ANOL—9 FIVE

penurju0o—SISATVNV OIdo TaN

23

CHIPPEWA MUSIC—II

DENSMORE]

*(e8 “ON Jo StsATeue es) ApI[eU0} Ut Jofeur ore SsuOs OY} PUL JOfeU ore s[eAIEzUT SZurpuodsexr10o oy} 4nq ‘peqqTUIO OsTe O18 TAINO; pure T}U9AGS
OY} a[VOs Peo}-eAY YIN oy} UL “dTU0} ey} WOIF YIXIS IOUTUT BV YULIPEUAGNS oY} PUB dTUO} ey} Wor; PATY} LOUTUT wv Suloq JULIPeU oY} ‘A}T[VUO UI JOUTUT eIv SAMOS OSeTLL, 1

ne ISIE S Ugg

= 2+ +9104
-I198 @ PaJaMO] WIXIS pus ‘piry} ‘puodseg
as ey Se cps aU0IIUIAS B PaaMO] Puodveg
Si Sa pee he auOIIUaS B PIIOMOT PITY,
pee Teer coo aUO}IUIS B PaIOMO] YANO
eles 5 Goes oo as AUIS B paJaMO] UIA
Slee ge raga es aUOJUIES B POIBAO] Y}XIG
pint gains eres aUO}IMas & PalaMOT YIWIAGG
ee 5 oo eR oe aUOITIMIES & PaTaMO]
UWIXIS pue osuo}TUMES B pastel puUodeg
al foalen seein ae JUOJIUIES & PaloMO]
puoosss pue sUOjIUIes B pastel YINOT

Reed Soe ae eA @UOJIUIOS B Postel YJUGAVS PUB FINO

a a al | la aks dUOJIWS B Pastel PUOIIG,

teks! ee eis |: Wai 6 coe bil | ee shel ge =) [rans ei taped lel esas a a eo a ae colic a ila Peet ba) Ie ie Ae UOT Tos: @: DoS te dynos

CN CT gehts ley pay UOIIULGS B pastel YIN

PPS RGIS SES "7" "9QU0}IWS B Pastel YIXIG

por Sige ne ee ae aUO}IUIIS B Postel YJUGAVG

ean pisiscicici ee Sst asta SAS STB TO plas ON
—SuluTe}U0d ssu0g

por rs (hgel ERS Se RRS edd 7 we cl | et DD em IP eee Or ae FBT e RAS OS Is FS Sa BB es 2 EE SSE | GO Eee Fa a gas ae tee ete,

g 6 Or Poel bed eo SN AE SF ih ga yet (2 3286 || Ce | eis] oboe ea ace atic g Te PaaS ¢ OG alte aes rae eso -*="S9110} JO SUOTJBUTGUIOD 19730
é 9 e Pee le CEH AN (een (eee eae per CGE Poe a A Sa ate Sa ea Y Ziad lh dsa al cla ||) ao bas A 8 Ff ISOS “*"s9Tl0} I}XIS pue ‘Uuy ‘puooes “4SIT iT
me cei T Se Kee =e LY # ala ce eeee[eeee|eeseee[e eee |e eee ee [ee ee [esse ee feeeefee ee re[eee feces cfee safe e ee cele eec|oneees[oeecfesssec[ssocl--o°"2** sRgttoy WG pus ‘YInoy ‘puooes “4FS.11.T

a “19440 TOV 0} WOT}eIOI-p1oYyoO o[d us B IvEq JOU OP SOMO} Po}MODOR SNONSI}UOd JI poyIssvyo SNYY ore SIUOG ¢
4 “JOY}O TIBI 0} WOT}VIoI-p1OYO B Ivo SOMO} poy Med0RB snoNnst}U0D oY} JO WOrj10d B ATWO JI poyTsse]a SNYY ore SSUOS z
B “I0Y}O Yow 0} UOT} B[OI-p1OYO o[Aurs B vad SoM} Po}T90Ie SNONST}UWOO JI POYTsselo sNy} ore SUG _
2 1 1 e
ee ery 982 ‘8 se DCG eco TOD Pack Sh pL p.|oon se" ge |--oo got |-o TFG |f SEROUS: Oe Se 3) CSN Ealiees = BLO! Gi! 54 ap MLE Sle lien tase) SEW meena ass os" SRBTO
Ss $98 ‘% | 98 Sst} 77% | 99 ie 09 | 98 6. ee cg | 7g 18 | dg 06T | 98 cle | gg LIL 1 6SF 8s O80! Skreet see est pawnd
£9 cers |79 #83} See) 6¢ |96 | 99 |FIT|%9 | 9L | 29 TIT | 99 | O91} 89 | 628 | 79 TSE NGS VIEOS ST "99. V keLB) = || omc L0G Tice eee PIVMUMOCT
duvMdn GNV CUVMNMOG—SNOISSHUDOUd AO UAAWAN TVLOL—01 I1aVL,
| | \ ———
alee SE a ae ae wel g ae Bel eel siete oll qq’ leeSore gah t--—22 41 gall tI calbegeds >< c+ luce aol yg ABI ce aa
pa La ee 5) ch coh a ES SN a age aA |e ae mae! ee me [ate wat 3
Os Z01 or 8 0g t 0g E && ealeghe € | 09 ¢ Ly | Or | og cT 1 62 16 op él TT: See toe paemd :)

5

BUREAU OF AMERICAN ETHNOLOGY

|

Me a er ar bone -lpe Slay eeeestuy p-reene pa
99 BCG POR Aer LOL Gg eg. ko S| BL ING, -) OOE | Ob | 20 Tile SB eet 8S 99 «| 6F 98 | 8T 7 PMs St ee ie! e OTpoyeur Aon J
or og +] g frececcfereeeleeeees eee ORE Sage ge lg ff cede elf aege gcse cert eee ae oe | zz Plann ee Pete eee peers +++ yJoMaUIeAS

oTUOMLIeY YI Orporpeyy
%é £8 0é t 81 T 8E € 8S 4 oe hace |g gee | (ara er 8 £ % 6! LT 67 GS S@ | 2 SR aaa "7 ** (OTUOULIV ET
“yueo)} . "yu900 |. “4u99 | . "4u00 |. “4909 |. “"yu90 |]. “qu00 |. 4u900 “ued if “409 a “yue0 Fy "4u90 %
weg | | tog | ON | gag | ON baog | ON} aog | ON} Jog | ON! tog | ON | gong | "ON | tog | “ON: | dog | “ON | gog | “ON | gag | “ON

werpyya
3 UTA s3u0s
s3uos poy jo Sito UH s8uos aouep|s3uos souep| ssu0s oured
I0L 2 queururey | pojseuu0s | eauep sduos oAoT | sSuosaeyy |sSuosureorq | s#uo0s op
Issepuy, “09 au: | edaog edia Surssoq | s,weuro,, | utsvoooyy ad ‘
IO} s3u0g

AUMNALONULS—'8 AAV
P9nUlJWOO—SISATVNV OIGOTAHN

24

25

CHIPPEWA MUSIC—II

DENSMORE]

evowesre ss 35°71 TOAD

SPARES “XS
APF gees: “wan
Mesa Says smog
cee a ** paryy Jour
pam “7 pargy soley,
<n ae SI SS Se pmwoaasg

—8 JO [BAIO]UT

Perea ean “UW

Pee wrereee sees TO

yo ee “7 pag} JOU

we “eres paryy role yy

sm ce eg ge A eg panes **puooes
| —# Jo [RAJo}UT

NOISSHUDOUd CGHVYMNMOC NI STVAUALNI— TL ATHY

wt

pe ¢ een er ees | es erealiane Once ee eres uf iit pile ee aoe 2 Oe ce) Ore Sd ae Gee Se Ee { ge [oe Nake S29 = CERI zofeur yey a
3 e ean ion ama | Gaekee a: ¥ seme or ole emitted ee eeres ve fela| Mare Sa sie = a cnr 9 (itp om | a ea SPE Sos ee al Oe 1oulUL Vy
5 9 61 ee ee ee a) ¢ 6 ee ee ee ee eee ee ee g OL eee ee ioleur Vv
s& —jo soy

yuo |, “quad ee ued 4 *quav ; “quad ; “4u00 f *4u90 2 “400 nee

10¢{ | ON | ta0g EN 10g po SST || ey ON lt crap ONS | eagur ON ere ON

1ourUI rofeur aIouTUI
[RIO B3utpuo ‘ioleur | IOUIW soley Surpuo ‘ioutur | ZutTpuo ‘10feur IOUT, 1oleyy

Pi Suruuegq supuurse g suruurseg
pe YIOM JUST Gh UNO [NE
© — pe
A AAM— FL ATAV
a es seheeS! £ fo: Shes z Se ee ee eee
ica] T's T6L ‘SZ 982 ‘8 (RTM NS oe Sa cnet de ariel Rinne Oeien ciclo Rai iaainigirn “pM s = 2/ci oa Pe tamara a0 nae: Sip ager elie in pee ee ate 12101,
om) a - ~~) Callie Seven ree Re been ant Re Re. Sook ie corer Meera Shee iaee ger POG moron 2 puaeaaA
2 £ PLP TOL Gee eas Geet eee RET NE Sick ER Se Re ak ee See Ge oie oh ee RS ie ne ee aac UdIP[IYO JO JWOUTUTe}.10} U9 10J SsuOg
= t% SF PLI er (Sato a nea Tae See ns Oe eb a eg See ey er, © ak eth. Be a oc S}JI3 YIM poyoou0d ssu0g
Ss ¢ ie 88 CZ € SEES oib a wid oe via bic s.c.els aiviare ala wo mie:a =.é:aminiv dine cleo Mae ps wa’ <= 0G pins iw ola wa.e4 as, Fin S06 a. Am 66,06 UA eins aa ap ene Meals «se <p a ee 6:45, 2' Kw s3u0s soup edit
<a 6 ie CSF 99T I} ed Reet ecw eww ewww meee weer ese eases eeeseseeeeeressseeeaasasssaanee ee s#uos gouep suiss0q
ical T ‘g 6SL G4 OT ee en TE a ee ee ee ea ag ee eae a ee eee, s3u0s eouep S, Ueto
o) Gg e 1t8 aT 61¢ 61 ow didn 6 omnia ab alah caus Mes 6b cap cess dbeans Jdig 0c cahee «6 dials 0 oOo MOC © 0)t = Ose own epee aes 668 SSR O80 lap 4dine Shee ss cep 5 eae s3uos eues UISBODO],
| a 888 ‘¢ eet 'T ng me cae ae > Gt = aS r= ao tee me og 6 cv ante nc ise oh intro ot es - oe lo HR eae sin AG 2b ape ah Bsn Ue ree aan s#u0s oAO'T
fea] & LEZ ‘9 640 A 88 aiatel stata) diatdte sp Am Uiela «clea tn oc wide. ce acta Bs «cle ote oo Wee ide 66 shetd ees iw 9. 6c,G wipe ao mies We sale ehe se 'sels wen 6 ae Ole he ee eb ae 6) a & eee ese SAP e eS s3uos IBAA
5 le 0%E‘F Tee ‘T RC tse Mi | ee CSTR ee Cat cree ee Oe ee ae be ee ae ee ae alo see ima sae s3u0s wIeol(y
roa) 6 rd 86¢ *g L186 aT 6 pete ayelainlalitie aists alate in alee om ab a elalntaleie am wid oldman a wid, d ole aid vislsie.© 616.6.0 aia'e.s\s Mn/ea > a! i- = Awe ee Oe Mine Bee 0.0.0 6 ae Ses 6 Bie Bie 6 oR WS a ew a. 8's 6 40 2 2.68 P, s#uos PPIN

[BAs0}UT

yore ut somoj}TUIes | s[BAs9}UT

sauojmes | Jo soquimu | jo saquinu saciid $8U0s Jo ssvIQ

jo roquinu | [eo, [R10 pees
asRIOAY

Seen ee a a aa !)!3239°0°0 SSS aE

TIVAUALNI HOVE NI SHNOLINGS JO UAAWON AOVUAAV— EL AAV

penuljuoOoO—SISATVNV OIGOTAW

27

CHIPPEWA MUSIC—II

DENSMORE]

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

SNIDHA DNOS HOIHM NO AYOSVAW AO LUVd— ST ATAV

SISXTIVNY OINHLAHYA

29

II

CHIPPEWA MUSIC

DENSMORE |

“GZT “ON 999 8

“TT “ON 999 2

‘6I “ON 995 9

“CF UTJO[[Ng “68T "ON dag ¢

“ST “ON 009 5

G “ON 095 ¢

-asejuooied Sutynduroo ul pepnpxy 1

[SP mas cee ee ~*"gS9]0U 4}U99}XIS INO} JO
dnois JO UN09 YANO; OY} 07 Sutpuodse1109
yeoq poyuedovun ue Aq popodoid yroq Yous
~*, JoTdI1} B JO JUNO PUOIES 04 Surpuodse100
yeoq pojueoovun ue Aq poMOTOF yBoq WoRoy
eisere ele esa 9 J9[dI1} BJO YUNOD pAly} 07 ZuTpuodses100
yeaq pezyuedovun ue Aq popaooid yeeq your
“*""¢ peyuao0BUN $9}OU JVI
ST ee oe *; pojusoovunN sojoU Jeyen%
“*"*"» peyuedovUN So}OU WVYSIT
eee isin aes ee ailing -; OM} JO Sdno13 UT po}ued08B Se}OU WAYS

ea eeye aalore

0g | 9 g
LOM Vie GZ | 99 8c | 76 \s

BS rb ey ae eee 9UI]JNO UL peqtiosuVl yf,
fa> OI aa ESAS 9Ull} JO suey) OU SUTABY Ssu0g
ptbehec et hapa na *" QUI} JO osuBY) B SUTABY SSUOg

AWIL dO WONVHO— LT ATAV EG

[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

s8u0s | jo quam | yt pa | Ssu0s satt0s sstios sss s3t0s s8uos s3uos s3t0s

PIT | treiszajua| yaauaos | 2UeP soup aouep ames aAOrT TOM urea aDIN aulOuOI Wy

mon -IssepugQ 10] said s8u0g adig Zurss0q | s,weul0 | UIsB.D0yy ‘
HOIOA AO LIND OLULAWN— 02 ATIVE
esa 3
eae One ie Re ae ee | eS eal a Bi aaa Se OT ais Fa DI gates SOBs Sa" FBR ee" QUE * “SGA Sa ee ae lenin Beelehs ial ae nace
Bae hee hele ele staee ana] -nfnmnoa)cen-[eannée[ans-Leme-pe]enatlpapane|enene<nangle~<-[eanenzlh <na)t-snn- lig jp SOA RTORMOUOPME ie fa eR On ret
LS LOL | 66 9 | 9 G | 8s & | 88 Dee ante OB) lO) te LO &I | &7 €T | 8@ GZ | LF ¥ | ST / iN ag Spatial Sa as a yun orm AGI ON
teeeee T RiSinie aia] Reis [i= = <is-nalia coef amacice|n aan) ri-.ells =siat= +0. =] SOOT IIS iC PS SO) ar) Tes | etn [POSS pataaclnas chain aahecs ik oo een ae TCL EDERT Le OMCING
r } 9 A | ES Rae | | OC (OCC OG Gt ae orl se eR | rR é Zone | eS ee Fk lg aha ae a te tg lat sjrom org AGI OMT,
69 Gur iss ler ee ie peo 1G so Ss eer oie ore [se (8 Wee | OL foe BO PRS. AOS. Pak. AIR > me ores ae nae renee oe qyan ormyyAys vy
—ulure}uos ssu0g
*91100)| «| 90:1 ; *ym190 | . “4190 whee) “70 | . “yu90 “70190 | . “yu |, “40190 | . *4m00 | . “qu00 |,
Ig oN dg oN Ig oN 19g ON dg ON 19g oN 13g oN ag ON 9g Cnt 19g ON) Jog le 19g Oa
|
ass 3 3 3 3 3
jo syig TIM | ssu0s s3uos ssuos s3u0s
Te10., pred ls yueurure} | pa}oouu0)} + souRp 9ouep gouep oures eon a mene poe
; 41 | -19;u0 041 | ssu0g edi Surssegq | S,UeUIO AA | UISBDD0TT “
Ioj ssu0g

TONOS JO LINO OINHLAHU—'6I FTAVL

ponuljU0dI—SISKIVNV OINHIAHY

31

CHIPPEWA MUSIC—II

DENSMORE]

“WW LOL ‘SSUOs [0g UI BOTOA Jo JIUN OIjoU asvIaAy— ALON
‘aseyuooled Sulyndur1od ul popnpoxy z
«SOS O1T}Ue oy} JO WIYJAYI oY} UO adUENYUT JUeprAd Ue SurAvY pue ‘“su0s

G Uf aol} JSvoT 7B SuTIIN0 ‘ainsveut B JO JUNO ou Ue} o10UL SUISTIdUIOD ‘syySUET SNOLICA JO Sotto} JO dnois 8,, 8 peuyep st yrun ormryy Aq @ stsATeue sty) Jo ssodind ey} 10,7 1

X

nt tin Boe ee DO HS RW

Ro

NRRWa SEA KN

1% 8 8
GF Aagaaes I Pasmeewents
T ae SRI eee
Pe oe Cee
To fretecestecfessee tees
Pe smoumess|oeeerece cs I
To [reetcteeefepeec teste
PME Ba Sod, sae fall enter
Z BS Semincie ste cere stetecaate
etcleisie si! eJeseeeeeeee] y
Ber Pear Z
Zi enreecteseleseene see
T 4 €
z See Sees 4asaeeeace
Bc ook fret Sai ee a oadenee
Ti ccek otal sees celnace nf ao
Z an (coat
Thseitonihie—~subted T
inte ae ose I I

€ L Or 61 0& 88. Tg COuaeelecie se ao apirie ir es eee ere TRIOL

ae eer a tia ae kb, Pk ae ee eee ome, [Le ane ae Rove peer al LE 0 6 ae 2 OR INO UE PeqIOsial F,
aso) wa he all ON al dei E Peay cee Poor Tee tees ree
Too fesesteesee|pce sees aeferseaercebeatdanacefasdveseenefessiersean-feare eee eee Ae ek Pee Re eS Me Gen on
: 4 aaaMes pobre re ere tate : aides 2? = oslinein nash asl ba anes 5 PARE Ree Ait CORT ARS NRE ees fae
PISAD PR Cte wok Shen ie <8ns FP Ne : eer ere cise Soe a eas T: AOS reRa Meant an reah to Ae as
FSS OAS Se nceis eetaal Geen Geode eres Rane are Be SCat a Siale censure aaa tear seeeiean Peat re
etal a's | (on a I G(r ta teed i PR i cgesveteecbegcosuaee clip See copa. ics et ce aaeceas aa
Debs babes|, Mele Sane ei sealipe aan ea Fale 48 be Ph presaiescealiie Peer rcse cose eh cek as) ee
ripe Wipe eco ones eee en aeeeelip Fs : T Benny WR ANe on 28 sErseae shenrner: Minn a
Caiat oayrell hee ee pene ee Sr ie os beeen | I A Rian sogdns cen nnde teaa rer Se ee ney
ere sec] ESE eh cee aE Ree! laser eee (re ro Z : Bea renee erring ap
Purpeenne| PA bebe venslin katy cmeme i ct) peek: 35 : pesencceesd spe oats aeS 20-82 1aegcenae reer eney tae eee
catehetece Mepeee oe A ee : SPRL, aoe) Soot oor eeeeareeerer ercemcrirh, ed
SRR SSS Ee corn Oeed te 2 Seater sinsenseenl g [Side aan RR acre seer inte ere cso
«aa ae ; vege aee Sssaseeeee I 9 Ponda sent aRcnc os 26hc enact cae eee
Papers Sa BAl 5 0S ON ao fA SSS Se Ss - r Beast toes BaI Nios oad aia hos soe a
posocee aio sata z I =P eisisi gs (hG 6 Mgegar eke po eens = Sens ag see ae CTT
= Repos age oe g I I t 9 g pr Sesicrinaegiiecinsi hase ee ae eam OT
FPA od a aoe ee SO pa Ridin fecssacen ia = : Seca tnapecs nthec sCseseniey Seareaeresga
ened sa malin Sip eh R soeceeccetiestcace clin : A Ciepeerencrarrben ater bbe or iy)
le ce esa |e She see : : : a : Z Begttst seis, Se Seto cha gees eennaneeee eae
Se Peay [ote eh an ae i 5 : i Ste, BesEseprsingainsest Re teces tee nae
Srerde eoeleatt t 5 werent Soe ere ee § I Saar te eae ice ol
euar serio : Peel ae - ais Vane PUAcec gt fo? cee een en ee
bie es Sze aga enn tec See i are 1 fe et Sal Sawdargch aeaenw Sete acne Spamaieeeaetae
ee SPS 2 OO es dS soe eels g 2 ms g pe tele See Cec S aor Be Pee ae
Sed Coe | etl ie a Po ; . - . 9 ENT PRON Tee,
REPRE No ee aorta Behe " re saab 7 ¢ parte Sng cet pasta See e tT
baw ere eae a Lp tly byeere eee ne Re ete : sae fase Sebsitiaaep nae skavegagst ts Uycascoe games

ve
Uo

[ BULL.

BUREAU OF AMERICAN ETHNOLOGY

32

*qUe0 Jag

---| y
I soda Auch | sages Boe |aeeeanaes :
z peteiaae Maisie bonis cies 5) all ereraiet sais

Jaquinn erp $yIs
jo JUew | YIM pa
-UTB4.10} 09

IOJ ssul0g

peg
-ISsepoug,

T2101

s3u0s
aourp
odig

s3u0s
aouep

BursZ0q | 8,UeVU0 AA | UlsBoo0yy

s3u0s
aouep

‘W ‘W601 ‘s8u0s $7z Ul WINAp Jo 4ruMN dLIjeUl asRIBAWY— "ALON

:
5
;
;
4
:
f
:
fi
:
'
:
:
H
5
‘
:
a

ssu0s

Seen s3u0s

meal

WOUd AO LINN OlLULAN— Ise ATAVL

penulju0o—SISATYNV OINHLAHY

s3u0s

eulouolje
PIN si

338

‘CHIPPEWA MUSIC—II

DENSMORE]

‘adejuedled Zutyndu10d Ul papnyax yg 1

ms al eg I a a 951 ee maa Se a A cai) | cy yell a-ha a 7 2a aa aaah 2
is BUTE Bet |e iene eel Oe Se ele | te ter te OT Seeginee foes) Oe ies emer s) Erste ae” Bes se “Na “ES * op MAN OMT AC PepLOoGay
8I 1 ae RA WR li ah a i Ba 1 Mee a S| May ae) | ia ll a a UF a) RCE VO ROR” “Ee ms oe dd10A UL} JOMOTS MANIC,
A €or | 9 Re ie ae ae Og Bi Fe ae lh SF |) 87 | P| Beale. "oss TPN EE WCC anne: OT oS ee ie mee dd1OA UBY} Josey WINIC
BET Se 8S SDE Oe mo | OF. SG | 8) sh 8 | oe 1G | Breage [sales Oo 198 98 | ST er ak: ae oUNes 84} WINIP Puv edI0A Jo WUT OOH
“yU90 | . {M190 |. “7U90 |. *jU90 |. *yU90 |. *jU90 |. “jU90 |. “ya90 |, *jU99 |. *}M190 |. “1190 |, *yU90 |.

RCH oN oq oN ag oN Ig oN Jog oN AGP oN 10g oN Iag oN 19g oN 10g oN 19g oN J8q oN

wept

jo Syis YyIM | ssuos s3u0s s3u0s s3u0s
1®10OL, eee jUeuUTUTe} | pe}osuU0D) ~=s0uep 9ouep aouep oures re pete she pan
: rede ey} | ssuog edt gq Sulsseq | S,uBUIO AA | UIseOD0;T ; ‘
Joy ssu0g

ee NE A LD aie YE a a | a POR SL: CE a ey vet
WOUd GNV WOIOA FO LIND OIULAW JO NOSIUVAWOO—Z FIAVL

3

67996°—Bull. 583—13

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

50 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

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
~]

52 BUREAU OF AMERICAN ETHNOLOGY [BULL. 5¢

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

ot
co

56 BUREAU OF AMERICAN ETHNOLOGY [BULL

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

58 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53

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.

59

60 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

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.

ort

ey ie
ar

_
7 ah {-

ow 2) ae

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 freely across the boundary line. The last great fight took
place in the Minnesota Valley, May 27, 1858, near the site of the
present town of Shakopee (see p. 76), but minor encounters between
warriors of the two tribes are said to have occurred for some years
afterward. Brower makes the following statement: *

The last formidable Sioux war party, precipitated against the Ojibway nation of
Indians, of which there is definite knowledge, proceeded from the Valley of Minnesota
River to the Valley of Crow Wing River via Long Prairie, Minn., in June, 1860.

There were about 150 painted, bedecked, and ornamented Indians in the

party.

War between Indian tribes was an occupation rather than a calamity.
It can not be said to have been strictly tribal in character, according
to our understanding of the term, since any prominent warrior might
persuade his comrades to jom him and organize an expedition.
There were periods of peace, but as the maintenance of peace depended
largely on the self-control of the individual warrior, outbreaks were
of frequent occurrence. Often one fight ended an, expedition, the
warriors returning satisfied if they had taken even one or two scalps.
The motive for organizing a war party was usually revenge for a
kinsman’s death. This motive is inadequately expressed by the
word “revenge,” for it involved the idea that the death of a Sioux
“restored” the man who had been killed by a Sioux. Underneath
all other motives lay tribal pride. War was a game whose terrible
tally must be kept in favor of the Chippewa. To this end war
parties were planned and for this purpose they went forth to strike
the quick blow, departing as stealthily as they had come.

Odjib’we was leader of the Chippewa warriors during the time of
Bt’gonegi’jig (Hole-in-the-day), plate 4, the last great chief of the
tribe, who was assassinated in 1868. The two men were cousins and
theirs was an alliance of the second generation, as the father of
Odjib’we was brother of the first BQ’gonegi’jig and led his warriors
against the Sioux. Bows and arrows were used in Odjib’we’s earlier
battles and neither Sioux nor Chippewa rode upon horses.

1 Statutes at Large, vol. 7, p. 272.

2 Eighteenth Ann. Rep. Bur. Amer. Ethn., part 2, map 33.

3J. V. Brower and D. I. Bushnell, jr., Mille Lac, St. Paul, Minn., 1900, p. 97.

4 From picture (numbered 67) in collection of photographs of North American Indians, in Descriptive
Catalogue of the Photographs of the United States Geological Survey of the Territories for tre years 1869 to
1873, inclusive, by W.H. Jackson, Washington, 1874,

62 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53

In generalship Odjib’we was distinguished for sound judgment and
steadiness of purpose rather than for reckless daring. His war expe-
ditions were successful and he boasted that he was never wounded
by the Sioux.

Odjib’we’s prowess won for him the right to wear 11 war-honor
feathers, each indicating that he had taken a Sioux scalp; these were
eagle feathers and were worn upright in a band around the head
(pl. 5). The writer saw Odjib’we wearing this decoration in a dance
several years before his songs were recorded. Three of the feathers
are notched, and the right to wear these was acquired by killing and
scalping Sioux; the unnotched feathers indicated that he had scalped
Sioux who had been killed by other warriors. The dots of rabbit
skin on the feathers indicate the number of bullets in his gun at the
time of securing the scalp.t. Bits of once bright ribbon are at the
tip of each feather. Odjib’we stated that ‘‘four feathers could be
counted for the death of each Sioux; one was worn by the man who
killed him, one by the man who scalped him, and the others by men
who assisted in the scalping.”

Odjib’we was entitled to wear also a skunk skin badge (pl. 6) on
his right arm. This signified that he once caught a wounded Sioux
by the arm, the incident being related in connection with song No. 3.
His war club (pl. 7), of birch, has a knot for the head. According to
Odjib’we, he had despatched two Sioux with this club. After the
wars were over he allowed ‘his friends to blacken it and to decorate
it with brass nails. The Chippewa war drum was called ogi’tcida
dewe'rgin (“drum of the braves”). The frame of Odjib’we’s drum
is 174 inches in diameter; it is made of wood with metal rim. The
frame is apparently not of native manufacture, but Odjib’we said it
was the original. He said that in time of war it frequently became
necessary to renew the cover on the drum, but the design was always
duplicated on the new cover. The cover shown in the illustration is
comparatively recent. The design on Odjib’we’s war drum (pl. 7)
was explained as follows in the language of the interpreter:

There was a man who invented the use of the drum among the Indians. The
lightning is a picture of his dream, and the sound of his drum was like the rumble of
the thunder. When We’nabo’jo was wandering around he always sent Mici’kén
(“‘large turtle”) on his errands; so the large turtle came to be considered a greai war-
rior. When Mici’kén went to war he had Miskwa/des (‘‘small snapping turtle”’) as his
oc’kabe’wis (messenger). That is why the picture of the lightning and the turtle is
on the war drum. The Indians fought with bows and arrows, so a picture of a bow
and arrow is also on the drum.

Odjib’we’s war shirt was of scarlet flannel (pl. 8). After the wars
with the Sioux were ended Odjib’we kept it in a bag woven of cedar

1 All the war paraphernalia of Odjib’we, including these feathers, are now in the National Museum at
Washington,

a

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 5

ODJIB’WE’S WAR-HONOR FEATHERS

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 6

FRONT BACK

ODJIB’WE’S WAR-HONOR BADGE

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 7

ODJIB’WE’S WAR CLUB AND WAR DRUM

LYIHS YVM SidM.81rdoO

8 3LV1d eS NiLATING ADONTONHL]S NVOIYSWV SO NVAYNE

SNVO.NIVA

6 31V1d €S NIL37INg
ASOIONHL]A NVOINSWY JO NvaHNn|

DENSMoRE] CHIPPEWA MUSIC—II 63

bark, a method of storage generally used among the Chippewa.
Several years before his songs were recorded the writer saw the old
warrior wearing this shirt in a dance. The decoration is of narrow
strips of weasel skin, forming a fringe. The weasel is a hunter, a
wanderer, and a warrior. A well-known authority states,! “I can
not learn of any other creature that is more thoroughly possessed of
the lust for blood than are these slim-bodied little creatures.”

The principal kinds of ‘‘medicine” carried by the Chippewa war-
riors were bi’jikuwitck’* (“cattle herb medicine’), mi/nisino’wick
(“island herb medicine’), and wa’bino’wick (‘eastern herb medi-
cine’’). These medicines were secured by the warriors from the old
men of the tribe, usually members of the Mide’wiwin (Grand Medi-
cine Society), who made a special study of the compounding of herbs.
They were used both externally and internally and were supposed to
have efficacy as charms, their mere presence serving as a protection.
They were believed also to ‘counteract the effect of bad medicine
carried by the enemy.’’’

Bi'jikiwick’, a medicine which derives its name from the principal
ingredient, is commonly used among the Chippewa at the present
time. It is said to be taken internally as a stimulant and as a cure
for fits. It is used also externally as a stimulant and to check the
flow of blood from wounds.

According to Maifi’gans* (pl. 9), the origin of this medicine is as
follows:

There was once a Mide’wini/ni [male member of the Mide’wiwin] who dreamed
that he saw horned animals resembling cattle, under the water. They came up from
the water and talked with him, telling him how to prepare this wonderful medicine.
In order to persuade them to return he composed and sang a song (No. 22). He was
a young man at the time, but he sang this song until he was old. He sang it when-
ever he dug the roots or prepared the bi’jikiwtck’. Others learned it from him and
now it is always sung when this medicine is prepared.

It w= astomary for the old men when preparing this medicine to
“make n« ses like cattle’’; this was done also when the bi’jikiwitck’
songs were sung in war dances (see No. 23).

Maifi’gans used four ingredients in compounding bi’jikiwick’. The
number of ingredients was said to vary from two to eight, according
to the judgment of the man preparing the medicine, but the prin-
cipal herb, that from which the medicine took its nam2, was always
present.

1 Witmer Stone and William Gram, American Animals, New York, 1902, p. 237.

2 From bi’jiki and wick; the former was originally applied to the buffalo (see No. 99), but at the present
time signifies “cattle,’’ while the latter means ‘‘medicine.’’

3 Cf. J. N. B. Hewitt, ‘‘Orenda and a Definition of Religion,’ in American Anthropologist, N. 8., IV,
no. 1, pp. 40, 41, 1902.

4 Main’gans and Odjib’we, treating the sick, are shown in pl. 10, Bulletin 45,

64 BUREAU OF AMERICAN ETHNOLOGY [BULr. 53

Specimens of the four herbs used by Maif’gans were secured and
were identified by Dr. J. N. Rose, Division of Plants, United States
National Museum. These herbs are as follows:

(1) Bi'jtkiwtck’ (“cattle herb’’), the a from iach the medi-
cine took its name. This was said to be ‘‘a plant a few inches high
which grows on the prairie toward the west and is sometimes found in
sandy soil. The blossoms appear before the leaves, which are not
notched but are round in shape; the root is white when dried, and is
the only part used in making the medicine.” The writer asked for a
plant in blossom but was given a piece of dried root to which several
downy white feathers were fastened (fig. 2). Maifi’gans said that he
was unable to secure a plant in bloom, and that “‘the cluster of white
feathers was the best he could do, they having the same appearance
as the blossoms, only not
so white.” The report of
Doctor Rose is as follows:

The root is that of Polygala senega
L., Seneca snake-root. ‘‘ The bark
of the root is the most important
part of the plant; the ligneous por-
tion is comparatively inert. The
root possesses various medicinal vir-
tues. Itisa stimulant, diuretic, ex-
pectorant, purgative, emetic, anda
sudorific. For many years it was
used by the Indians of our country
as an antidote against the bite of
the rattlesnake. According to their
practice, it was applied externally
Fig. 2. Dried root of bi’jikiwick’ with feathers attached. and internally, either chewed and

applied to the wound or in the form
of a cataplasm. The Indians also use a decoction of this root in syphilis and in
malignant sore throat. A decoction of the root has been used with marked success in
cases of hydrophobia, with a view to its specific or remarkable operation on the
apparent seat of this malady, the lungs, trachea, and larynx.”’

(2) Bi'jikiwin’gick, a plant closely allied to the common sagebrush
and identified as ‘ Artemisia frigida Willd.”

(3) Bi’jikiwi’bigesa’nig (“cattle plum”), identified as “ Astragalus
crassicarpus Nutt., or Ground Plum.”

(4) Bi’jikiwi’ginig’ (‘cattle berry’’), identified as “ Rosa arkansana
Porter, or Arkansas Rose.” '

The roots only are used in preparing the medicine; these are
washed, scraped, and dried, and then pounded to a powder 1 in which
small shreds still remain. The principal ingredient is prepared and
kept separate; the other three herbs are pounded together, equal
parts of each being used. Maifi’gans showed ths writer his
bi’jikiwack’ medicine pouch (pl. 10) which he always carries with him.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 10

(Slightly reduced)

(Actual size)

POUCH AND MEASURE FOR BI’JIKIWUCK’

DENSMORE] CHIPPEWA MUSIC—II 65

This contained a mixture of the three ingredients and a very small tin
spoon, such as is used with a child’s toy tea set. Held in place by the
flap of the pouch was a small tied packet of the principal ingredient.
Maifi’gans said that he frequently took a little spoonful of the powder
from the pouch, and, suiting the action to the word, he took a dose of
the medicine to show that it could easily be swallowed without water.
On the following day, in the writer’s presence, he prepared the medi-
cine in liquid form. Taking a pail containing about a quart of hot
water, he placed a little spoonful of the three mixed ingredients on
the surface of the water at the eastern side of the pail, saying
Wa'bainong (“atthe east’’), then at the southern side, saying Ca’winong
(“at the south’”’), then at the western and northern sides, saying
Ningabi’anong (‘at the west”’),sand Kiwe'dinong (at the north”’).
These words were merely explanatory of his action. The surface of
the water was thus dotted with four small patches of powder. He
then opened the tied packet of the principal ingredient, took out one
scanty spoonful of the contents, and divided it equally among the
patches of powder, placing it carefully in the middle of each, beginning
with the east as before but not repeating the names of the cardinal
points. The ingredients soon dissolved in the hot water. According
to Maifi’gans the medicine was then ready for use, though some
preferred to secure a stronger flavor by boiling it. He said that the
taste was agreeable and that the medicine should be taken four times
a day, the dose to be small at first and then increased, the full dose
being taken in a measure (pl. 10) which he gave to the writer. This
is made of birch bark and contains about a tablespoonful. The
drawings on the inside are said to represent animals and to indicate
that the measure was to be used for this particular medicine.
Main’gans swallowed a portion of the liquid after offering it to the
writer.

Mi’nisino’wick (“island herb medicine’’) also takes its name from
that of its principal ingredient, which was formerly found only at a
certain place on Lake Superior, but was discovered thirty years ago
at Mille Lac, where it grows in fine, light sand along the shore. The
medicine contains eight ingredients, said to be herbs of about the
same sort. An herb called ‘‘the last ingredient” is found growing in
the woods at White Earth.

Na’waji’bigo’kwe said that many years ago the Sioux were ‘‘get-
ting too powerful for the Chippewa,” and that about that time a
man ‘‘dreamed of a thunderbird, who told him how to prepare and
use this medicine.”” She related the two following incidents of her
personal experience with mi’nisino’wick: In the autumn of 1909 a
member of her family was involved in serious and complicated
difficulties. She resolved to help’ him by means of mi/nisino’waick.

67996°—Bull. 53—13——5

66 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

After searching many weeks in the woods she found at last one little
root, not the principal ingredient but all she could find. She took
this home, ‘‘sang and talked and prayed over it,’’ wrapped it in
fresh birch bark and put it into the coat pocket of the man who was
to be benefited by it, telling him that it would help him out of his
troubles. To the writer’s personal knowledge the man was entirely
freed from his difficulties a few weeks later.

Na’waji’bigo’kwe said also that two years before a man while in a
’ drunken rage had killed his wife. His relatives hastened to Na/waji’-
bigo’kwe and asked whether she had any mi’nisino’wick. She gave
them a small piece of the root, which the man carried in his pocket,
The writer is reliably informed that the man is alive and free to-day,
although it is well known that he killed his wife.

Aside from its virtue as a charm, mi’nisino’wick is said to be a
powerful curative agent. It has the effect of checking the flow of
blood from wounds, and is also used internally in many forms of
sudden illness. It is a “life medicine,” used for good purposes only.
Four songs connected with this medicine are contained in this section
(Nos. 24, 25, 26, 27).

Wa’bino’waick (“eastern herb medicine’’) is entirely different in
both nature and use from either bi’jikiwack’ or mi’nisino’waick. It
is said to have had originally some good offices but to have had also
evil uses, and as time passed the latter prevailed. Na’waji’bigo’kwe
gave the following story of its origin: There was once a young man
who was very anxious to join the Mide’wiwin so that he could gain
power as a hunter. His father opposed this, saying, ‘‘ You are too
trifling to appreciate so solemn a thing as the Mide’.”” The youth
was very sad because of his father’s opposition. He went away and
fasted many days. At last a manido’ from the east came to him
and told him about this medicine, saying that it had both good and
bad properties. The youth at once gathered a number of men around
him and they formed a kind of alliance; these men were known as
Wa'binog’.1 | They held dances and were unscrupulous in their use
of the medicine. Eight men were destroyed at the first dance, given
by a man who knew the secret of this medicine. This tradition was
related to Na/waji’bigo’kwe by her grandfather. The medicine
“would either kill or cure those who took it’’; it had power also as
an evil charm and the property of being able to ‘‘make things go
through the air.”’ There were said to be many songs connected with
this medicine, but none have been recorded by the writer. It was
said to have passed out of use among the Minnesota Chippewa except
at Vermillion Lake. |

1 Compare Hoffman, The Midé’wiwin or ‘‘Grand Medicine Society ”’ of the Ojibway, in Seventh Ann.
Rep. Bur. Ethn., pp. 156, 157. ,

DENSMORE] CHIPPEWA MUSIC—II 67

The three medicines above described, imparting power of healing,
success, and revenge, respectively, were well adapted to the use of
men on the warpath.

Sones CONNECTED WITH OpsiB’wWer’s PERSONAL EXPERIENCE !

When Odjib’we was a boy his paternal grandfather, two of the
latter’s brothers and two of his own brothers, one older and one
younger than himself, were killed by the Sioux. Hatred filled his
heart and he determined to hunt and kill the Sioux. Thus at an
early age he chose the career of a warrior. |

In preparation for this vocation he frequently fasted for several
days at a time, remaining alone in the woods and hoping for a dream
or vision. At length a dream came to him after a fast of four days.
In this dream he saw a woman carrying several guns made of rushes.
A party of Sioux approached and the woman gave a gun to each of
the Sioux, telling them to shoot at him. The Sioux took the guns
made of rushes and shot at him. Out of the guns came horseflies,
which lit on him but could not harm him. Then the woman told him
that he would be a great warrior and would always be protected.
Odjib’we said that what the woman told him came true, for he was
never wounded by the Sioux. The woman also sang a song which
became his “dream song.’’ Odjib’we stated that he “could never
really sing the song until just before his first fight with the Sioux;
then the dream returned to him very clearly and the song came to
his ips so that he could sing it.’’ After that he sang it freely. He
placed his faith in it and often sang it before, or in the midst of, a.
fight. After the recording of this song on the phonograph the aged
warrior bowed his head and said tremulously that he feared he would
not live long, as he had given away his most sacred possession.

No. 1. Odjib’we’s Dream Song (Catalogue No. 392)
Sung by Opsis’we

Voice g—88
Recorded without drum

ogg SE thet ef tty

=f esaeuiaeaatee: Saar ee

na-wa-wan i - ni -ni-wa-win

1 See also Nos. 32, 33, 34, 35, 39, 40, 41, which are included in a subsequent chapter to illustrate certain
events of a typical war expedition.

68 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

WORDS
obic’ kona’ wawan’...8¢ oos50 4 ae when they shot, they missed
UY Wi ©. soso. 5. St eee re the man

Analysis.—This song contains nine measures and is divided into
four parts, the first, second, and last containing the rhythmic unit,
and the third containing the words. This form suggests a definite
phase of musical expression. No words occur in the rhythmic unit,
the mind of the singer being concentrated on the musical idea. In
the part of the song containing words the interest centers on them
and the musical idea is secondary. Comparison with other songs
having the same form will show in many instances a less definite
rhythm in the part containing the words (see Nos. 8, 12, 13, 30,
39, 40, 81, 105). The tonality of this song is minor, but the opening
interval of the first two phrases is a major third (see analysis of No. 9,
also of Nos. 34, 83, 94, 120). The melody tones are those of the
second five-toned scale. Two renditions of the song were recorded;
these show no variation in either rhythm or melody.

In early youth Odjib’we took part in a dog feast. It was the
custom of the tribe to hold feasts of this kind occasionally in order
that the young men who aspired to become warriors might show their
courage to the assembled people. An old warrior was selected to
announce the feast. Walking through the village, he made the
announcement in a loud voice. The next day there was a large
gathering, especially of the young men. After much singing and
_dancing, and many speeches, the youths whose courage was to be
tested were seated on the ground in a circle, in the center of which a
dog was killed. The liver was then removed and cut into small
pieces, one of which was given each young man on a long stick. If
he chewed and swallowed the morsel without flinching, he was con-
sidered brave enough for the warpath, but if he shuddered or drew
back he was deemed faint-hearted and was greeted with jeers by the
assembly. Odjib’we said that he endured this test “without the
slightest change of expression,” but that for many days afterward
he was unable to bear the thought of what he had done, although he
never admitted this to any one.

When Odjib’we reached the age of 20 he felt that it was time to
begin his chosen career. Accordingly he consulted his cousin
Ne’biinee’kfin (“he who walks by one side of the thing’’), a young
man about his own age, and they decided to go on the warpath
together. They told no one of their intentions, but pretended that
they were going on a hunting expedition. With heavy hearts they
left the village. They thought of the friends whose deaths they were

1JIn order to make this word conform to the music a meaningless syllable (wa) is inserted. The
Chippewa custom of changing the words of a song to fit the music is considered in Bulletin 45, p. 14.

DENSMORE] CHIPPEWA MUSIC—II 69

to avenge, and there was probably in their minds uncertainty regard-
ing their own fate.

Odjib’we said that they sang the following song every one of the
four nights they camped. The words imply that there were more
than two in the party, but, on being questioned concerning this
seeming discrepancy, Odjib’we insisted that this was the song he and
his cousin sang.

No. 2. Odjib’we’s First War Song (Catalogue No. 371)

Sung by Opsis’we

VOICE ie 192
Drum i= 108
( Drum in unaccented eighth notes*)

epee ogemenig g =

Be -ba-ni - 0 - ne-yan nin-do - na-gi-mi-gog ni-ni-wfg e
= e2 ine
ered pat tf pee
Seay sa aa Tel toe nese
a oe ow ee.
be -ba-ni-o - ne - yan ans ai - mi-gog ni-ni-wig e
[ee ea 2 rtp yas a ie
ppp ree ETT
Paes eis
be-ba-ni-o-ne - yan e nin-do-na -gi-mi-gog ni-ni-wag e

* Drum-rhythm

ee ete

WORDS
beba/nio’neyan.............-.- on the fourth day
nindo’nagi’migog’...........- I am chosen by
MHI S54) SS. the men

Analysis.—Four renditions of this song were recorded in August,
1909, and it was sung also on two occasions by Odjib’we in March,
1910, all the renditions being identical. The intonation was good
throughout the renditions. The metric unit of the song is very
rapid, but steadily maintained. The accents were clearly given and
the transcription is divided into measures according to the accented

1This word, literally translated ‘‘ men,” is commonly applied to warriors (see p. 187).

70 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

tones. The rhythmic unit varies somewhat in its repetitions, but
begins uniformly with a 5-8 measure. In the measure marked 3-4
the metric unit (+192) is continued, but the rhythm is triple,
necessitating a 3-4 instead of a 6-8 time indication. The intonation
was good throughout the renditions.

Odjib’we’s expedition was successful. On the fourth morning the
party saw one Sioux and killed him. Taking his scalp, they returned
to the village, where a great feast and dance were held in their
honor. Odjib’we sang the song of that dance, but the record was
not transcribed. The words, however, are of interest as showing the
arrogance of the youthful warrior after his first victory.

WORDS
ninese*sima wa’. a2. ess sce I make him bite the dust
Wape’tawani (Sioux word)! ... the Wapeton Sioux
WANA NOY = Se Sey ee cio & when I see him

Odjib’we stated that he did not smg his dream song on the expedi-
tion which has just been described, nor until first he was frightened by
the Sioux, under the following circumstances: There was a Chippewa
camp near the site of the present town of Little Falls, Minnesota.
One day two men and their wives started from this village on a hunting
expedition. While the men were away from their camp the women
saw two Sioux scouts, and on their husbands’ return so reported to
them. All started at once to return to the main camp, arriving that
evening. One of the hunters told Odjib’we that the women had seen
the Sioux, but Odjib’we thought little about the matter, saying the
women were probably mistaken. As Odjib’we was eating his break-
fast the next morning a man said to him, “Let us go and see if there
are really any Sioux around.” Odjib’we consented to go, but had so
little confidence in the truth of the report that he put on his brightest
finery, making himself a shining mark. Odjib’we and his friend
left the’ village quietly and started on a run toward the place where
the women said they had seen the Sioux, the former carrying his gun
on his right arm.

Two Sioux were on the watch, and when they saw Odjib’we and his
companion approaching, they hid in bushes beside the road; one car-
ried a spear, the other a club. Without warning they attacked the two
Chippewa. The main body of Sioux warriors then appeared, some

1“The Dakota call themselves Otceti cakowin (O¢eti Sakowin), The Seven Fireplaces or Council-fires.
This designation refers to their original gentes, the Mdewaka»to»wa» (Mdewakay-tonwan), Waqpekute
(Walipe-kute), Waqpe-to»wa» (Walipetonwan), Sisitenwan (Sisitopwan), Ihaik-toowa» (Ihanktonwan),
Thafik-to»wa»na (Ihanktonwanna), and Titonwa» (Titonwayn). . . . The Waqpe-to»wa» or Wahpe-
ton [:] The name of this people signifies Village-among-the-leaves (of deciduous trees), the gens being known
to the whites as Leaf Village or Wahpeton.”—JAMES OWEN Dorsey, Siouan Sociology,in Fifteenth Ann.
Rep. Bur. Amer. Ethn., pp. 215, 216.

DENSMoRP] CHIPPEWA MUSIC—II TT

armed with spears and some with clubs. Odjib’we’s companion
was killed, but he himself escaped, running a long distance before he
realized that he had a gun. Suddenly a Sioux attacked him with a
club. Odjib’we shot the Sioux and then hid behind a great oak tree.
According to their custom, whenever a Sioux was killed the other
Sioux suddenly disappeared. From behind the oak Odjib’we could
not see a single Sioux. He did not stop to scalp the man he had
killed but started for the village. On the way he met some Chippewa
and they all went back to look for the Sioux. They could not find
any living enemies, but they scalped the dead man. It was during
this skirmish that Odjib’we first sang his dream song (No. 1).

The following song (No. 3) was composed by Odjib’we after killing
a Sioux and was sung by him when carrying the scalp in the victory
dance.

A small war party was organized by Bf’gonegi’jig (Hole-in-the-
day), Odjib’we being one of the number. They went to a point on
the Minnesota River near the site of the present city of St. Paul and
took their position near the road which the Sioux would travel in going
from their village to the white settlement. Hole-in-the-day told his
men to lie in a row behind a fallen tree and gave strict orders that
they should await his signal for firing, that only one man should fire,
and that no one should shoot a woman. In silence the Chippewa lay
behind the log, waiting for an unwary Sioux to pass that way. Soon
a company of men and women came down the path, talking and laugh-
ing merrily. The warriors watched their leader but he gave no signal
and the Sioux passed on. Later a man came alone. Hole-in-the-
day gave the signal to Odjib’we, who fired. The Sioux staggered and
fell on his side. Odjib’we rushed forward and dragged the man
toward a clump of bushes, but his victim died on the way. Because he
caught the wounded Sioux by the arm Odjfb’we was entitled to wear
thereafter a skunk-skin badge on his right arm (see pl. 6; also
p- 62). Hole-in-the-day gave the order, ‘‘Cut his throat at once.”
This was done, and Odjib’we himself took the man’s scalp. The
Chippewa then ran down to the river and, entering a canoe, started
for the opposite shore. Meantime the sound of the firing had
attracted the attention of the Sioux, who hastened from their village,
but were unable to overtake the Chippewa. Helpless the Sioux stood
on the bank and saw the Chippewa dancing on the opposite shore,
waving the fresh scalp, and taunting them. Odjib’we sang the
following song, which he composed at that time.

After this dance the Chippewa returned to their home, Odjib’we
saying that they ‘just killed that man to let the Sioux know they
had been around.”

72 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

No. 3. “An Eagle Feather I See’’ (Catalogue No. 346)

Sung by Opsis’ we

VOICE a 100
Drum e = 104
( Drum in accented eighth notes*)

Gi-ni-wi-gwfin ni-wa - ba-ma we o -gi-tci-danin-de - bi - binan

Be Foeaees gad | Sead creed Prorat eareice|

* (Drum-rhythm )

SS
oe a a a)
= = = a
WORDS
UTTEE WIE WE a on ch a ee an eagle feather !
COME ig SN TS Rm 2 ay eee = eta I see
OE UG rs te tee ke eee seer eee a brave
minde/bibimia‘lt) Sue Th. et T have caught

Analysis.—Triple and double measures alternate throughout this
song. The first and second measures constitute a rhythmic unit, the
tones being those of the major triad of A. In the third and fourth
measures this unit is repeated on the minor triad of F sharp. (Com-
pare repetitions of the rhythmic unit in No. 5.) The remainder of
the song consists of three phrases, each comprising a triple and a
double measure; these, however, are not repetitions of the rhythmic
unit. The manner in which the rhythm of the rhythmic unit influ-
ences the rhythm of other parts of the song is worthy of observa-
tion. Four renditions of this song were recorded, the rhythm being
accurately repeated.

The following song commemorates an incident unique in the annals
of Indian warfare, relating to a scalp which was mislaid.

Odjib’we was leader of a small war party which went against the
Sioux. The Chippewa were hiding in a ravine, when they saw a
Sioux coming over the bluff with a gun. He did not come directly
toward them, but turned toward a little lake, evidently intending to
shoot ducks. He disappeared in the reeds beside the lake, and
Odjib’we sent two men to reconnoiter, saying, ‘‘ Do not kill the Sioux

1 This refers to the feather worn by a warrior who took an enemy’s scalp. (See p. 62.)
2 From Sioux aki’¢ita. Cf. pp. 76, 88, 108, 186, 190, 230.

DENSMORE] CHIPPEWA MUSIC—II 73

until after he has shot the ducks.”’ Odjib’we and the rest of his war
party remained in concealment. Soon they heard the report of a
gun, indicating that the Sioux had shot the ducks. Then they heard
two shots and knew that their men had fired on the Sioux. Their
aim was faulty, and the Sioux soon appeared, running toward Odjib’we
and his warriors. Odjib’we stepped from his hiding place. The
Sioux cried, ‘‘You can not hit me. I am a brave man.’ Odjib’we
replied, ‘“‘I too am brave,” and struck at the Sioux with his gun.
The latter dodged and attempted to strike back with his own empty
ceun. Finally the Sioux started to run away, and Odjib’we shot him
in the back.

Odjib’we allowed Mo’kadjiwéns’ (‘little hill rismg up to view’’)
to remove the scalp, and the war party started for home. The scalp
was in charge of the man who removed it; when the party stopped
for their noon lunch he either laid the scalp beside him or hung it
on a bush and forgot it. The scalp was not missed until the party
went into camp at night, many miles from the halting place at noon.
It was out of the question to return and find the scalp, so they com-
posed this song, which they sang at home in the victory dance.
Mo’kadjiwéns’ was given credit for taking the scalp, but mingled
with the honor was open ridicule for having left it ‘hanging in some
marsh.”

No. 4. Song of a Mislaid Scalp (Catalogue No. 387)
Sung by OpJis’weE
VOICE ioe 108
Recorded without drum

Sg re See aaeae

Mo - ka-dji-wéns ga - sq Gy mi - jfifi bwan-o - sti - gwfn gi - a-

SSeS SSS eee eS.

go -de ma-na-ki - kif

WORDS
Mo‘kadjiweus’ .. ..... wtyas Mo’kadjiwéns’ (man’s name)
Saran mye. oe ea took
Wal OSUP WUE. 2-2-2220... 2 a Sioux scalp
pMapodeQ IG, B2NOIA Nis which is hanging
ma ralsiils. apd). -34- dcx in a marsh

Analysis.—This is a particularly lively and attractive melody. It
is one of the comparatively few Chippewa songs in which there is no
change of time, the triple measure being steadily maintained. It

74 BUREAU OF AMERICAN ETHNOLOGY [BULt. 53

contains eight measures and is divided into four parts, the first three
consisting of a rhythmic unit (see Nos. 5, 19, 33, 34). In the last
part it is to be noted that the dotted eighth note occurs on the
second instead of on the third count of the measure. The song is
harmonic in structure and minor in tonality. Six renditions were
recorded; these show no variation in either rhythm or melody.

The next song concerns a war expedition which was organized by
Ge’miwtinae’ (‘bird flying low through the rain”’),! a member of
the Pillager Band of Chippewa (Odjib’we was a member of the
Mississippi Band). The Mississippi were not thinking of going to
war, but a party of 20 Pillagers came to the village and wanted
them to join the party. Ten Mississippi decided to go, as did seven
of the Mille Lac Band. All started from Crow Wing in canoes.
A few miles down the Mississippi River they made their first camp,
and had their first war dance. Odjib’we sang the song of that
dance, which, he said, was sung every evening the party was away,
but the warrior was feeble that day and the record is not sufficiently
clear for transcription. He told of the scene: Some of the men danced
around the fire while others sat still; all sang before they went to bed.
Early the next morning they broke camp and took their journey
through the woods, traveling rapidly all day. When they reached
the prairie, they rested in concealment by day and traveled by
night. On approaching the Sioux country, they sent two scouts
ahead with instructions to return at once and report if they saw signs
of the enemy. At this point in his narrative Odjib’we assumed the
attitude of a scout, one hand shading his eyes and the other signaling
to those supposed to be following (see plate 11, in which his costume,
as shown, is not that of the warpath).? These men started about
dark and traveled rapidly while the others followed slowly. In a
short time the scouts came running back. ‘‘What did you see?”
asked the warriors. ‘‘A wide path,” replied the scout. ‘‘It is anew
trail. The Sioux must have passed to-day.’”’ One scout said, ‘‘ There
must have been a hundred;” the other was more conservative, esti-
mating the number at forty.

It was decided to remain in a little grove until morning and then
follow the Sioux trail. In the gray dawn, after cleaning and
loading their guns, the Chippewa set out. Soon they came to four
lodges made of green boughs where the Sioux had spent the night.
Near by they saw the place where the Sioux had been dancing and
where a council had been held. Forty-two stones placed in a circle
indicated the number of warriors present at this council. While

1 See i 9 of Bulletin 45 5 and pp. 51, 95, 114, 115 of the same Bulletin.
2 Cf. pl. 14.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 11

ODJIB’WE IN POSTURE OF SCOUT

DENSMORE] CHIPPEWA MUSIC—II gi

looking over the camp, they heard in the distance the guns of the
Sioux, who were evidently killing game on the way, and the Chippewa
again sent out two scouts, with orders to go along the wooded shore
of a long lake near at hand and ascertain whether the Sioux were in
the open country on the opposite shore. The main body of the
Chippewa followed in the same general direction. Soon they met
the scouts coming back with the report that two Sioux were sitting
on the other shore of the lake. When the Chippewa reached the
place, the Sioux had gone. The Chippewa then very stealthily
ascended a hill from which they could see the entire Sioux camp.
They decided not to make an attack at that time because, owing to
the distance, the Sioux could see them too soon, but to wait until
night. The Sioux did not suspect the presence of Chippewa in the
vicinity. From their hiding place the Chippewa watched the Sioux
cook a meal and later prepare for a night march. Being reluctant
to let the enemy escape, the Chippewa sent three of their number
to see whether a successful attack on the camp could be made, but the
Sioux had gone before they reached the camp. Odjib’we was one of
these three. He told his two companions to stay, saying that he would
creep ahead (see pl. 14). After crawling some distance, he got behind
brush where he could walk upright. Later he heard the enemy. He
kept very still. The Sioux were evidently making another camp in the
middle of the night, for he heard them chopping wood. He ran back
and found all the Chippewa at the old Sioux camp.

“Why did you not come?” he cried. ‘‘ We could have killed all the
Sioux.” ‘‘We were waiting for you to come back and report,’’ was
the reply. Then all the Chippewa went forward and sat near the
enemy’s new camp. They could hear the Sioux singing and dancing.
The Chippewa did not sleep, watching and waiting for the dawn.
In the first light they saw the Sioux astir. Four Chippewa went
ahead to watch at a spot where the Sioux would pass, and when the
latter came up, shot one man. That was the beginning of a hot
fight, which lasted all day and until after nightfall; it was fought
in the open with no protection except the high grass. No bows and
arrows were used, both Chippewa and Sioux being armed with shot-
guns. The fighting was particularly fierce on both sides. Odjib’we
said that he was obliged to “dodge and look out all the time,” and
that in the confusion it was impossible to tell who killed each man.
Toward evening No’din (‘‘wind”’), the Milie Lac chief, was killed,
and the Chippewa could not recover his body. Three Sioux scalps
were secured by the Chippewa. After the fight they did not follow
the Sioux, but returned home with these trophies.

76 BUREAU OF AMERICAN ETHNOLOGY [ BULL, 53

This victory was celebrated by great dances at which the following
song was sung, the words indicating that the singer would soon go on
the warpath again.

No. 5. Song of an Unsatisfied Warrior (Catalogue No. 391)

Sung by OpJip’we
VoIcE = 88
Drum = 88
(Drum- echva similar to No. ye

aE —, Snape edhe eee
oy ae eee SSS ee

Mi- si- wa-bfifi-ji - bo-zi-yan e a - sa-kfim -ig - dji -

ghee

ele bares saneet eee eee
Ove et fila =— tee

na-di-yan e

WORDS
mi’siwabitinjibo’ziyan’............. to-morrow I shall start in my canoe
asa’kimig’djima/diyan’............ although I have one already

Analysis.—This song comprises four parts, the first three of which
contain a rhythmic unit (see Nos. 4, 19, 33, 34). It is interesting to
note that the repetitions of this unit begin on the descending tones of
the minor triad. Double and triple measures alternate throughout
this song, the rhythmic unit consisting of a double followed by a
triple measure. Reference to No. 3 will show an alternation in
reverse order, the unit consisting of a triple followed by a double
measure. Four renditions of this song were recorded, which are
uniform in every respect.

The following five songs are connected with the last notable fight
between the Sioux and the Chippewa, which occurred May 27, 1858,
in the valley of the Minnesota River at the village of a Sioux chief
called by the Chippewa Ca’gobéns (Little Six). The Sioux name of
this chief was Ca’kpe! (Six) and as his father bore the same name,
the son was commonly known among both Sioux and Chippewa as
Little Six. The Chippewa changed the pronunciation slightly and
added the Chippewa diminutive termination éns,? so that the name
became Ca’gobéns.* The white men pronounced the name Shakopee,
and a town of that name is now located where the Sioux village once
stood. Little Six was a leading warrior and chief of a band among
the Mdewakanton Sioux (see p. 70), and the writer has heard of his
fame from Sioux living at Sisseton, South Dakota, and at Devils
Lake, North Dakota. Both Odjib’we and his friend Niski’gwtin took

1 Pronounced Sha/kpay. 2 See pp. 186, 190, 230. 3 Pronounced Sha/gobéns.

Py

DENSMoRB] CHIPPEWA MUSIC—II 17

part in the fight and together they related its story, Niski’gwfin
also singing two of the songs.

Regarding this fight Folwell gives the following information:!

The lower Sioux, who late in 1853 reluctantly retired to their reservations on the
upper Minnesota, were wont to return in summer weather in straggling companies to
their old homes. . . . Shakopee and his band of 150 had early in the summer of 1858
come down and gone into camp near the town which bears his name. One of his
braves, fishing in the river (the Minnesota) at an early hour, was fired upon. Shako-
pee’s men instantly recognized the sound as coming from a Chippeway gun. They
gathered at Murphy’s Ferry and, presuming that the hostile shot came from one of
some very small party, they let their women put 30 or 40 of them across. They did
not suspect that back of the timbered bluff a mile distant there lay in hiding 150 or
more Chippeway warriors. . . . They were wary, however, and placed themselves in
ambush in a narrow space between two lakelets. The Chippeways . . . charged down
from the bluff twice or more, without dislodging the Sioux. The day was not old
when they gave up the effort and departed in haste for their homes, carrying their
wounded and perhaps some dead. Four of their corpses were left to the cruel mercies
of the Sioux. . . . Such was the so-called ‘‘ Battle of Shakopee,’’ May 27, 1858.

An account of the fight from the standpoint of the native his-
torian is given by Warren.? Odjib’we’s narrative is given below in
connection with song No. 8, which concerns the death of a warrior in
the engagement.

The first song of the group has reference to the war charm worn by
the warrior, the song being sung shortly before a fight to make the
charm more effective.* Niski’gwitin said that he sang this song before
the battle at Ca’gobéns’ village. The last two words were sung with
the repetition of the song, the melody remaining the same. The word
““Dalls”’ was said to refer to the heads of the enemy, which the warrior
would cut off and toss about. Reference is made to No. 35, in which
war is compared to a game, the bodies of the dead being its score.
The charm usually worn by the Chippewa warrior consisted of the
skin of a bird, dried and filled with a medicine known only to the
wearer, probably an herb or other substance suggested to him in a
dream. (See No. 28.) Thischarm was hung around the neck of the war-
rior, who believed in its power to protect him. It was said that if, by
any chance, a bullet struck this charm it would kill the man. Accord-
ing to Ma’djigi’jig (see p. 84), who made a duplicate of the old war
charm (pl. 12), the bird used in preparing this charm was “the
smallest of a kind of bird that flies at evening;”’ it was identified by
Mr. Henry Oldys, of the Biological Survey, as the kingbird, or bee mar-
tin (Tyrannus tyrannus). The characteristics of this bird may explain
its use by Indian warriors in preparing a charm. ‘Nothing can be
more striking than the intrepidity with which one of these birds will
pounce upon and harass birds vastly larger and more powerful than

iW. W. Folwell, Minnesota, the North Star State, Boston, 1908, pp. 157-158.

2 History of the Ojibway, in Colls. Minn. Hist. Soc., vol. v, 1885, pp. 502, 503.

8 Other songs connected with the use of “medicine” are Nos. 21, 22, 23, 24, 25, 26, 27, 28, 32, 36, 141,
142, 148.

78 BUREAU OF AMERICAN ETHNOLOGY [BULL 538

itself. The kingbird is always prompt to perceive the approach of
one of these enemies and always rushes out to meet it.”’! It does
not fear to attack even hawks, owls, and eagles. The warrior’s use
of the skin of the weasel, the most ferocious of small animals, as a
decoration has been already noted (p. 68).

If a birdskin were not available, a charm in the form of a bird
(pl. 12) was made of cloth and the medicine placed between the two
layers of the material.

No. 6. War Medicine Song (Catalogue No. 384)

Sung by Nisxr’ewtn
VOICE — 138
Drum a= 108
( Drum-rhythm similar to No. 2)

SS SS See

oe -o- -s
Ga-um - ba-ci-wad e nim-bi- né - si-wa - yan ga - um -
Se LUMA MAA
ne oe prpsios 392 32 eee
Ze ae see see Sete
4 = -@
ba-ci-wad =e nim-bi-né - si-wa - yan ga-um - ba-ci-wad- e
. a
Dit eRe a eee eee pereees |
ere Fae Ea guia
nim-bi- né - sl-wa - yan ga-um - ba -ci- wad nim- bi - né
WORDS
(First rendition)
pa*ambar ci wad) 22 oft)! i SI it is wafted upward
nim’biné’siwayan’...............-- my bird-plumage
(Second rendition)
pa*tmiba’sm’” [2 tales Pee they will be flying
nim’bika’kwadon’..........-...---- my balls

Analysis.—Four renditions of this song were recorded. In two
of these the close of the song was as transcribed; the other renditions
were interrupted several measures earlier by shrill war cries. Indif-
ference concerning the completion of a song has been noted in a few
other instances, the singer seeming satisfied without hearing the
final tone. This suggests that the relation of the tones to a keynote
is not clearly felt. A strong rhythmic sense is shown by the accuracy
with which the rhythmic unit is repeated. The melody tones are
those of the fourth five-toned scale.

Niski’gwin stated that before the battle he sang his dream song.
This song came to him when he was a young man, after he had

. F. Baird, T. M. peda wma R. nace North Arearicas Birds, ny 1874, p. 318.

SWYVHO YVM
H1LO19 NIMS-ulg

ZL ALWid €S NiLaqng ADSOTIONHL]A NVOIYAWY JO Nvayna

DENSMORE] CHIPPEWA MUSIC—1II 79

endured a vigil of 10 days, during which time he took only enough
food to sustain life. The words are obscure, a feature characteristic
of dream songs, the purpose being to conceal the exact nature of the
dream.
No. 7. Niski’gwiin’s Dream Song (Catalogue No. 386)
Sung by Niski’Gwtn

VOICE fe 88

Drum ¢g— 100

(Drum-rhythm similar to No. 2)

be. é , a ee 1 -s
pe SS Ee peor

HF Git

Gi - jig ni-wi- dji-wi- go

pots a rapes

i
ape Sea |

WORDS
PRINS oat fan Oana emnee ee lean Ses ee the heavens
HU WAG WIEO ne aah sae ck sae Sone go with me

Analysis.—This song was recorded three times; the transcription
was made from the first rendition. In general character the song pre-
sents a contrast to the songs recorded by Odjib’we. Therhythm is less
clearly marked. In it we find neither rhythmic unit nor repeated
phrase; the succession of triple and double measures is irregular,
and although the rhythm of the song as a whole has a certain indi-
viduality it can scarcely be said to be complete and satisfactory.
The melody is based on a major triad and would be classified as
harmonic except for the E flat in the first measure. This tone was
sung firmly and accurately. The sixth lowered a semitone is the
accidental occurring most frequently in Chippewa songs (see Table 7).
This accidental is found in the following songs of the present volume:
Nos. 7, 8, 19, 22, 41, 101, 156, 160.

The story of the fight at Ca’gobéns’ camp, as related by Odjib’we,
is here given.

A war party of more than a hundred Chippewa determined to
attack the encampment of Ca’gobéns, on the southern shore of the
Minnesota River. The Chippewa approached the river from the
north and remained behind a bluff, from the summit of which they
could see the Sioux tipis on the opposite shore. At daybreak a band
of about 25 Chippewa warriors descended the bluff and hid in the
bushes beside the water; among the number were Odjib’we and

80 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Ga’witayac’ (‘whirling wind”), a very brave and handsome young
man from Red Lake. Soon they saw a Sioux coming down to the
shore. A woman sat on the high bank and watched him. With no
suspicion of danger the Sioux entered a canoe and started to cross
the river. As he neared the shore the Chippewa shot at him. In an
instant the screams of the woman gave the alarm and the Sioux
rushed with guns in their hands to the river and crossed in canoes,
Before Odjib’we and his party could return to the Chippewa camp
the fight began beside the river. Odjib’we and Ga’witayac’, who
had used all their ammunition, were trying to catch a Sioux, their
intention being to kill him with a war club. The man made his
escape, and one of the Sioux in the river shot Ga’witayac’, who
fell mortally wounded. Odjib’we signaled to those who cared for
the wounded and they carried Ga’witayac’ back to the camp.

The Sioux then forced the Chippewa out of the bushes and under
cover of their shelter they fired on them in the open. The Chippewa
returned to their camp and prepared for the homeward journey.
The wounded were laid upon litters of poles, each carried on the
shoulders of four men. On such a litter Ga’witayac’ was borne, his
friends standing around him as he sang his death song. Slowly his
voice faded away and in a few hours he died while he was still sing-
ing. The large bear was his ‘manido’ animal,’ in whose guidance
he had trusted.

No. 8. Death Song of Ga’witayac’ (Catalogue No. 338)

Sung by Opsis’ we
VoIcE 2 92
Drum J= 100
(Drum-rhythm similar to No. 3)

Eo ee ee ies Se ea aes esis

Fn pa eae ae -9- -0- -0- -9- -9-
be t Tie eae
ee . =: ef | Jae tas oo 2 ae 5

= —— Sapa i ee
Ki-tci-mak-wa ni-
a
3 =
Poke Seta Se e+ 2 2: 2 |! ee ee ts
Sa === ee aes
3-0
Se

DENSMORE ] 8 1
WORDS
emit Wants 3: -.---S- - large bear
ni’waye’jimig’'.............. deceives me

Analysis.—The rhythmic unit of this song occurs eight times; it is
somewhat modified in the last two measures, giving strength to the
close of the’song. The first two measures constitute an introduction,
after which the rhythmic unit is continuously repeated except in the
middle part, which contains the words. (See Nos. 1, 12, 13, 30,
39, 40, 81, 105.)

The song is major in tonality and contains the flatted sixth as an
accidental. The chords of the tonic and submediant form the frame-
work of this melody, but the accented A flat prevents the classifica-
tion of the song as purely melodic in structure. It is classified there-
fore as ‘‘melodic with harmonic framework.”

Two songs were composed concerning this fight and were sung in
the dances which followed the return of the warriors. One of these
songs recalls the fight beside the river and is said to have been com-
posed during the fight. The struggle continued until past noon. Five
Chippewa were killed and 10 wounded, and many Sioux were killed.

No. 9. “On the Bank of a Stream” (Catalogue No. 339)

Sung by Opjip’ we
VOICE e= 144
Drum a= 104
( Drum- lar Onn lesa to ie 2 ‘al

se

A- ga - mi- zi - bi-wi- cén en -da-na - dji-mi-go - yan

e-

Epeoeks / St ag fai - jy —ts=——#
eS SS aS Se

oF Seas ae Saar eeie,

“TR?

WORDS
aga’mizi’biwicén’...... steerer across the river
en’dana’djimigoyan’.........- they speak of me as being

Analysis —The ascending interval of an octave at the opening of
this song was given accurately in the four renditions. This initial
interval occurs in only five other songs of the series of 340 Chippewa
songs (see Nos. 170, 174 in. Bulletin 45 and Nos. 31, 53, 125 in the

1 One syllable of this word was omitted by the singer.

67996°—Bull. 53—13——6

82 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

present volume). The two songs in Bulletin 45 and No. 125 in the
present volume are songs of the moccasin game, No. 31 is a war song,
and No. 53 the song before a boys’ fight. The character of these
songs suggests a correspondence between the mental state of the
singer and the initial intervals of the songs. The tonality of the
present song is minor, but the tonic does not appear until the ninth
measure, the opening being based on the major third, which consti-
tutes the upper part of the tonic triad. This opening is noted in
five other songs of the present series (Nos. 1, 34, 83, 94, 120). Four
of these are songs of war or of dances connected with war and one
concerns thunderbirds. In a less marked degree it occurs in the fol-
lowing songs in Bulletin 45: Mide’ songs Nos. 51, 54, 59, 69, 79, and
war song No. 130.

At the close of this song we find the progression 8-7-8, which
represents the descent of a whole tone to the seventh of a minor key
and return to the tonic. This progression at the close of a song
occurs in 9 other songs of various classes of the series of 340 (see
Nos. 19, 126, 150 in Bulletin 45 and Nos. 50, 85, 100, 119, 124 of the
present volume). This close of a song is frequently found in the
ancient music of the white race, especially in old English Plain Song.

This melody contains no rhythmic unit, but the phrase in the
8th measure reappears in the 14th and in part of the 15th measure
with a change of accent, a variation which gives character to the
rhythm of the song as a whole. The metric unit was maintained
with less regularity in this than in the majority of the songs.

The second song concerning this fierce fight calls to mind the grief
of the Sioux. Odjib’we said he remembered the Sioux women fol-
lowing them across the river, crying, and cursing the Chippewa.

No. 10. “‘At Ca/gobéns’ Village’’ (Catalogue No. 337)

Sung by OpJis’we
Voice g— 100
Drum g— 108
(Drum-rhythm similar to No. 3)

[ - + -9. -9- 3
ey Ee an eee

¢. ge Ph PP oni tena,
=

Ca- go-béns o-do - de-nafima-wi - wig e i - ni- ni - wig

)
pS pei ee

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 13

(Copyright by Sweet Studio, Minneapolis, Minn.)

MEJA’KIGI’JIG

DENSMORE] CHIPPEWA MUSIC—II 83

WORDS

(First rendition)
Ca/gobéns ...........-.---..- at Ca’gobéns
Re COWS ee eaiceil- ss 2 village
ma/wiwig’..............-.--. (they) are weeping
ee MIVA = il a. Lfaiy't > 22% the men

(Second rendition)
Ca’gobéns ............-...--. at Ca/gobéns
eee ennn o.....-- tase eee village
ma/wiwtg’...........-------- (they) are wailing
Glewot we sigs LOLs LUN. the women

Analysis.—This melody is characterized by opening measures
minor in tonality and by the tonic appearing in the first measure.
(See analysis of No. 9.) The first five measures have a rhythm
which is complete in itself and is not repeated; the last six measures
also have a rhythm of their own and may be said to constitute an
answering phrase. Between these sections is the part of the song
containing the words. This is not strongly accented, though the note-
values are the same in all the renditions. The transcription contains
the first half of the words, the remainder being given with a second
rendition of the song.

Eight months after this song was recorded on the phonograph it
was sung again by the same singer and the renditions were found to
be identical, even the slight deviations from exact time being repeated.

2

PERSONAL REMINISCENCES OF THREE WARRIORS

THE CHILD’S DREAM OF WAR
(By Mesa’xiarsic)

Meja’kigi’jigt (pl. 13), chief of the White Earth Chippewa, fur-
nished, in June, 1911, the following narrative of his childish dreams
and their fulfillment. He stated at that time that he was the sole
survivor of the representatives of the tribe who selected White Earth
for the abode of the Chippewa under the terms of the treaty of 1867.
He stated also that he was in several war parties led by Odjib/we,
that he took part in ten campaigns against the Sioux, and was in
four fights. The aged chief is honored and respected by all who
know him, a man of wise counsels and kindly heart.

Speaking through his favorite interpreter, Mr. John W. Carl (see
pp. 130, 303), Meja’kigi’jig said that when he was a little boy his father
was killed by the Sioux. He well remembered trying every night to
dream of something which should enable him, a boy of 7 years, to

1 Rey. J. A. Gilfillan is authority for the statement that when he went to the reservation as a young
man the name of the chief was explained to him by the old Indians as meaning “the sky over all the earth,
coming down to the earth at the horizon.”

84 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53

kill a Sioux. The older people told him to ‘‘go to sleep and be good,”
but his young mind was filled with thoughts of war. He refused
food, not going away from home to fast, after the custom of older
boys, but remaining in the lodge. At length he dreamed that he
shot a Sioux. Again he dreamed that his hair was gray and, pointing
to his flowing locks, slightly streaked with gray, the old chief said
that his dream had come true, for he was attaining the allotted age
of man.

Later, without leaving home, the boy fasted five days and five
nights, hoping for further dreams, but none came.

In the following spring he went away from home to fast. A few
years had passed since the little boy could not ‘‘go to sleep and be
good,” but the purpose of his life had not changed; it had deepened
and grown more serious. The birds were just beginning to come
when he took his way to the ‘‘wilderness.’”’ Selecting a large tree,
he built in it a ‘‘nest’”’ for himself, in which he remained without food
day after day. At last, on the fifth night of his fast, he dreamed that
he held three scalps in his hand. Then he was sure of himself and
of his career. With confidence he joined the warriors, and his faith
in his dream remained unshaken and at last the day came when he
held aloft three Sioux scalps.

Thus the boy, grown to manhood, avenged his father’s death accord-
ing to the custom of his people.

THE TRAINING OF YOUNG WARRIORS
(By Ma/psrersie)

Ma/djigi’jig (‘great sky’’) was a young man when the war parties
swept across the prairie. His personal reminiscences were not those
of a leader, but he recalled with distinctness the trials which fell to
the lot of a recruit. Later he served many times as a scout, and,
as a warrior, secured three Sioux scalps. In plate 14 he is represented
in the attitude of a scout on the prairie, holding a wisp of grass or
bit of brush before his face, and also as telling the story of the three
scalps.

According to Ma’djigi’jig, ‘‘the old warriors treated the beginners
as though they were nothing but animals.’”’ The young warriors
camped a few rods in the rear of the rest of the war party, and united
with the main camp only when near the enemy. The recruits slept
in little shelters, or booths, which they made of boughs, two men in
each. The older warriors had plenty of food and even were allowed
to eat fat meat, while the recruits were given scanty rations of wild
rice, either parched or only partially cooked, and seasoned slightly
with maple sugar. Sometimes they were given dried fish or tough
smoked meat and occasionally lean fresh meat hardly seared before
the fire.

at
————

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 14

IN POSTURE OF LOOKING FOR THE ENEMY

RECOUNTING THE TAKING OF THREE SCALPS

MA’DJIGIJIG

DENSMORE] CHIPPEWA MUSIC—II 85

When deer or other large game were killed by the warriors it was
customary to hold a “breaking-bone contest”? in the camp of the
recruits. This was conducted as follows: A marrow bone (usually
the leg bone) was laid on the ground. The man who intended to
test his skill took his place beside the bone and then walked eight
paces away from it. He was then blindfolded and, hatchet in hand,
walked toward the bone. _When he thought himself near it, he struck
at it with his hatchet. Ma’djigi’jig illustrated this for the writer, but
age had shortened his steps and, blindfolded, he did not measure the
distance correctly. In the old days the man who cracked the bone
with the first blow of his hatchet hastened to carry away the spoils;
after being cooked the marrow was removed by means of a stick made
for the purpose. This was the only way in which a young warrior
on his first expedition could secure a taste of fat. He was not given
the prize unless he succeeded in actually breaking the bone, and much
merriment resulted from the misdirected efforts of many of the young
men.

On their first war party men were required to put mittens on both
hands when they left the village and to wear them until they entered
a fight with the Sioux. These mittens were tied securely at the
wrist, from which a small stick was hung; this the recruit was ordered
to use in scratching his head or body. Failing to do this, on reaching
home he would “break out with boils on his whole body.’ Some
recruits refused to wear mittens or to use the ‘‘seratch stick,” and
Ma/djigi’jig recalled one instance in which a man became covered
with sores to so great an extent that he could scarcely reach home.
The old man gave as a reason for the regulation that the recruits
~ Jacked the protective medicines carried by the warriors.

Many rules were strictly enforced in the recruits’ camp. Care was
taken to avoid stepping over any article belonging to another. Thus
if a man stepped across another’s gun he was chased and severely
punished by the owner of the weapon, as such action was supposed to
render it useless. It was considered a bad omen for a recruit to see
a snake.

Ma’djigi’jig related the story of an attack on a Sioux village, which
took place during his first war expedition. At dusk the leader of the
party sent several experienced men to reconnoiter. Under cover of
night they approached the Sioux village, counted the tipis, and esti-
mated the number of warriors. Soon after midnight they returned
and made their report. Preparations for a march were begun at
once and just before daybreak the Chippewa drew near the Sioux
village. The leader then called for the wind and the wind came.
The Sioux heard the wind singing through the tipi poles, and the
flapping of the tipi canvas, but they did not hear the soft tread of the
Chippewa as the latter entered the camp. The Chippewa lowered

86 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

their guns, aiming at the places where the Sioux lay asleep. When
all was ready one of the warriors blew a quavering note on a tiny
whistle, like the call of a waking bird. At this signal the Chippewa
fired and then rushed at the tipis, tearing them down and killing as
many of the wounded as possible. With a quick slash they severed
the head of a Sioux from his body and ran away with it, removing the
scalp afterward. Three or four scalps were sometimes cut from one
head. The term ‘‘scalp lock,” however, was applied to the lock
situated just back of the crown. As this is the only spot at which
the scalp adheres closely to the skull, the scalp lock is especially diffi-
cult to remove, but a skillful warrior could do so with one motion of
his knife. He then slipped the end of the hair beneath the string
which held his breechcloth, and the scalp dangled at the victor’s side.

If a war party ran short of provisions the leader selected a place to
camp, near a lake. He smoked his pipe, sang his dream song, and
smoked again. At length he pointed in a certain direction and said,
‘‘A deer is coming there; it is sent to you.’ Thus the camp was
supplied with meat. Ma/’djigi’jig said he had known this to occur
many times. He stated also that, before attacking a Sioux village,
the leader of a war party frequently ‘‘called on the thunderbird to
send rain,’ in order that the Sioux would remain at home, not chang-
ing their camp or wandering in the vicinity, where they might detect
the approach of the Chippewa.

THE WAR BADGE

(By A’KIWEN’z1)

A’kiwén’zi (‘old man’’) wore proudly the double insignia of his —

success as a warrior—feathers in his headdress and skunk skins
attached to his ankles (pl. 15). Even at his advanced age he was so
lithe and agile in the dance that one could readily believe his state-
ment that as a warrior he was distinguished for fleetness of foot.
Two of his war-honor feathers were won at the memorable fight at
Ca’gobéns’ village (see p. 79). After that fight there were many
dead and wounded Sioux lying on the ground. He kicked one of the
latter and thus won the right to wear a skunk skin at his ankle.
Later, as a member of a war party which pushed far into the Sioux
country, he killed a Sioux near the site of the present Sisseton, South
Dakota, afterward kicking the body of the slain; thus he won the
right to wear his third war-honor feather, and the other skunk skin at
his ankle. In June, 1911, A’kiwén’zi was living on the White Earth
Reservation. There he and his war comrades frequently joined in
social dances with their old enemies, and again smoked the pipe of
peace with the Sioux.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 15

A’KIWEN’ZI

DESCRIPTION OF CHIPPEWA WAR EXPEDITION,
WITH TYPICAL SONGS

Every phase of a war expedition had its appropriate song, from
the announcement of the leader’s plan to the close of the victory
dances.

Sonas CONNECTED WITH ORGANIZATION OF WAR PARTY

The warrior who wished to lead a war party sent an oc’kabe’wis
(messenger) with tobacco to ask the warriors to join his expedition.
The messenger went to each village and requested the warriors to
assemble; he then explained the purpose of the expedition, filled a
pipe with apak’osigan’ (a mixture of tobacco and the inner bark of
the red willow), and, holding the bowl of the pipe, offered the stem
to one warrior after another. As he did this he sang the song which
follows. All who were willing to join the expedition so signified by
smoking the pipe.

No. 11. Song of the War Messenger = (Catalogue No. 358)
Sung by Onpsip’/ we
Voice g—100
Drum e=92
(See drum-rhythm below )

Et: ee Pe | ee OS ee ee PE
oo Sei eee eee

b-p4——__|- ——_—
Bi- da - ko-na-ma-wi - cin no - sis nin-do - pwagfin
f . 5 * = o, Pa 3
pa a8 = 7 ae eae ee ==
e bi-da-ko-na-ma-wi - cin no - sis nin-do - pwa-gfn
; Ss 5 aan— Sas Das ST
eg espe
e bi- da - ko-na-ma-wi - cin no - sisnin-do - pwa -gfin
522 — os aaa ee ay
~b-b4 — = rm =e = Zi as SSS SS =}
e - da- ko-na-ma-wi - cin no- sis nin-do att é

Drum- ae

8 23 73 3

= i ain . Ah 8 =|

a a = a 3 e 2 sie
=—

=> = =>

87,

88 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

WORDS
bidako’namawicin’.......... come and hold
nih’ dopwa van; 102.2. : my pipe
MOMS. <2. 275205 Ok MARS my grandchild

Analysis.—The drum-rhythm of this song is unusual; it consists of
an accented stroke followed by a short unaccented stroke correspond-
ing to the second count of a triplet. The metric unit of the drum is
shghtly slower than that of the voice. Four renditions of the song
were secured, throughout which the rhythmic unit was maintained
with great regularity, though the intonation varied perceptibly.

The tones of the melody comprise only the minor third and fourth,
the principal interval being the descending minor third. The song
contains a rhythmic unit, which occurs four times, constituting the
entire melody.

After the smoking of the pipe the oc’kabe’wis returned to the man
who wished to organize the expedition and reported his success in
the following song.

No. 12. Return of the War Messenger (Catalogue No, 359)

Sung by Opsin’ wr
VOICE — 192
Drum pS 100
( Drum- ig similar to No. 11 ees

OPES Es; MR, oe ales RATS

a.
ma.) se: C SSS as Delia o—e
2s eas eeee ae ae) 7 eel me = 7 ~
a oa a =e ma
O - gi- tei - dafi i -ji- =: ~~ - zi - ‘wig be - zi- gwi
eae apa ee Bel
ee ieee ees
djig = - ni - ni-wfg e
WORDS
opiitcldadi nic-edle. out ..--.- 42 like warriors
LUN ONAL Were eee se eee they look
be news Ge S53. ei who arise
ini HiWOe* - 2222 cs PPM ees those men
Analysis.—This song is divided into four parts, the first, second,

and last of which contain the rhythmic unit, while the words occur
in the third part, which has a different rhythm. (See Nos. 1, 8, 13,
30, 39, 40, 81, 105.) The drum-rhythm is the same as in the pre-

DENSMORE] CHIPPEWA MUSIC—II ~ BS

ceding song. The descending interval of the minor third occurs fre-
quently, and the song is distinctly mwor in tonality.

In a short time the warriors arrived and camped near the lodge
of the leader. A feast was given by the leader, at which he explained
more fully the proposed expedition, asking for a final pledge from
the warriors. All who were satisfied with the plan responded with
He he he, and the expedition was considered formally inaugurated.
The leader then said, ‘‘ We will have the first dance to-night, and we
will dance every night until we reach the enemy.” According to
Odjib’we the following song was usually sung by the Mississippi
Band of Chippewa at this initial dance (see also No. 81).

No. 13. “I Feel no Fear’’ (Catalogue No. 328)
Sung by Opjis’ we
Voice os: 160

Drum — 104
( Drum-rhythm similar to No. 3 )

eee ae 2. ‘Z -0- : a FR ee
: ae

oe ee eee ee
=p ire E z :
Ka-win nin-ca - gwe - ni-mu - si ka - win nin-ca -
ee
=> #*_ »—_ 9 p+ o—_9——_9—_ eo e—_e
Shea
gwe-ni- mu- si ka-win nin-ca - gwe-ni-mu - si ki - tei -
~-* Ur See ees
~_ Sasa UF bbe
LS ea
zi - bi- wi-ni- ni ni-bo-in wa-ya - win-di-gin e ka -
De 0 Dest p ties 9 Met ] pe
ie ee ae
win nin-ca - gwe-ni-mu - si ka-win nin-ca - gwe-ni-mu - si ka -

eas a : 7
ed

win nin-ca - gwe-ni-mu - si ka-win nin-ca-gwe - ni-mu - si

3

WORDS
Kawa’ <a 5.2 eM Sets a oi aT
nincagwe /nimusi’ CN tere tee me lee
Katcin biwinini......2..--.. when the Great River man !
OCS eE oot ho Re ER Loe om eie death
Wave WING? ooo) 522 ana Se speaks of

1 The “ Great River’’ was the Mississippi, and the term ‘“‘ Great River man”’ referred to a member of the
Mississippi Band of Chippewa.
2 The last syllable is divided and also changed, to fit the music.

90 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Analysis.—This is the first song recorded by Odjib’we. Four ren-
ditions were secured and found to be uniform. The first two were
without the drum; these were followed by a pause, during which it was
explamed to the singer that the drum was desired; he then resumed
his singing with the accompaniment of that instrument. On com-
parison it is found that the pitch and metric unit of the two parts
of the record are identical. This ability to resume his song in the
same tempo is the more interesting when we note the discrepancy
between the metric units of voice and drum.

The rhythmic unit occurs six times and is interrupted only by the
change of words. (See Nos. 1, 8, 12, 30, 39, 40, 81, 105.) In this
part of the song there is no decided accent and the enunciation of
_the words resembles rapid speech. The excitement of the song centers
in these words, given on a high tone, descending in the next phrase to
the flatted sixth, the accidental most frequently found in Chippewa
songs. The flatted seventh also occurs, which strengthens the phrase.
The song is grim in its suggestion, yet it is major in tonality and
cheerful in its rhythm.

The following song was sung at the dances preceding a war expedi-
tion. It contains the name of a man who once stayed at home, and
was intended to shame all who, without proper excuse, failed to join
the warriors.

No. 14. “The Man who Stayed at Home” (Catalogue No. 388)
Sung by OpJsis’wE

VoIcr p = 152
Recorded without drum

ry ees ecteaaeeia piece researr=

Mi-nodj Jifi-gwa-be mi noi-ni - nifigime - ni-mude wi -

pS ae pee ye SBS

win go - cfi o-don-da - me-ni-man

WORDS
BOE AMO ls a ha crs See ee although
SIBE WRG poe e noes oe. <p oe a Jifigwa’be (man’s name; meaning, ‘‘man
of the spruce tree’’)
TNA 8 ee eee ci en SN a man
ine’ nimnd’s, 20° fe sir sas Ie considers himself
Wi WOll sod: . oot ete Va eteesy his wife
OCU! 0 Se ee es certainly
odon’dame’niman’................. takes all his attention

1 The initial g of the fourth word in the music is carried over from the 7, the final letter of the pre-
ceding word—an example of elision by Chippewa singers.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 16

[ ;

CHIPPEWA WAR BANNER

DENSMORE] CHIPPEWA MUSIC—II 91

Analysis.—Four renditions of this song were recorded with a short
interval between the second and third. The rhythm was accurately
repeated, even the slight variations in time being duplicated. It is a
taunting, mocking melody, different from any other war song and
admirably expressing the idea contained in the words. Compare No.
38, which is also a song of derision.

The leader appointed four men to act as his aids during the entire
expedition. These men, like the messenger sent with the tobacco,
were called oc’kabe’wis. ‘They attended to all the preparations for
the expedition and made the arrangements for the dances held before
leaving the village. One of them carried the leader’s pipe and the
other carried the drum when the war party was on the march. They
also arranged for the camps on the expedition. A war party always
carried a generous supply of ‘‘medicine,”’ also materials necessary for
making and mending moccasins. Part of the equipment was provided
by the leader, who also borrowed the ‘‘banner”’ or ‘‘ flag” borne by
the war party. This was made of eagle feathers sewed on a strip of
cloth about 4 feet long, which was fastened lengthwise to a pole.
Odjib’we stated that in the old days he knew of only one such banner
among the Mississippi Band of Chippewa, made by a man named
Gaga’giwigwin’ (‘‘raven feather’) and loaned to the war parties.
It was considered the common property of the warriors, but this man
was its custodian in time of peace, and it was preserved in his family
after hostilities ceased. At the present time (1912) there is one war
flag preserved at White Earth, but this is believed not to be the one
made by Gaga’giwigwin’. It was carried in the wars against the
Sioux by Mi’gisins’ (Little Eagle), and is now in the possession of his
daughter. In plate 16 this banner is shown, held by the daughter of
Mi’gisins’, though a woman would not have carried such a banner in
actual warfare. Mi’gisins’ was so distinguished a warrior that a song
in his honor is still sung at White Earth (No. 126, Bulletin 45). A
similar banner, used at Waba/cifig, is shown in plates 44 and 45.

The final event before the departure of the war party from the
village was the dog feast. The head alone was eaten and only the
men who were going with the expedition partook of it. Participation
in this feast was considered equivalent to a pledge that the warriors
were prepared to meet the full fortune of war, whether death or
worse, at the hands of the enemy.

99, BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 15. Pledge Song (Catalogue No. 360)
Sung by Opsis’/we
VoIcE veP 108

Drum ¢/— 108
( See pei below mea PEN nt hots:

: tere + TOON ee ren ed
_s
oy ye Bay! Paes 7
E ya nin-da- ca- mi-gog ya nin- da- ca- mi-gog
, |
aaa ae ae
= Sarees eS
hee e ya "ho e(inLaPae 1 DEBS
+ * pO ]
oy thay SSS
o - gi- tci-dag nin-da - ca - mi - gog ya
Aca line es
BE a = me ES =a Sra: ie re =
=—4+ vig a
nin- da - ca- mi-gog nin-da -ca-mi-gog ya
Drum-rhythm
baz CR SOA os 2 etc.
ga o_o ae
SS OSS OS FS a
WORDS
nen dacamipog’ si .0 1 eae they feed me
O87 TRIG aO Owes eee is. the braves
BEUY CSCS OR! en ods. te feed me

Analysis ——The second and third measures of this song constitute
the rhythmic unit. Five renditions of the song were recorded. The
opening measure was uniformly given, but in two instances the last
measure was omitted, the corresponding quarter notes an octave
higher taking its place.

The written music appears to consist of seven two-measure phrases
with an introductory measure, but the Indian’s rendition divides the
song into two parts, the first containing eight and the second seven
measures, a strong accent being given the first note of the ninth
measure.

At the conclusion of the dog feast all the warriors danced, guns in
hand, and sang the following song, which contains no words. All the
final preparations had been made and they were ready to start on
their journey.

DENSMoRE] CHIPPEWA MUSIC—II 93

No. 16. Dance of the Dog Feast (Catalogue No. 361)

Sung by Opsis’ we
VoIcE os 92

Drum o= 92
(Drum-rhythm similar to No. 15)
2. -9- -# -9- -9--9--3-* + & -9- -#- -9-
ppp tite ie CE etre
—) a oe meee mare a

feeees saaee a

Analysis —This song contains a rhythmic unit which is slightly
varied in repetition. No variation in either melody or rhythm
appears in the four renditions of the song except that in the second
of each group of two renditions the singer avoided the first high note
and began with the last note of the second measure. The tempo is
slow and the drum and voice are in consonance. In general char-
acter the song is dignified, yet. vigorous, as befitted the song of those
who were equipped and ready for the warpath.

At the conclusion of the dog feast and dance the leader of the party
began the ‘‘song of departure” and his warriors took up the melody.
Dancing, not marching, they left the scene of the feast, and followed
their leader toward the land of the enemy. Only one woman,
usually the wife of the leader, was allowed to go with the war party.
Four women escorted the warriors as they left the village, walking
back and forth in front of them and joining in their song. These
women had their faces whitened with clay. At last they divided,
two standing on each side of the path, and the warriors passed
between them. There were no farewells and the song did not cease.
With eyes turned toward the enemy’s country the warriors went
forth to meet their uncertain fate.

94 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 17. Song of Departure ! (Catalogue No. 362)

; Sung by Opis’ we
VOICE J 108

Drum o- 108
(Drum-rhythm similar to No. 15)
(1st ) (1st)
ae ' Se a i
(24) (2d)
fe ; 5 oe at
@ @ @ @ » 9 =
eh ad e_@ [= —j—-f-3—4—
Bi-ma-ci-wiig ni-mi-gwfin-fige bi-ma-ci-wfg ni-mi-gwfin-fg e he
WORDS
En CRW ce eee eee they are sailing on the breeze
nimi/gwiiniig’. ...2..-2.-...-- my feathers

Analysis.—The words of this song probably refer to the birdskin
charm worn by the warrior (see pp. 77, 78). The song contains two
rhythmic units, similar in the division of the last three counts but
differing in the division of the first two. Each unit occurs twice, its
repetition being followed by a triple measure. Thus the first unit
followed by a triple measure constitutes the first part of the song,
and the second unit, steadier and stronger in rhythm and followed
by a triple measure, constitutes the second part. The melody is
harmonic in structure and is based on the tonic chord.

SONGS OF THE WARPATH

At evening the oc’kabe’wis selected a suitable place for the camp.
According to Odjib’we, every evening the warriors seated themselves
in a row facing the enemy’s country; the four oc’kabe’wis sat in
front of them, and in advance of all sat the leader with his drum.
The leader sang alone, and the warriors did not respond with the
shrill cries which punctuated many of the war songs. He placed two
crotched sticks upright in the ground, with a crossbar between them,
on which rested the stem of his hghted pipe, with the bowl on the
ground. As he sang the leader shook his rattle of deer hoofs or laid
it beside the pipe and looked away toward the enemy’s country, while
his silent warriors waited on his divination.?.

1See No. 150, Bulletin 45.

2Cf. George Earl Church, Aborigines of South America, London, 1912, p. 284: [Among the Pampas
Indians the wizards] ‘‘ used the maracd [rattle], which they said told them many secrets and made all
they said oracular.”’

DENSMORE] CHIPPEWA MUSIC—II - 95

The following song was said to have been sung by the leader every
night while on an expedition.

No. 18. Song of the Leader (Catalogue No. 343)
Sung by Opsis’wE
VoIcE a 104

Drum a 104
dae pe att similar to No. 15)

ees SS este att
mS == Se
2S22 == ee = Ear ae —e— ae
A-ni de-ba - on Apia a - ri we ani de -_ ba - bfin-da-
Fane Beat a
E = Ee Seon? ae a Se eee
on a ee a oe
a- he na ga-ki @€n - i-go-kwag- ga-ki-

na a hie lata bum—Cda-mam a, — ict we a = nt de-
= r a <.
ge ee oe ° 2 =
Sey eSar aaa = 2
ba-bfin-da-man a-ki we a-ni de-ba-bfin-da-man a-ki we
WORDS
LOI oI RE 2 RSI EMT ems BAe as
deba’/bindaman’........- a oelesee
TI pe ay aS ora Beet eg alee NE the earth
EC) CII ahh ete AER eat Bead

a, re |ihe whole compass of it

Analysis.—The transcription of this song is from the first of four
renditions, which differ only in the intonation of the tones marked.
These tones are given with what might be termed a ‘‘toss” of the
voice. Thus the third tone of the song is sung in one instance almost
as high as G flat. There is an evident intention to lower slightly the
next to the last tone of the rhythmic unit, but the interval is not
definite. The close of the last phrase is given with more accuracy
than the preceding, although the low pitch of the tone makes it more
difficult to sing.

The rhythmic unit occurs six times, its repetitions comprising the
entire song. An additional quarter note is inserted after the second
and fifth repetitions; this is found in all the renditions and adds

96 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

interest to the rhythm of the song as a whole. The metric unit of
voice and drum is the same, the voice slightly preceding the drum.

The following song was sometimes sung by a leader and was also
used by oc’kabe’wis and by scouts (see No. 82). This is a dream
song and was always sung by men who were alone, never at the dances.

No. 19. “I will go to the South” (Catalogue No. 333)

Sung by Opsis’we
Voice g=112
Drum a 112
(See drum-rhythm below )

CS BosmeeetS a

Nin-ga - di - ja a - win - ofig nin-ga - di iad fs ca - = ee
2: - ~g- (« «ee
zs ae ge pe
=
ong nin-ga -di - ja ca - win - ofig nin-ga - di -
2 eS gas Bale |
—
sn eeeaaee Se Pee ee ae
te
ja ca-wtn-ofig a nin-ga-bi - don ca-wfn - i - no-din
wen!
D — aor
saa ees Fae ere aoe
€ nin-ga-di - ja maeoe nin-ga - di ca - win-oig e

Drum-rhythm

: a |
=> —— > ——d
WORDS
TSA hye eee we eee ae I will go
carwithonge’. Jie, sieh, LT to the south
nin/pabrden’ ities iste Veu. tee I will bring
os’ whstino/ din... ef 4-t6- sba8 the south wind

Analysis.—This song was recorded twice, an interval of two weeks
elapsing between the making of the two records. On the first occa-
sion the singer sang the song twice, and, after pausing to explain the
words, again sang it twice. On the second occasion also he sang the
song twice. Thus six renditions were secured, in groups of two. On

DENSMORE] CHIPPEWA MUSIC—II 97

comparison it is found that these renditions vary in intonation, but
that the note-values and accents are the same, with some slight
exceptions in the tones which connect the phrases. In all the songs
it seems allowable to divide or prolong these connecting tones at the
will of the singer. The song contains a rhythmic unit, which occurs
six times and is slightly varied near the close of the song. Each
group of two rhythmic units forms a melodic phrase. The song is
melodic in structure according to the present basis of classification
because an accent is placed on an accidental tone, but the remainder
of the accented tones follow the intervals of the tonic chord. The
accidental is the sixth lowered a semitone. In form the melody
resembles Nos. 4, 5, 33, 34.

Many songs were used in the dances at the nightly camps, the
warriors frequently singing of their former victories. The following
two songs are characteristic of this class.

No. 20. “A War Bird” (Catalogue No. 332)

Sung by Opsis’/we

VoIcE d = 112
Drum j= 116y\,
( Drum-rhythm similar to No. 19)

WORDS
qaewanibi‘si . : ..cereserse. -- - a war bird
ga’kanawa’bamid’............ who looked upon me

Analysis.—In the number and manner of renditions this song is
similar to No. 19, two sets of records being made at an interval of a
fortnight. As in the preceding instance, the rhythm remains identical
throughout the renditions, but several unimportant note-values are
altered. The rhythmic unit is short and occurs in both double and
triple measures; the song as a whole has an interesting completeness
or unity of rhythm. The melody is clearly in the key of G, although
the tonic does not appear until the eighth measure.

67996°—Bull. 53—13——7

98 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

By midday the warriors were on their journey. Odjib’we said
that before starting the leader frequently filled and lighted a pipe,
after which he took a puff and held the stem toward the enemy’s
country, saying, ‘‘Every Sioux who puffs this pipe will soon be a
dead man.”’ He then passed the pipe to all the warriors, each of
whom took a puff. The leader then spoke to the drum in a low mut-
tering tone, ‘‘ Be faithful, my drum,” or “‘ Be faithful, be true.”’

When this ceremony was finished the drum gave the signal and
the warriors took up their journey, with the pipe-bearer leading the
way, and the leader walking last, carrying his rattle of deer hoofs.
After the party was well underway the drum ceased beating and the
war party walked in silence except for the occasional sound of the
leader’s rattle. A Chippewa war party frequently traveled 25 miles in
a day, stopping at intervals to rest andsmoke. According to Odjib’we
they made a camp and “‘had a good rest,” if possible, before attacking
the Sioux, several scouts keeping close watch on every movement of
the latter.

As the warriors neared the enemy they began preparations for
actual warfare, chief among which was the singing of their medicine
songs. It was a custom among the Chippewa warriors to dip the
heads of the war arrows in red medicine, the following song being
sung while this was being done.

No. 21. Arrow Song (Catalogue No, 370)
Sung by Opsis’ we
VOICE —= 60
Drum e = 84
( ico similar to No. Ba 7 ian

or ee a oe: are:

ott | SEES es

O-na-mfin-in i de-bwan o-na- mfin- ee a - ab bwan wa hi

| an
oo —— Shoes ==

ee ee

yu wa hi ye wa hi yu hu o-na-miin-

oe Se eel

ny 57 Guat an bwan o-na-mfin - fin 7 nT de- bwan yu hi yu huya

WORDS

Oo nanhin tin’. eos. tse ee scarlet
de’bwan...-25. 2 AURSOR) ena is its head

DENSMORBE] - CHIPPEWA MUSIC—II 99

Analysis.—The rhythmic unit of this song is short and vigorous.
The melody is inspiring in character and well fitted to increase a
warrior’s confidence in his success. The ending is peculiar but was
given uniformly, the five renditions of the song being identical in
every respect.

The principal war medicine carried by the Chippewa was the
bi’jikiwtck’ (‘cattle herb medicine’’), which was said to ‘‘make men
strong,’’ and to be a powerful healing medicine (see p. 63). It was the
warrior’s custom to chew this medicine and spray it from his lips upon
his body and his equipment. The following song was sung while
preparing the medicine.

No. 22. Origin of the Bi/jikiwack’ (Catalogue No. 372)
Sung by Opsis’weE
Voice g—100
Drum ¢— 100

(Drum-rhythm similar to No. 2)

aie DN ie Se i ae ee ee
ah eos etak ae se —— | f =| ie
—— oe
Mo - ki - yan nin - de mo - ki- yan e mo - ki-
eee. cede
2): = (——¢_ 4 f=]
Ete Soe oe eee ee oe ee 2
yan nin-de mo - ki- yan e mo - ki - yan e mo - ki -

1 —

Soe : raped
Diy EEE Ste: |

dji - wa-nufi mo-ki-yan ¢ wmo-ki-yan nin-de mo-ki-yan e

WORDS
MIQUEL YOR 2 cae eto oho Saas Gee I arising
mide’ 2.2253. peeliew denis ate I myself
mokidji’wanun’...........-........ from the flowing spring

Analysis.—This is the first of a large number of songs based on the
interval of a fourth or in which that interval is especially prominent.
This group includes 11 songs in Bulletin 45 and 25 songs in the present
volume, a total of 36, or 11 per cent of the entire collection. The
interval of the fourth is usually (in its first occurrence) a descending
interval and, except at the close of a song, is rarely if ever followed by
the interval of a third, completing the chord of the sixth. It occurs in
three ways, which form a basis for a closer observation of the group:
First, two continuously descending fourths form the framework of the

100 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

melody; thus Nos. 6 and 9 in Bulletin 45 are based on the descending
intervals D—A, A—E, ending with the descending tonic triad D—B-G in
the closing measures. No. 3 in Bulletin 45 and No. 82 in the present
volume are based on the intervals C sharp-G sharp, F sharp-C sharp.
Second, the melody is based on two descending intervals of a fourth,
the second interval being only one tone below the first. No. 28 in the
present volume is based on the intervals E flat—B flat, D flat—A flat.
(See also No. 23.) Third, the interval of the fourth is especially
prominent but this interval is, as it were, inclosed in the interval of
the fifth; thus in the present instance (No. 22) the intervals which
form the framework of the first four measures are the fifths E flat—
A flat, D flat-G flat, but the principal intervals are the fourths D flat—
A flat, C flat-G flat. The next four measures are characterized by
descending fourths, the third of the tonic chord appearing for the
first time in the final measure. The close of the song suggests that
there should be another measure ending on G flat but that G flat was
below the range of the singer’s voice.

Since 11 per cent of the series of 340 songs have a common melodic
characteristic, we note with interest that they have also a common
subject, all being songs concerning motion (20) or animals (15), in
some instances the two ideas being combined. The single exception.
is a love song which contains the words ‘‘T sit here thinking of her.”
While the idea of motion is not expressed therein, it can not be con-
sidered entirely absent from the mind of the singer.

The numbers and titles (or words) of this group of songs are as
follows:

(a) SONGS CONCERNING MOTION

Bulletin 45:

No. 6. ‘‘Iam raising my pipe”

No. 9. ‘‘A bubbling spring comes from the hard ground”

No. 10. ‘‘You are going around the Mide’ lodge”

No. 63. ‘‘The shell goes toward them and they fall”

No. 86. ‘‘The flame goes up to my body”

No. 91. ‘‘To the spirit land I am going, I am walking”

No. 199. ‘‘The big bear, to his lodge I go often”

No. 132. ‘‘The women are enjoying it [the dance] with us”
Present volume:

No. 22. ‘‘T arise from the flowing spring”

No. 32. ‘‘The prairie land whence I arise”

No. 34. ‘‘The Sioux women gather up their wounded”

No, 39. ‘‘Odjib’we brings back our brother”

No. 105. ‘‘Go with me”

No. 106. ‘‘Now I go”

No. 110. ‘‘I go around weeping”’

No. 111. ‘‘Come, let us sing”

No. 121. Ca’wiino’ga dance

No. 162. ‘“‘The sound of his approaching footsteps”

No. 170. ‘“‘Work steadily, I am afraid they will take you away from me’

No. 174. ‘“‘You shall depart”

?

DENSMORE] CHIPPEWA MUSIC—II 101
(b) SONGS CONCERNING ANIMALS (USUALLY REPRESENTED AS IN MOTION)

Bulletin 45:
No. 3. ‘‘In form like a bird it appears”
No. 121. ‘‘I am afraid of the owl”
No. 196. ‘‘Round-hoofed had pity on me”’
Present volume:
No. 23. ‘‘Strike ye our land with curved horns”
No. 28. ‘My bird-skin charm is my trust”
No. 64. ‘The ravens are singing”’
No. 82. ‘Riding on my horse”
No. 85. ‘I am walking in the sky, a bird I accompany”
No. 95. Song of the deer (a)
No. 96. Song of the deer (6)
No. 97. Song of the deer dancing
No. 103. Moccasin game song taught by a manido’ in the form of a bear (a)
No. 104. Moccasin game song taught by a manido’ in the form of a bear (b)
No. 147. ‘‘One bird, I am going with him”
No. 180. ‘‘The crawfish cringes”

Songs in praise of bi’jikiwtick’ were sung in the war dances. When
singing these songs the warriors imitated the action of wild cattle,
holding their arms above their heads to simulate horns and pretending
to paw the ground; they imitated also the calls of various wild
animals, these being calls which they intended to use in decoying
the Sioux.

102 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
No. 23. Dancing Song of the Bi‘jikiwack’ (Catalogue No. 382)

Sung by Marn’Gans (“LITTLE WOLF ’’)
VOICE a = 96
Recorded without drum

= aaa tec: Sia

sate ee
og irre.
; eee : Poaare —
Bi - ti-go-cka-mok gi-ta- ki - mi-nan e bi - ti-go-cka-mok
pipette = - = 2aSe = a 8 oa =a
=e —
gi- ta-ki-mi - nan ey br Aont gi- ta -ki-mi-nan
SSS LS
———s—s—
bi - ti- go - cka-mok gi -ta-ki - mi-nan
- oo ee | =A ea
we-wa - gi- Wi- ni bi - ti-go-cka-mok gi - ta-ki - mi-nan
PTR PPE, ey TI “he Lewy oe
(sooo seen a ae=
bi - ti-go-cka-mok gi- ta-ki - mi-nan we - wa - gi - wi -
aS Saal
a ee a Ee ERY ARIEL a iB =
b—+ 2 e Ss =
ni bi - ti - go- cka-mok gi -ta- ki - mi- nan soe
WORDS
bi‘tige’ ckamol? 624-2 inns) 1.2 aestnikerye
ea faleiminan’ the: saat Sade eee our land
WE WH C1 WIS Se Ee yA Bs Ne Bees with curved horns ~

Analysis —The descending interval of the fourth is especially
prominent in this melody (see analysis of No. 22). The first five
measures comprise the rhythmic unit, which is well adapted to the
expression of the words. This rhythm, combined with the peculiar
melodic outline, causes the song to produce an effect of rugged
strength.

During the preparation of mi/nisino’wiick (‘island herb medicine’’)
and also before a battle the following four songs were sung by the

DENSMORF] CHIPPEWA MUSIC—II 103

warriors to make the medicine effectual as a charm. This group of
songs was rendered by Na’waji’bigo’kwe (“woman dwelling in
the midst of the rocks’’).

No. 24. First Song of the Mi/nisino’wick
Sung by Na’wagsr’ BIGO’/KWE
(Catalogue No. 373)
VoIcE a= 69

Drum = 108
(Drum-rhythm similar to No. 2)

;
bee Etats ‘ . ——s 5 A a ry
sag === === > rea —f ee

Ka -ga - gi- wi- wan nin - dau ba-on - dji - o-non - ge-
2 rer To a ae
2 — o:6 : = —+—F
pai pee ao Sad
———S
wi-hi-yanka - ga-gi-wi- wan nin-dauba-on - dji-o-non-ge - wi - yan
WORDS

: [Free translation]
kapa/Biwiwah’:-:. 222. Gigis sees Bs He as a raven’s feather

is my flight

Analysis —This melody was sung very slowly with a rapid drum-
beat. The song is harmonic in structure and contains the tones of
the fourth five-toned scale. The rhythmic unit does not vary in
the four renditions of the song, but there is a slight variation in
unimportant melody progressions. Attention is directed to the
register of the woman’s voice. Several other phonographic records
made by Chippewa women show the same register.

All the songs of this series close with the ejaculations We ho ho ho,
which characterize also the Mide’ songs.

104 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 25. Second Song of the Mi/nisino’wick
Sung by Na’wasi’BIGO’K WE
(Catalogue No. 374)
Voice g—152
Drum e =>
(Drum-rhythm similar to No. 2 )

Gi - jig €-yo-ho-nt - hé gi - jig €-yo- ho-né- hé

r Sl. « 2 ae oe ee
_jp—_@ _@+ @ @+ @ — es aT .
EL ESS SS eee vee
en ee
gi - lig &- yo - ho-né - hé hé gi- jig &-yo-ho-né - hé
Paar a a oe ae ra ee ere

gi - jig &é-yo - ho-né - hé gi - jig €-yo - ho-né - hé

| ola}
yp se 2 ee ee 2 fa es an sae cea
BEA Sa eae yee eee
gi - jig &-yo-ho-né - hé hé gi - jig &-yo -ho-mé - hé
lp tp e@ ei! Tepe ye agree
oii tt Getter Feenet Soka aes ae]
t- ae pees
gi - jig &-yo-ho-né -hé gi - jig &-yo-ho-né-hé gi- jig &-yo-ho-né - hé
WORDS
lf emer Se ea < gal tee the heavens
Syoyan’ Luscubaliessics echt 2 use

Analysis —The words imply that the heavens are secured as a
defense by the singer. In all the renditions of this song the drum is
struck after the melody tone is sung. This gives an effect of great
irregularity to the performance and also shows the independence of
vocal and instrumental expression. The rhythmic unit, which is
accurately repeated, occurs 11 times. The double measures vary in
length and apparently serve as resting places for the voice.

1 See footnote 2, p. 89.

DENSMORE] CHIPPEWA MUSIC—II 105

No. 26. Third Song of the Mi/nisino’wick

Sung by Na’wasI’BIGO’K WE
(Catalogue No. 375)
VoIcE st .— 16
pecconied without. without drum

—
{

gua “5 = Pa Se eee

A A ee
Ga-mi-no- gi- we-pfi- ya-ya-ne he Le mi-no- gi- we - pfi-ya - ya - ne

2S] Seeoe Hele]

ga - mi-no- = = as - ee = = ga- mi-no-gi - we - pfi- ya- ya- ne
WORDS
a/minogi/wepii’yane’........ I will return to my home in gafet
g ig MA J y

Analysis.—This melody contains no tones except those comprised
in the rhythmic unit, which was steadily maintained throughout the
six renditions. Owing to the rapid tempo, the measure is a more
convenient metric unit than the individual count in the measure;
thus the metronome indication is for a dotted half instead of a
quarter note. The song is harmonic in structure and contains the
tones of the fourth five-toned scale; it was recorded without the drum.

106 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 27. Fourth Song of the MYnisino’wick

Sung by Na’waJI’/BIGO’/KWE
(Catalogue No. 376)
VoIcE a = 168
Recorded without drum

ai
OMe: pa ge ==5

Na-miindj-ge - do-gwén é@ ba- 6n-dji- o- nan-ge- yan é
oe el ee ene — nae ae
-2- 2-2 oe £ a
SL Se
na-miindj-ge - do-gwén ba- 6n-dji- o - nan- ge-yan é
Frisia eee
e_@___-__— ef
SE ee ee
antind-ee - do-gwén @ ba- 6n- aii - O-nNan-ge-yan é

2 eee ae

na-mf{indj-ge - do-gwén bi - on ty - bi - si - gwi- yan é

Net erauerer
Seige a= Sse s SSS SS = ee

na-m{indj-ge - do-gwén bfi - 6n - dji - bi - si - gwi- yan

WORDS

namiindj’gedogwén’.......... it is uncertain what will happen
baéndji’onan’geyan’........-. to the one from whom I fly
namundj’gedogwén’........-- it is uncertain what will happen
biéndji’/bisigwiyan’.........- to the one from whom I rise

Analysis.—This melody is unusually irregular in form. The prin-
cipal measures are in 7-4 time; the rhythmic unit contains three
measures and occurs five times. Four renditions were secured;
these are identical except that after the first rendition the singer
omitted part of the last phrase, closing with the calls We ho ho ho.
Apparently this was done to avoid the very low tone at the close,
which was sung with difficulty. The song is freely melodic in struc-
ture and contains all the tones of the octave except the seventh.

If a great fight were expected, the Chippewa made preparations for
the care of the wounded. Litters were constructed of poles, these
being especially required, as the Sioux always pursued the Chippewa
in an effort to capture the wounded. Every war party included an

DENSMORE | CHIPPEWA MUSIC—II 107

old man whose duty it was to carry an extra supply of medicine and
of water; he did not fight but held himself in readiness to attend
those in need of assistance. The feather flag (see p. 91) was carried
by one of the bravest warriors, who ran to and fro with it during the
fight. This man was a target for the Sioux and defended the flag
with his life. The drum was beaten during the contest by one of the
warriors, who also sang to inspire the men. This duty likewise
required special courage. Before entering a fight the leaders
arrayed themselves in brilliant trappings. Each wore a band around
the head in which were bright feathers; this rendered them con-
spicuous and showed their fearlessness. The neck was usually
encircled by a charm consisting of the dried skin of a bird, which
contained a medicine known only to the wearer (see p. 77). This
charm was wrapped in birch bark but before a battle the warrior
tore off the cover, exposing the bird skin, and also sang the song
which should make the charm effectual. The following song was
used for this purpose.

No. 28. Song of a War Charm (Catalogue No. 369)

Sung by OnJis’weE
VoIcE ¢—80

Drum d = 92
(Drum-rhythm similar to No. 2)

i i a = se a ait er ome ake a

Se lermerase cera ea ll a
=a" z ——— E = 3
= D bck S a aw ee ly a ee 7 eS
We-go-nén-i - wi- né - hé-hé - ne e - pé - ni- mo -

a+ —9 -—} —-t o @ 9 9 9 —
93 pp er a
kale S.- S SS S = SS Se Ca 3
———

ya ~ ha-han e we-go-nén-i- wi -né - hé-hé-ne e-pé- ni-mo-

— S$.

li pe a ee ee

ya - ha-han nin-bi-nés-i-wa-yan e he he e- e - péni-mo-

— i
S26 = aa oe eS ee :
i a ey

ya-ha-han e we-go-nén-i- wi-né - hé-hé-ne e-pé-ni-mo-yan e

WORDS
wegonén’iwinén’!............ in what
PRO MIMOVER 221. is my trust?
HMnbines lwayan’...°.52...:. my bird-skin charm
CPO MMBOYAN 658 02 seats tt - is my trust,

108 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Analysis.—This song is transcribed in the key of D flat, though
the third of that key does not appear in the melody (see analysis of
No. 53). In broad outlme the framework of the melody may be
said to be the descending interval of the fourth—E flat—B flat, and
D flat—A flat (see analysis of No. 22). The song is regular in form,
the rhythmic unit occurring four times; the first two occurrences con-
tain the words of the question while the last two contain the answer.

According to Odjib’we the Chippewa always sang, if possible,
before attacking the enemy. If the attack were to be1 made at day-
break, the Chippewa crept stealthily to an ambush near the village,
the drum was beaten very softly, and the following song was sung
in subdued tones. Then came a piercing yell as the warriors dashed
on the sleeping enemy. In open fight the war cry of the Chippewa
was Bwan, Bwan,' the word by which they designated a Sioux.
Odjib’we stated that the leader started the drum song. The title is
not fully explained, but may have been suggested by the muffled
throb of the drum, which impressed itself indelibly on the mind.

No. 29. Drum Song (Catalogue No. 341)
Sung by Opsin’WeE
VoIcE o=96
Drum a— 96
‘— chy thr sientioe te: similar to No. 15 Morig

opis ESE Sars ait ae

Ga-ki-na-ni-ni-mi-ag o-gi-tci-dag e en-da-ci - wad e

as ange ae ce a ee

ga -ki-na- ni-ni-mi-ag o-gi-tci-dag e en-da-ci-
A Sd Raine eeu

aes tached

wad e ga-ki - na-ni-ni-mi - 4g reese en-da-ci - wad e

WORDS
gakina/ Nini Mike’ ger... con Meee. nan 2 I make them dance
ogitcidag’ 4... 2... 5.2. Hee Se. thoge brave men
en daclwaar ceiier sts etnies oo every one of them

Analysis.—This melody is grouped about the tones of the chord
of A minor, but begins on the tone above the fifth of that chord, a
similar approach to the harmonic tone being found in the fourth
and fifth measures from the close of the song (see analysis of No. 53).

1 The full form of this word is Abwan’, plural A bwan’tg (“Roasters’’), but the contraction is the form
incommon use. (See Warren’s History of the Ojibways, in Colls. Minn. Hist. Soc., vol. v, 1885, p. 36.)
2 From Sioux aki’éita + g (ug), Chippewa plural ending. See also pp. 76, 186, 190, 230.

DENSMORE] CHIPPEWA MUSIC—II 109

The tone material comprises only the first, second, third, fifth, and
sixth tones of the minor scale, the second being lowered in one
measure. Although the song is minor in tonality it is found that
8 of the 17 intervals (47 per cent) are major thirds. (See Nos. 83, 99.)
The reverse of this, namely, prominence of minor thirds in songs
of major tonality, is considered in the analyses of Nos. 140, 141, 151,
161, 163. The rhythmic unit is repeated once accurately but. is
slightly changed at the close of the song, this change relieving the
monotony and giving character to the rhythm of the song as a whole.
The metric unit of voice and drum is the same, the voice slightly
preceding the drumbeat.

Three renditions of the song were recorded; these are identical in
every respect. After a lapse of eight months the song was again
recorded, the repetition of the melody being exact but the words
being slightly different.

When the Chippewa met the Sioux in open fight one of their
number might inspire the others to bravery by making himself a
target. Throwing aside his weapons and divesting himself of all
clothing, he rushed toward the enemy. If the Sioux failed to kill
him at the first shot, it was permissible for him to attempt to escape.
It is said that a man named Ogima/wiidjiwéb’ (“chief of the moun-
tains”’) had an experience of this kind and made his escape.

No. 30. Song of a Man Who Rushed Toward the Enemy
Sung by OpJis’weE (Catalogue No. 329)
VoIcE ee 76

Drum oe 88
ie -rhythm similar to No. 2)

was

et Poe: eee
a Sees SSS

een tthe tert,

Ni - dji- ki-wé - i-dog e ge-go ji - mo-ke - gun

posgey EF meteeere rea =a sy

nin zon-gi - de-é

WORDS
moan weidoo” fs!) PSL A my friends
See ae. Se US. teal. cuiceess do not
MUNG Me UU eon Di ,. = wecia an yew flee
1b) STE le ee i
BOT CTRERN a7 B.O5: BE dea ib ve tee. fh am strong-hearted

1The first syllable of this word was omitted because the previous word ends with the same vowel.
See footnote, p. 90.

110 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Analysis.—The rhythmic unit of this song is short but interesting.
It occurs three times and comprises the entire song except that
part which contains the words. (See Nos. 1, 8, 12, 13, 39, 40,
81, 105.) The song was recorded four times, the renditions being
uniform except that in the fourth from the last measure the pro-
gressions vary slightly. It is worthy of note that this is the only
measure whose principal tones are not those of the chord of F minor.
The melody is strongly harmonic in feeling, although classified as
melodic because of the accented B flat.

The difference in intonation between the first and second E flat
in measures | and 3 is interesting, as it appears in all the renditions.
The song contains ten measures and is divided into four parts. The
metric unit is slower than in most Chippewa songs. A slow metric
unit is found in other songs of self-control under excitement (see songs
Nos. 51, 52, 103, 161). Asarhythmic whole this song is particularly
complete and satisfactory.

During a fight a man frequently sang his dream song or a song
which he had composed concerning a former victory. Odjib’we
stated that in time of great excitement a man would sing louder
but probably no faster than was his usual custom. It is said that
the following song was composed and sung on a field of battle by a
woman named Omiskwa/wegi’jigo’kwe (‘woman of the red sky”’),
the wife of the leader, who went with him into the fight singing,
dancing, and urging him on. At last she saw him kill a Sioux.
Full of the fire of battle, she longed to play a man’s part and scalp the
slain. Custom forbade that Chippewa women use the scalping knife,
although they carried the scalps in the victory dance.

DENSMORE] CHIPPEWA MUSIC—II i

No.31. If I Had Been a Man (Catalogue No, 349)
Sung by Opjsis’ we
Voice e = To
Drum Je 92
(Drum-rhythm similar to No. 2)

‘A - pi-dfic i- ni- niyan-ban ke - gét i-ni-ni nin-da-

2 Se SS ee ee ee Ss
: is 2 {| 3-0-8 __e-6s o
pee eS pe ey

el
WORDS
UI en ain niin ennocienociiaso aes iba tame
PAU WARY AUT OLE “iayarereve ics jas serene oe if I had been a man
LL 1 le aml ape IF RRP Ae 5-8 xf el truly
were 2). LO AS a man
mindaci/tabibina’=.2:. J25.2728= : I would have seized

Analysis.—The first progression of an ascending octave, followed
by a descent along the tones of the tonic chord, characterizes this
melody (see analysis of No. 9). The harmonic feeling is strong
throughout the song, the accented C in the sixth measure being the
only departure from the tonic and submediant chords. There is no
rhythmic unit, but the rhythm of the song as a whole is complete and
satisfactory.

Three renditions of the song were recorded. In each the tempo
was more rapid and less regular in the four measures following the
words, returning in the last two measures to the metric unit of the
beginning. ‘This unit is slow, as in other songs of self-control. The
more rapid and free rhythm of the middle part is the more inter-
esting if considered in connection with the words and origin of the
song. Other songs composed by women are Nos. 39, 40, 112, 127,
151, 177, 178.

When a Chippewa shot a Sioux he shouted, ‘‘T have killed a Sioux,”
and others took up the call, adding the victor’s name. Thus other
warriors were nerved to renewed endeavor. After the fight the

1A syllable is omitted to make the words conform to the music.

112 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

names were remembered, and the warriors were given proper credit.
In the old days each warrior marked his arrows, hence it could usu-
ally be determined by whose hands the slain fell; but after the intro-
duction of guns it would have been impossible to ascertain who had
killed the Sioux unless the call above mentioned were given during
the engagement.

It was not unusual for a warrior to sink exhausted during a fight.
This misfortune once befell Odjib’we, and the incident was related by
his friend Niski’gwtin, who was present on one occasion when Odjib’we
was recording songs on the phonograph. Niski’gwin was with Od-
jib’we in many of the contests with the Sioux. Niski’gwtin stated
that on one occasion Odjib’we went into a fight without his ‘‘medi-
cine.” The fight had scarcely begun when Odjib’we appeared to
be almost paralyzed. He was not able to strike a blow in his own
defense and would have fallen an easy prey to the Sioux had not
Niski’gwin rushed to him and given him medicine from his own bag,
mixing it with water. Niski’gwtin also’ sprayed the medicine on
Odjib’we’s feet and limbs with a wisp of brush. This revived him
and enabled him to rise. Soon he was entirely himself and the fight
was won, the Sioux village being captured.

Niski’gwan stated that he sang the following song when he applied
the medicine.
No. 32. Song of Help in the Fight (Catalogue No. 385)

Sung by Niski’awtn

VOICE = 144
Drum d= 108
tere cos similar to No. 2)
be.)
sagt typ eet pee
— Ss ea
Mfic-ko_ - a-kifi we-yan-e - ba-si- gwi-yan
tp tataliee=
ae sees eae eee
mific - es - de a-kifi we-yan-e -_ ba- Si - gwi-yan
ee Se Se ;
9: ee ae See = @@ toe
EIS ae oe a? fe
mfic-ko - a-kii we-yan-e - ba- Sa é
WORDS
MORO. 5 orn tein ck Sole eee the prairie
CU oF cok ge ee land

weyan’eba/sigweyan’......--- whence I arise

DENSMORE] CHIPPEWA, MUSIC—II Li3

Analysis.—Four renditions of this song were recorded, in all of which
the final word was mispronounced, this license being allowed in Chip-
pewa songs. On the octave and fifth the intonation is fairly correct,
and these tones were sung firmly; the other tones are variable in
pitch, and the transcription should be understood as approximate.
The signature is that of the key of D, as both F sharp and C sharp
occur in the melody, but the ‘‘sense of key”’ is not clear. It seems
probable that the singer’s recollection of the song was not quite dis-
tinct. The rhythmic unit contains seven measures, and its repeti-
tions comprise the entire song. The framework of the melody is the
descending interval of the fourth, a peculiarity which is fully con--
sidered in the analysis of No. 22. While this is not an inspiring mel-
ody, there is something in it deeper and stronger than enthusiasm;
there are steadiness and control. Strongest of all is the idea of the
words—the picture of the prairie, calm in its consciousness of power.

The following three songs relate to one of Odjib’we’s war expedi-
tions and illustrate the singing of a death song and the composing of
songs concerning a notable victory.

These songs are connected with an expedition against a Sioux
village called Gaye’dawima’miwitii (‘‘lake in the valley’’), which was
located on the upper waters of the Minnesota River; its chief was
known among the Chippewa as Manda’minés (Little Corn). A war
party of more than a hundred Chippewa attacked this village and
the first man killed was the Sioux chief. During the fight the Sioux
women rushed out and dragged back the wounded men that they
might not be scalped. Although seven of their number were killed
the Chippewa would have been victorious had not a large party of
Sioux come on the field from a distance. Finding themselves out-
numbered, the Chippewa began to retreat. The Sioux used poisoned
arrows. One of the Chippewa warriors was wounded in the foot by a
barbed, poisoned arrow, but his friends were able to carry him away.
The Sioux followed the Chippewa a long distance and many of the
former were killed in this running fight. Name’binés’ (Little Carp),
a leading warrior of the Chippewa, was terribly wounded in the
abdomen. His retreating comrades tried to take him with them but
after a time, realizing that the attempt was useless, at his own
request he was laid in a clump of bushes. There his friends left him
with his gun, saying, ‘“‘ Defend yourself as best you can.’”’ Soon the
Sioux came in hot pursuit of the Chippewa and from his hiding place
Name’binés’ shot aman. With ebbing strength he gave his last war
whoop and his friends heard him cry, ‘‘ Men, I have killed a Sioux.”

When Name’binés’ was laid in the bushes he sang his death song,
which he is said to have composed at that time. Looking into the
faces of his comrades he said, ‘‘When you reach home sing this for
the women to dance by and tell them how I died.”

67996°—Bull. 53138 7

114 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 33. Death Song of Name’binés’ (Catalogue No. 335)
Sung by Opsin’we
VoIcE a= 104
Drum e = 104
(Drum-rhythm similar to No. 2)

Ni - ma - ji-man-dis ni - ma-ji-man-dis nim - bi - dji-man-dis nim -

iT Snrugent AUMMNE &

ee ec wee a a sens!
as is ea SA Seeaich, ee vate e tee |
bi-dji-man-dis nim - bi-djizman-dis 6 - na - su-mi- ka-yan e

WORDS
nima/jiman/dis.........-.-.-.------ the odor of death

MIMD? CEI Mio keene a= is suas I discern the odor of death
Cha SUM EN VER So sce ke ee in the front of my body

Analysis ——Ten renditions of this song are on the phonograph
cylinder, the transcription being from the eighth rendition. The
words vary in the several renditions, sometimes only one word being
used or meaningless syllables sung. The principal variation in intona-
tion is on the tone A in the second measure. The intonation of the
last three measures is uniform and the rhythm of the entire song shows
no variation. The song contains a short rhythmic unit, which occurs
five times without interruption. The last three measures are in a
different rhythm. (Compare Nos. 4, 5, 19, 34.) In these measures
the length of the tones is unusually regular and the voice and drum
exactly coincide. The structure of this song is interesting. The
accented tones follow the intervals of the triad of A minor and the
unaccented tones in the fourth and sixth measures introduce the
chord of C major, the song being in the major key. Thus the first
two measures are on the chord of A minor and the next two measures
on that of C major; then follows a measure in A minor (without the
third), giving way again to C major in the last three measures. This
alternation of minor and major is worthy of special note in connection
with the origin of the song. (See No. 128.)

At the first camp after this fight the Chippewa composed a song,
the words of which refer to the Sioux women who came from the
village to drag back the wounded men.

DENSMORE] CHIPPEWA MUSIC—II 115

No. 34. “The Sioux Women Gather Up their Wounded’”’
Sung by Opsip’we
(Catalogue No. 336)
Voice ¢g— 100
Drum ARS 108
ee similar to No. gg ae

See = Pept

O -ma-mi-kweg 0 ya ne _ pa-ba- nay mo-witig o-na-dji -
E2 i “= ws : o— o—-—__se—_,—_ Pea
ns a oS = =| @ cea
=e See Sasa aes
da- ba-ma - win e o-di-ni - ni - mi-win e a -ni-mi-

= SSS) SaaS tt Saree =

de - mi - wig e

WORDS
Oma/mikweg’...........-.......... the Sioux women
paba’made’mowilig’.........-..----. pass to and fro wailing
ena ajida’ bamawitin’*":. 2.2.52. 5.22. as they gather up
OGmini MAW UN. >.-2-..6:-..... 2 their wounded men
an inide miwitie’.......-...--.5.. the voice of their weeping comes back to

us

Analysis.—Six renditions of this song were recorded, the transcrip-
tion being from the third rendition. The rhythm and the melody
tones are the same in all the renditions but the words vary slightly,
affecting the length of the tones; for instance, the word meaning
‘‘village” is used in one rendition and the order of the words is some-
times changed. The tonality is minor but, as in many similar songs,
the tonic does not appear in the opening measures. (See analysis
of No. 9, also of Nos. 1, 83, 94, 120.) This song contains a short
rhythmic unit which is repeated without variation except for the
addition of a quarter note after the second occurrence of the unit.
The closing measures are in a different rhythm (see Nos. 4, 5, 19, 33)
and the rhythm of the song has a well-defined individuality. The
interval of the fourth is especially prominent. (See analysis of
No. 22.)

On their homeward journey the Chippewa composed another song.
Remembering the tread of the pursuing enemy, they sang of war as a
game with the bodies of the dead as its score:

116 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 35. “They are Playing a Game’ (Catalogue No. 342)
Sung by Opsis’ we
VoIcE d= 104
Drum aI 104
(Drum-rhythm similar to No. 15)

Fe err page Se

| @ @ -@.
- __ - # -@. . f
a a as Sees es ee ee a ee =
Ga-m = mi 4 bi - di-kweg miic - ko- deiig bi - mi-a@ - ta -
_-@—, 9—e— 9» a
_ Zz
a === =_ = eS = asta =
di-wfg e i- ni-ni-wig e ga-bi-mi - bi-di-kweg mfic-ko-
9S a a ee
defig bi-mi-a-ta-di-wfige i-ni-ni-wige ga-bi-mi - bi-di -
oe Fy AAA SSH
oe te ee tee ee —
kweg mfic-ko-defig bi- mi- a-ta- di-wig e i - ni-ni-wig en Dim
WORDS
"iat alia Wel OE, 7 ag enn ge the noise of passing feet
mile’ kodene.....-...2.:+.-:.---s., 08 the prame
HR AU WUE oo oe they are playing a game as they come
DP EW Pet eeet s = Steck wee ee Se those men

Analysis.—This melody is based on the tones of the minor triad,
the sixth being used as a passing tone and occurring only once. The
song contains a rhythmic unit eight measures in length, which occurs
three times, is accurately repeated, and comprises the entire song.
It is worthy of note that the song contains only one upward progres-
sion; this occurs between the second and third sections of the song.
The compass of the song is unusual, as it begins on the tenth above
the tonic and ends on the fifth in the octave below the tonic. Four
renditions of the melody were recorded; the intonation of the tones
marked — is uniform in the several renditions.

Odjib’we stated that on one occasion a warrior sank exhausted as
the war party was returning home. The other warriors, reluctant to
leave him a prey to some wandering enemy, stayed with him. It
seemed impossible for him to rise. However, he used his medicine,
and after a time sprang to his feet, singing this song, which-he com-
posed at the time. The war party resumed its journey, and he
accompanied them, still singing his new song.

DENSMORE] CHIPPEWA MUSIC—II 117

No. 36. Song of the Exhausted Warrior
Sung by OpJis’wE
(Catalogue No. 367)
VOICE a 84
Drum a 104
(Drum-rhythm similar to No. 2 )

See ae 8 a a EE a a a ea a ES ee Eee eee

+ 3 # #- fe 0 peer Ole DR
Ba - ba - pi- ni - si-wa- gin ge-non-de - ci-nan
nal ae oa
+
-8- - “ @- @ # Ee @ -»- -s-
= pp
= ns 3
a e ba- ba - pi-ni - si-wa- gin ge-non-de - ci-nan
Bs ee [a eee ae a ee ZTE Sis
—,
a e nin - ga - 4-da - wofi-gé-yén S - O6n-dji-da-go -
—7 ee. 7 —_
SSeerettsess oi Tsp.
“5 6-0-6 +6**F Te —- | 018-0 6» = “ta ae
ci-nan @ ge-6n-dji-da-go - ci-nan e

worps!
baba’pinY’siwa/etin. - fo. | slag
penomadeGimgin . 22.22. 250545. I can not travel
ningii’ada’wongén’”?......-..-. but I will borrow that
geondji’dago’cinan’..........- by means of which I can arrive

Analysis —Three renditions of this song were recorded; these are
uniform in every respect. This uniformity is of interest, as the
rhythmic unit is long and irregular; it occurs three times without
variation. The remainder of the song contains fragments of the
unit, but no complete repetition. The song is minor in tonality and
is characterized by the sharped seventh, which is found but rarely
in the minor songs under analysis. By this accidental the song is
more fully identified with what is commonly termed the minor scale.
The relation of the rhythm to the content of the song is worthy of
note, the effect of perturbation in the first part of the song being con-
trasted with the more regular rhythm of the latter part.

1 Where no words appear in the music above, meaningless syllables were sung.
2 A syllable is added to this word to make it conform to the music.

118 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
SONGS ON THE RETURN OF A VicrorRious WaR Party

On returning, a victorious war party sent runners in advance to
carry the news of their approach, and preparations for a suitable
reception were begun at once. Meantime the warriors made their
last camp before reaching home; here they rehearsed the songs con-
cerning the victory and arrayed themselves in their finest apparel.
Then began the final stage of the journey. As they approached the
village they fired guns as a signal and the women came out to meet
them. One woman led the party, to whom were given the scalps
taken by the warriors. Each scalp was dried, and fastened inside a
hoop at the end of a pole. Occasionally several were fastened in the
same hoop (see pl. 17, showing five scalps in a decorated hoop).
Frequently a man gave his wife the Sioux scalp he had taken. The
women took the warriors’ blankets, beadwork, and tobacco bags,
and even their guns, none of which were they required to return.
Then the women led the procession, the scalp bearers in advance,
waving the scalps and singing. After the party reached the village
preparations for the victory dance were begun. A suitable place
was selected, to which was carried a large quantity of food—dried
meat, wild rice, and maple sugar. The poles bearing the Sioux
scalps were stuck in the ground beside the pile of food, and the feast
was called ‘‘feasting the Sioux.’’ There was no song connected with
this feast. After the feast a simple ceremony in praise of the war-
riors took place. The victors were seated in a row and their friends
brought gifts, which were laid before them. Often the following song
was sung at this time. The words of this song require explanation.
According to Odjib’we, defeated warriors were treated with scorn.
and derision when they returned. This is the song of victorious Gull
Lake warriors, who were being honored at some other village, the
inference intended to be drawn from the words being the exact oppo-
site of their direct translation. Odjib’we stated that the words of
the song meant ‘‘at Gull Lake [our home] they will be proud of us,”
but the correct translation is as given. This song was recorded
three times, a period of several weeks elapsing between the ren-
ditions. The words varied somewhat, but Odjib’we stated that all
have the same general meaning and that it was allowable to change _
the words of a song provided the “tune” and the meaning of the
words remained the same.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 17

FRONT BACK

SCALPS ATTACHED TO HOOP

DENSMORE] CHIPPEWA MUSIC—II 119

No. 37. Gift Song (Catalogue No. 389)

Sung by Opsis’we
VOICE J = iG
Recorded without drum

ett soot jaaS ae aaae
be gee ae oe oor eee eee ee gare

LIES

peters

t+
Be roe =a
St oe ee re
2S
WORDS
ga’gayac’gonsikag’..........-- at Gull Lake

manoga’yana’wenimigo’min.. let them speak lightly of us

Analysis.—This song was transcribed from the first of three ren-
ditions. The melody consists of four parts. The rhythmic unit was
accurately repeated except for a slight change in the note-values of
the last measure. The other renditions were only partial and were
similar to the latter half of the transcription. When different words
were used the note-values differed accordingly, but the trend of the
melody remained the same. The song is harmonic in structure and
contains only the tones of the major triad and sixth.

In response to this song the warriors rose and danced, singing of
what they had done on the warpath. These songs were composed
on the way home (see No. 35). The following is an example of this
class of songs.

Odjib’we stated that this song was composed by his brother and
sung in the victory dance. His brother had been on a war party
with his father and Hole-in-the-day and had cut off a Sioux woman’s |
head, bringing home the scalp.

120 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 38. Scalp Song (Catalogue No. 366)
Sung by OpJis’weE
VOICE a= = 160
Drum = 104

( a ra ent een to No. <

Ve 2 2.

=e

Go - ni- ge - ta- gi - na a- cas ee - da-mo - aiasigied o- ma - needa

eee ee aes eee eae

we gi- kic - ki- gwe - jfig

WORDS
0) cl a 1 cr I wonder
agadén’damodog’........---- if she is humiliated
Oma/mikwe’................. the Sioux woman
gikic’kigwejiig’........---.-- that I cut off her head

Analysis.—This is a song of derision, and in that respect it resem-
bles No. 14; comparison of the two songs is therefore of interest.
Both are minor in tonality, begin on the octave, and, as is unusual,
have the descending fourth as their first progression. Both end on
the fifth, the compass being from the dominant below the tonic to
the octave above it; a more common range is from the tonic to the
twelfth above it. Both songs are melodic in structure and neither
contains an accidental. With these features the resemblance ends.
No. 14 is in double time with two triple measures, begins on the
accented part of the measure, and contains no rhythmic unit; while
the song under analysis is in triple time throughout, begins on the
unaccented part of the measure, and contains a short rhythmic unit
continuously repeated. These points of difference show the individ-
uality of the two songs. The derision in No. 14 is subtle and tan-
talizing and the rhythmic swing is long, without a clearly defined
unit; while in the present instance the derisive idea is more direct,
_ the taunting more keen, finding expression in a short, crisp rhythm.
Five renditions of the song were recorded, the rhythm showing no
variation.

Gifts were distributed to all the people by members of the war-
rior’s clan; for instance, Odjib’we’s do’dem (clan animal) was the
bear. When he returned bringing a scalp, all the men and women
belonging to the Bear Clan danced around him with their arms full
of presents, after which they distributed the presents throughout the
village in his honor.

EEO

DENSMORE] CHIPPEWA MUSIC—II 121

The next event was the victory dance, which often continued until
daylight, by the light of torches and bonfires. At this dance the
Sioux scalps were carried and songs were sung in honor of the war-
riors. (See Nos. 80, 83, 165.) This is illustrated by the following
two songs, which were composed, respectively, by the wife and the
mother-in-law of Odjib’we and sung in recognition of his prowess.
' Odjib’we recorded the first song *n August, 1909, and sang it again
in March, 1910, the renditions and the accounts of the incident being
identical.

Odjib’we stated that his wife’s brother was killed by the Sioux
and that he organized a war party in return. The purpose of this
expedition was to attack a certain Sioux village located on an island
in Sauk River, but before reaching this village the Chippewa met a
war party of Sioux, which they pursued, killing one man. There
were nine Chippewa in Odjib’we’s party; not one was killed. They
returned home at once and Odjib’we presented the Sioux scalp to
his wife De’kim (‘‘across”), who held it aloft in the victory dance
as she sang the following song.

No. 39. The Song of De’kim (Catalogue No. 348)
Sung by Orvis’ we
Voice é — 168
Drum Ts 108
(Drum-rhythm similar to No. 2)

[9-9 -3- 5. at re
ee BE eS

SSS goa Sess |

O-djib-we gi - sai- ye-naii o-bi-nan

WORDS
Odyfib’ wes... a. cess: yaeate Odjib’we
Piss yenal. ooo. on abe. our brother
GPE RAR: i. «So n'5.00.0 2 ere brings back

Analysis.—The five renditions of this song recorded are uniform
in all important respects. The rhythmic unit is interesting; this
occurs three times, comprising all the song except the part in which
the words occur. (See Nos. 1, 8, 12, 13, 30, 40, 81, 105.) The minor
tonality is well established and the approach to the tonic by the
descending interval of a fourth is somewhat unusual. (See analysis
of No. 22.) Other songs composed by women are Nos. 31, 40, 112,
127, 151, 177, and 178.

192 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

When De’kim had finished the song, her mother, Djifigwa’kimigo’--
kwe (‘‘rumbling-earth woman’’), arose, and, taking the scalp, danced
while singing the following song, which she composed in honor of
Odjib’we.

No. 40. Song of Rejoicing (Catalogue No. 365)
Sung by Opsis’wr
Voice ¢= 168
Drum a 104
( Drum-rhythm similar to No. 2)

sig gg tty eee

Mi-si - na _ dji-min - wén -da-man niii- gwi - zis

oagtat = =
mi- si - na «-Saiismanh min - wén- 5 aa nifi- gwi - zis a
- 2 ~. 9- -9- .
or oe em i Geena el We, Gear Sap ee =
ag ES See
5: a = E EERE 5 owes: 1
gi - sai - ye gi - pi-da-ma - wi-yan nifi-gwi-zis e

mi-sfi - na Sahin -min-wén - da-man nifi-gwi-zis @ ye
WORDS

mista yi 226s Pet hte more $ vet it shall be
djiminwén’daman’.......-.-..-..-- that I rejoice
BENE WL IGA = ane = 2's eee fe O, my son
SE ga MM Sey lene be gee Peart mn eelet your elder brother
pipi‘damawiyan’: + /l2...2..2002 alt you have brought back
ningwi mis. tao. one... 1 e218 O, my son
mishnal 43.0 - steethontn eee. it shall be
djnnimwen’daman’ 2. iss eer that I rejoice
ORT AT ea a GOA Le OS Se Wi Pao ond oh: O, my son

Analysis.—The rhythmic unit of this song, which occurs 3 times,
is particularly interesting and inspiring. The song is divided into
four parts, the words changing in the third section. (See Nos. 1, 8,
12, 13, 30, 39, 81, 105.) The melody is major in tonality and moves
freely along the fourth five-toned scale. In songs based on the fourth
five-toned scale the second and sixth frequently occur only as passing
tones. The sixth is accented in one measure and the song is therefore
classified as ‘‘melodic with harmonic framework”’ instead of purely

DENSMORE] CHIPPEWA MUSIC—II 133

harmonic in structure. The four renditions of the song recorded
are identical in every respect. Other songs composed by women are
Nast, 2h, (49,1124 127, 151,; 177,178:

Odjib’we stated that he took part in a severe fight with a band of
Sioux led by the famous chief Gaga’gins (Little Crow). The circum-
stances were as follows: Little Crow’s band was in camp on the west
side of the Minnesota River a few miles below the site of the present
St. Paul. The blind warrior accurately described a level tract of land
west of the first bend in the river. A large war party of Chippewa
prepared to attack the Sioux village and sent two scouts in advance,
who killed and scalped a Sioux woman coming out of a tipi. Think-
ing that the scouts were unprotected, the Sioux warriors pursued
them and soon met the entire force of the Chippewa. A terrible fight
followed in which the Chippewa were victorious. The following song,
which relates to this victory, was composed by Hole-in-the-day,
leader of the expedition. (See p. 61.)

No. 41. Victory Song (Catalogue No. 345)

Sung by Opjin’wE
VOICE ws 92
Drom 2 104
(Drum-rhythm similar to No. 2)

sey Bp ae Et tf —- 3, —-, —
= = =o fe

A’ - ci - do - ka - ma ge - wa - wi - ni - go- yan
ee ee @- 9 =
5: aT. | aie 2S Sa yy See ie ae
= ! = —-
a = ' £8 ree
eee
a - ci - do-ka - ma

en
ge - wa- wi - ni-go-yan

WORDS !
GeammeR Cin? oe Ss seSs ce ee ee surely
pewawinigoyan’..).-..4..-2.-9.2 24 I will have great praise

Analysis.—Seven renditions of this song were recorded, the tran-
scription being from the sixth, which is the only one in which the
words occur twice. The rhythm of the first part is uniform in the sev-
eral renditions recorded, while that of the latter part varies with the
presence or omission of words. The melody moves freely along the

1 Where no words appear in the music above, meaningless syllables were sung.

124 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

intervals of the fourth five-toned scale. The first three measures
constitute an interesting rhythmic phrase but it is not repeated and
the song as a whole lacks rhythmic unity; it is, however, inspiring
and joyful in general character. Attention is directed to the discrep-
ancy between the metric units of voice and drum.

The following incident illustrates the use of a dream song, which
the warrior sang while on the warpath, to secure supernatural aid,
and afterward in the victory dance to commemorate the triumph and
the means by which he believed it had been attained.

Odjib’we stated that long ago a party of Chippewa attacked the
Sioux, killing several and securing the scalps. Then they started for
home with the Sioux in hot pursuit. The leader of the party was the
singer of this song. In his youthful vision he saw a protecting cloud,
and when the Sioux pressed close he sang his dream song. Suddenly
a dark cloud came across the sky, the rain fell in torrents, and through
the storm the Chippewa made their escape. After reaching home
the leader sang this song at the victory dance. (Compare Nos. 63,
64, 66, 85, 87, 94, 140, 141, 145, 147, 148, 150, 151, 152, 153.)

No. 42. “A Cloud” (Catalogue No. 330)

Sung by Opjis’we
VOICE 2 = '96

Drum d= 96
(Drum-rhythm similar to No. 3)
| iB oa 2° # o° 2. »
rm (pee SSS Sees i ea I en S So
Ora >
— = a
Ge - bi-mi- 4 - go- 6- yan a - na-kwad_ ge - bi- mi -
o——»
yeep
- go- 6-yan ge-bi-mi - & - go-6 -
__De- @
e
Si hae tet ee ee eer |
yan a - ha-kwad ge-bi-mi-# - go-6 - yan ge-bi-mi-

a.- go- 6- yan a-na-kwad ge-bi-mi-4 - go - 6-yan

WORDS

- ge Dein e0p yan = sorte sce es circling above me
a TAK WAG ctoe ete ue eee a cloud

DENSMORE] CHIPPEWA MUSIC—II 125

Analysis—This song contains three accidentals—the second,
third, and sixth lowered a semitone. The F natural was imperfectly
given at the opening of the song but accurately sung in the latter
part. Three renditions of the song were recorded and the accidentals
were uniformly given though the intonation varied on several other
intervals. The rhythmic unit occurs six times, the prolonged tones
between the second and third occurrences of the unit being uniform
in the renditions.

The following is the dream song of a forgotten warrior.

No. 43. “I am Called” (Catalogue No. 331)

Sung by OpJis’ WE
Voice ye 104
Drum es 116
(Drum-rhythm similar to No. 2)
(1st phrase )

tS SSS

ath phrase PRISE) |)

patter pier

Na - na - wa- gam cma - tei - gam -ifig e nin - on - do-mig

“se pes ole Sis Jhotess )

228 Ezaee elt ie aes a2 coon caaet = releretiall

ma-ni-do e

WORDS
nana/wagam’........---..---- from the middle
USA s Tchr (: a, 2a ere of the great water
PEBON“GOMNE $< diese ewetn's Iam called
PHMMUG! sos Se ee se by the spirit

Analysis.—Four renditions of this song were given, with a pause
between the second and third. Two weeks later the song was
recorded twice. The six records are identical except that in the
last two the tone E (last count, fifth measure from the close)-was
sung F natural. In one or two of the first set of renditions this tone
was raised slightly, less than a semitone. The ascending progression
on the last count of the first measure was given with a sliding of the
voice which can not be accurately transcribed.

It will be noted that the first five measures of the song constitute
a rhythmic phrase, marked ‘‘1st phrase’’; instead of repeating this,

126 BUREAU OF AMERICAN ETHNOLOGY [BULL 53.

however, the song introduces another phrase of 7 measures, marked
“2d phrase,” followed by still another of 5 measures, marked ‘3d
phrase.” Thus the song contains 17 measures, divided into three
parts, each part making ‘‘rhythmic sense,” the three forming a
rhythmic whole.

The tones of the song are grouped about the chord of E minor, the
tone A in the ninth measure being the only accented tone not belong-
ing to that chord. The presence of this tone, however, makes it
necessary to classify the song as melodic rather than harmonic in
structure. The song contains all the tones of the octave, also one
accidental—the sixth raised a semitone.

The principal drum-rhythm is that of accented eighth notes, but
in the latter part of the first record the accent is intensified and the
unaccented beat shortened until the drum-rhythm consists of triplets,
the accented beat representing the first note, and the unaccented
beat the third note, of the triplet, an eighth rest occurring between
the two.. This change of drum-rhythm in a record is unusual.

At the conclusion of these dances! the scalps were carefully
wrapped and kept until the next dance. When one village was
tired of dancing with the scalps they were sent to another village,
where similar dances were held. Mrs. English (the writer’s inter-
preter) stated that she remembered when Sioux scalps were sent
from the Minnesota villages to those on the shore of Lake Superior,
a distance of more than a hundred miles. The scalps were carried
by the same oc’kabe’wis who bore the war message and tobacco before
the organization of the war party. On this occasion also he carried
tobacco and was prepared to sing the songs connected with the
taking of the scalps.

When all the villages had finished dancing the scalps were brought
back to the first village, where speeches were made and the poles were
set in a grave. This was frequently the grave of the man whose
death was avenged by the war party. - There the poles bearing the
scalps remained undisturbed until wind and weather completed the
conquest of the Sioux.

SoNGS OF THE PEACE Pact

Interspersed through the troubled years of strife there were periods
of peace between the Chippewa and the Sioux. Odjib’we stated
that the tribe desirmg peace sent messengers to the other tribe
asking for a cessation of hostilities. According to him, the Sioux
were usually the tribe who sought peace. If the Chippewa were
willing to join in a peace pact, the messenger returned to the enemy
with a favorable reply. The Sioux then brought their families and
camped near the Chippewa while each tribe made preparations for
the formal proceedings. The meeting was attended with much

1 Other songs of the war dances are Nos. 83-93.

DENSMORB] CHIPPEWA MUSIC—II 127

pomp and ceremony. The warriors arrayed themselves in their
gayest attire. In each camp was the sound of singing and of shrill
war cries, excitement was in the air, and it seemed that an encounter
instead of a truce was in preparation. Amid shouting the opposing
forces made ready to advance. The Chippewa were led by an
oc’kabe’wis bearing the pipe, followed by four women; next came
the leaders of the war party, while behind them were the warriors.
The Sioux followed in similar array. As the two tribes approached
each other the excitement subsided. One of the greatest scenes in
the drama of Indian warfare was to be enacted. To and fro in
front of the warriors walked the women. Often it was only their
presence that prevented violence, the fire of battle bursting forth
afresh as the warriors drew near their recent enemies. All sang as
they came forward. The melody was the same in both tribes but
the Chippewa sang the names of the Sioux leaders and the Sioux
the names of the Chippewa leaders, each praising the valor of the
other. Odjib’we recorded the song, first as it was sung by the
Chippewa, the transcription being from the first rendition which
contained the name of Ga’gagins’ (Little Crow), who is mentioned
in connection with song No. 41. Without a pause he continued the
song, introducing the names of the following Sioux leaders in the
successive renditions: Ca’gobéns (Little Six), Bi’nicédns’, and Wa/-
bacéns’. He then stated that he wished to record the song as it
was sung by the Sioux. The melody was the same but the following
names of Chippewa leaders were introduced: Bi’gonegi’jig (Hole-in-
the-day), Wa’bejic’ (‘‘marten’’), and Zon’gaktim ‘ig (‘‘strong earth’’).

No. 44. Song of the Peace Pact (Catalogue No. 352)

Sung by Opjis’we
VoIcE = 126

Drum a= 76
(Drum-rhythm similar to No. 2 )

———
E hui - ga e hui ga Ga ga - gins
om FSA fyeper epi: a]
=
o-gi-ma e_ huii-ga e huii-ga e oe An ga
WORDS
Peg er ese Sere ATS ee leader
Mak Gapeimer AV II3. SEPT OPE SEES Little Crow
OPiS: . tees a8 oenrs -22t 4er ie) chief

1 From Sioux hunka’. See S. R. Riggs, Grammar and Dictionary of the Dakota Language, Smithson.
Contrs., vol. 1v, Washington, 1852.

128 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Analysis —This melody is characterized by directness and simplic-
ity. It begins on the tonic, an unusual beginning in minor songs, and
the minor tonality is fully established in the first two measures. The
song contains 12 measures and consists of three parts, the rhythmic
unit occurring in the first and last parts and the names in the middle
part. The slow metric unit was maintained in the renditions with
both Sioux and Chippewa names, suggesting that this was the tempo
in which the song was actually sung, a tempo which gives dignity to
the song, appropriate to the occasion of its use.

The Sioux fired their guns into the air and did not reload them.
The Chippewa did likewise. Nearer they came, the singing women
walking to and fro, brave as the wives of warriors should be. Then
the tribe which had asked for peace sent forward its pipe bearer.
Holding the pipe in his hands, he offered the stem im turn to the
opposing leaders, each of whom puffed the pipe. Then the other
tribe sent forward its pipe bearer in the same manner.

The following song was sung by the Chippewa pipe bearer when
offering the peace pipe to the Sioux.

No. 45. Song when Offering the Peace Pipe
(Catalogue No. 390)
Sung by Opjsip’we

VoIcE e — 72
Recorded without drum

weet

oa EE tytttt gh tert

Nin - do-kidj an nin-

do- kidjan nin-do- kidj an

WORDS
NC Sig RR PEE CITRIC SR Se my pipestem

Analysis.—This song is in the key of G, yet the tonic appears only
once (in the seventh measure) as an accented tone. Harmonic
tones are frequently approached from the tone above. (See analysis
of No. 53.) The rhythmic unit occurs only twice, the latter part of
the song containing a division of the count similar to one which
occurs in the unit but not containing a repetition of the unit. The
rhythm of the song as a whole is particularly interesting and pro-
duces an effect of dignified action well suited to the occasion of its
use. The melody tones are those of the fourth five-toned scale.
The four renditions recorded are uniform in every respect.

-

DENSMoRE] CHIPPEWA MUSIC—II 129

When the smoking of the peace pipe was finished, the opposing
warriors shook hands, and the Sioux were offered the hospitality of
the Chippewa camp.

After the forming of a peace pact the two tribes camped near each
other for some time and social dances were held every night; these
were called ca’wino’ga (southern dance). Odjib’we stated that
only ca’wino’ga songs were sung at the peace dances and that these
songs were sung at no other time. Presents were sometimes given,
but the exchange of gifts did not form an essential feature, as in the
woman’s dance (see p. 38). A woman sometimes beckoned to a
gayly arrayed young man, threw her blanket over his head, and took
some of his finery as they danced together. It is said that the
ca/wtino’ga songs were particularly pleasing and that the people were
so carried away with the excitement that the dance often lasted all
night.

The origin of the ca’wino’ga was thus described by Na’waji’-
bigo’kwe:

The ca/wiino’ga is a very old dance and was first a dance for healing. It was not to
cure people who were very ill, for that was done by the Mide’, but it was for people
who were not in good health. The South Manido’ taught this dance to a very good

young man whose relatives were ill. It is called ca’wiino’ga because it came from
the South Manido’, and the people who first used it were people living south of the

. Chippewa country. The young man got up the dance as he was instructed by the

South Manido’ and his relatives recovered. Afterward the dance was used as a social
dance, and the songs are particularly pleasing.

No. 46. Ca’wiino’ga Song (a) (Catalogue No. 354)
Sung by Opsis’we
Voice g— 88

Drum = 104
(Drum-rhythm similar to No. 2)

ict FF hes

Analysis —This song should be regarded as one of those fugitive
melodies in which the signature indicates the pitch of the tones rather
67996°—Bull. 53—13——9

130 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

than an established key. The six renditions of the song recorded
are identical. In every instance the close was as transcribed, and
the return to the first measure was without a pause. The first two
measures are in an ordinary rhythm, and around them, in the repe-
titions of the song, there circles a succession of measures so irregular
in rhythm as to fascinate and hold the attention. One can readily
imagine that to such rhythms the excitable Indians might have danced
all night.

No. 47. Ca’wiino’ga Song (b) (Catalogue No. 355)

Sung by Opsis’we
VOoIcE d= 168

Drum ae 108
( Drum-rhythm similar to No. 2)

wet f= -o- eek = ~ as 3
— —— Paes -
—— Bulger: =e
er oO ga-yan 7 ca-wfin-o ga-yan i hi ca-wfin -
eeu! B
-_
Es tees o--6-0 99-0 =p
Posh pe
O ga-yan i hi ca-wfin-o ga-yan 7 hi

WORDS
Ca wigs 2 Meat eee south
ga’yan..-.......#.%..:%. dancing

Analysis —The four renditions of this curious song show no varia-
tion. The general effect of the song is jerky, yet the rhythm has an
element of indefinite continuity; it is a rhythm which fascinates and
could be kept up for along time. The principal rhythmic unit occurs
four times at the opening of the song, and is followed by a shorter
rhythmic unit, which likewise occurs four times and contains the
same syncopations as the first. These syncopations were uniformly
given and are the principal characteristic of the song. (See No. 88
of present work and Nos. 123, 147, 152, in Bulletin 45.)

War Sones ConcERNING WOMEN

The incident concerning the first of this group of songs was narrated
to the writer by Mr. John W. Carl (see pp. 83, 303). Mr. Carl, who is a

DENSMORE] CHIPPEWA MUSIC—II 131

grandson of Bica’ganab, said that in his childhood he often heard
the following story:

There was once a Hudson’s Bay trader who came to the Chippewa country, loved a
Chippewa maiden, and wooed her according to the custom of her people. He gave a
great feast, invited her father, and asked his consent to the marriage. Three daughters
were born to them, one being the mother of Bica’ganab. Years passed and Bica’ganab,
granddaughter of the Hudson’s Bay trader, grew to womanhood. One day as she was
lighting her breakfast fire she heard the cry, ‘‘The Sioux are upon us!’’ This was
followed by the report of guns. Immediately the camp became a scene of confusion,
the men trying to repulse the Sioux and the women hastening to put their house-
hold goods into canoes. The father of Bica’ganab went into the fight ; he was
wounded five times but contrived to get near the water and was helped into a canoe.
It was supposed that Bica’ganab had been killed, but when the escaping party were
far from shore they saw a woman fighting the Sioux with a club. The Sioux drove
her into the water and she swam toward a canoe. The Sioux followed, trying to
strike her on the head with a club, but she actually broke and tore their canoe with
her hands. It was said that she was like a great bear in her ferocity. The Sioux
were forced into the water and she pounded them with a paddle as they made for the
shore. Instead of following the retreating Chippewa she went upstream, hiding in
the bushes, returning later to the battlefield by a circuitous path. There she found
only the dead Sioux, covered with their blankets; beside them lay their guns and
much beautiful beadwork. Bica’ganab scalped the Sioux, put on a Sioux war bon-
net, and made a great pack of blankets, guns, and beadwork; then she painted her
face and went to the Chippewa camp with her trophies.

Bica’ganab, one of the bravest of Chippewa women, died in 1892.

No. 48. Song Concerning a Brave Woman

(Catalogue No. 351)
Sung by OvJiB/weE

VoIcE d= 160
Drum ¢ —160
(Drum-rhythm similar to No. 15)

+ ~~» £f-

pi ete yt

BE -ni-wék we win ja - wa - So win gi - ja-wa-so min - di -
-9- —_— =
aa. 2. Te ramet (ete ere
ese beeen = REE eer
eet te te i; a po -
mo-yan we ja-wa-so - no-da-go-nan ya ey¥ae we a le
WORDS
UWE aoe onc eek YS MY eorestry
i gee 2 eee she ,
BAe WARDS 2). FARES EO IES 2 SY, defending her children
oo Ae a ed oe the old woman
gigijawa’sonoda’gonan! ............- fought for us all

1 The first two syllables of this word, and in one instance the first syllable of the third word, are
omitted to make the words conform to the music.

132 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Analysis.—This melody presents an interesting study of rhythm.
It contains 19 measures and is divided into three parts, the first con-
taining 5 measures, the second 4, and the third 10. It has no rhythmic
unit, yet there is a melodic phrase which occurs three times—in the
second and third, and in the sixth and seventh, measures. It occurs
also in the tenth and eleventh measures, but in the latter instances the
first measure is a triple one, strongly accented on a tone not found at
the opening of the song. _ If the first tone of the song were unaccented
it might be regarded as the second count of a triple measure, but it is
strongly and unmistakably accented. Five renditions of the song
were recorded, all identical. The metric unit of voice and drum is
the same, but in rendition the voice slightly preceded the drum.

The following two songs were composed about a war expedition
which occurred when Odjib’we was a young man. The fight took
place on the prairie, a few miles north of the site of the present St.
Cloud, Minnesota. It was a hard-fought engagement and 20 Chippewa
were killed. One of the Sioux women seized an ax and attempted to
repulse the Chippewa who attacked her, but she and all her children
were killed. The father of Odjib’we composed this song concerning
the incident.

No. 49. “The Sioux Woman Defends Her Children”

(Catalogue No. 364)
Sung by Opjis’/we
VOICE é — 92
Drum c= 92
(Drum-rhythm similar to No. 2)

2. a. bg OG o- 2
eee te 2s ‘acs e¢ +# 2%
pig ini Ee Pe fey

Ne - ta-gi-ca-wa-so - sig Wa-pe-tofi bi-a&-pi - si- ka- dug go-
g Smmares Pitas biaseeisaasaadrrs Scie!
= = +-—9—H- +9 Sc= rah
Pog ee Eth4: SE ieinccsage ame ee
= ethic
ca-win bi-gi - ca-wa-sud
WORDS
Nets @1en GAsAMe ns So eo oe once careless of her children
Wape’ton ' (Sioux word)..........-- she of the Wapeton Sioux
bispi‘aika’ dig. Ta AL Ce now comes in haste
oo cawin tl: 2252) Bice S231 ee surely
bigica’wasud’, 029i cat caphuxewise to their defense

Analysis.—The five renditions of this song recorded are singularly
uniform. Not only is the rhythm identical, but shght variations in

1See footnote, p. 70.

DENSMORE] CHIPPEWA MUSIC—IIt 133

tempo are duplicated. The melody is based on the major triad and
would be classified as harmonic in structure except for the accented E
in the fourth measure.

Among those taken captive in this fight was a Sioux woman. It
was decided to kill her and she was led forth to be shot. After the
preparations for her execution were complete she was allowed to sing.
We do not know what the song may have been, but it moved the
elder brother of Odjtb’we so strongly that he rushed forward and
rescued her. The war party soon started on its homeward way. At
the first camp a dance was held. During this dance the captive
woman arose, shook hands with the warriors and kissed them to
show gratitude for her deliverance; she also sang the following song,
which she composed at that time.

No. 50. Song of the Captive Sioux Woman

(Catalogue No. 334)
Sung by OpstB’wE
VoIcE — 80
Drum A 100
( Drum-rhythm similar to No. 3)

pate ety Pe Sree ty

Ka-ka-ta-wi wi he o ya -ba-ma-gin go -dji - ma he ke-
VOICE d= 92
: —*_@. —- o o — e 2
aa ll ————— =H
gét nin-ja- we - ni-mig e
WORDS
Bee Certs er ats tino ase any Chippewa
waya’bamagin’? ..................- whenever I see
URIS ROY WE eo oo ao 2 ieee a Aan I will greet with a kiss
[EL Ta lige eee een na EPS truly
nin“jawe‘nimie’ . 0.2. 22.5 ee eee he pities me

Analysis.—F ive renditions of this song were recorded. The metric
unit varies slightly in these renditions, the metronome indication
being from the fourth rendition. The same rhythmic pecularities
appear in all the renditions, the first count in the second measure
receiving more than the regular time and the last two measures be-
ing sung more rapidly than the preceding part of the song. The
upward progressions in the second measure are uncertain in intona-

1 Word used by the Sioux in designating the Chippewa.
2The first syllable of this word is omitted and the following word is changed in order to adapt the
words to the music.

[BULL. 53

134 BUREAU OF AMERICAN ETHNOLOGY

tion, the upper tones not being clearly sung but rendered with what
might be termed a ‘“‘toss’”’ of the voice. The song contains no
rhythmic unit, yet the melody as a whole has a complete and satis-
factory rhythm. Attention is directed to the interval of a whole
tone between the seventh and eighth of the scale, near the close of the
song. This interval was firmly given. It is an unusual progression
in recorded Chippewa songs although found also in songs Nos. 9, 85,
100, 119, 124.

After an interval of eight months three renditions of this song were
recorded by the same singer; these were identical with the first
record in both melody and rhythm but differed slightly in the words.

War Songs— White Earth Reservation

MeEtopic ANALYSIS

TONALITY
Numbers| Per cent. Serial Nos. of songs
MajOY oe. 2 tennis pee sie pa eeesesies 27 54 | 2, 3, 5, 6, 7, 8, 13, 16, 18, 19, 20, 21, 22, 23, 25,
26, 27, 28, 31, 32, 33, 37, 40, 41, 42, 47, 49
Minor! = 2045 Set i. 2. csan eae es Sse 23 46 | 1, 4, 9, 10, 11, 12, 14, 15, 17, 24, 29, 30, 34,35,
36, 38, 39, 43, 44, 45, 46, 48, 50
TROUSER oe etn mse tecennwes 17) Miers alt)
BEGINNINGS OF SONGS
Beginning on the— Numbers] Per cent. Serial Nos. of songs
fT ET Saale © ike ME MON NNRe 3 6 | 19, 20, 29
SixiDes sc o-eet eee ceed eens sae 1 2 | 45
Pwelfilie23-< 26 scehey esse tee ll 22 | 1, 2, 3, 7,12, 16, 22, 27, 40, 41, 42
1) 4 ee «Ae es. 5 Se eee 8 16 | 5, 9, 15, 18, 24, 31, 39, 47
TRENt=2 s\ cece eee cesar rence see oe 11 22) 8, 10, 11, 17, 21, 26, 33, 34, 35, 36, 49
DCTS F | ee, ee ee Meee er EE See a 5 10 | 6, 18, 23, 25, 28
Opp a). os 2a eon oe aecee ap cea sea 10 20 | 4, 14, 30, 32, 37, 38, 43, 44, 48, 50
POMEL Rhos oe eee nace eras 1 2 | 46
fA Ss SE BE I ee i). Sees ee
ENDINGS OF SONGS
Ending on the— Numbers) Per cent. Serial Nos. of songs
BOTIG 5 oso ce aw daaqs stein - Speen =: PEE - SC 31 62 | 1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 16, 19, 24, 25, 26,
27, 29, 30, 31, 32, 33, 34, 36, 37, 40, 41, 42, 47,
49, 50
Mafthh . 2-223 i422. RSS Me AAG 14 28 | 5, 13, 14, 15, 17, 21, 23, 28, 35, 38, 43, 44, 46, 48
Whirds-tsoc- cei + seo eter eee ss: eee we 5 10 | 18, 20, 22, 39, 45 ;
41) | ee ee a ee ae C8 Bee seer,

TT

DENSMORE]

CHIPPEWA MUSIC—II

135

Metopic ANALYsIs—continued

TONE MATERIAL

Numbers) Per cent. Serial Nos. of songs
Second five-toned scale.........-.-.-.-- 6 12 | 1, 17, 24, 30, 34, 44
Fourth five-toned scale. .......-..-.---- 16 32 | 3, 6, 8, 16, 18, 19, 21, 22, 23, 26, 31, 40, 41, 42,
45, 47
Major triad and sixth...............---. 2 4 | 38, 37
Major triad and second): ...----.-..-...-2 1 2) 49
Minor triad and seventh.........-..---.- 1 2 | 36
Minor triad and Sixth, .......-.----..-- 2 4 | 29, 35
Minor triad and fourth................-- 2 4 | 10,12
Minor third and fourth...............-- 1 2) il
Octave complete... cts. seo n a2 tsccce gee es 1 2| 48
Octave complete except seventh........ 5 10 | 2, 7, 25, 27, 32
Octave complete except seventh and i 2| 38
sixth
Octave complete except seventh and 2 4} 14,15
second
Octave complete except sixth..........- 3 6 | 9, 39, 46
Octave complete except fourth.......... 3 6 | 13, 20, 48
Octave complete except fourth and 1 2 | 28
third
Octave complete except fourth and sec- 1 2|5
ond
Octave complete except second.......-.. 2 4 | 4, 50
{
NOL AMOR. ore ae ohio eR Be 50) |) aac
ACCIDENTALS
Songs containing— Numbers | Per cent. Serial Nos. of songs
ING RECIOCItAIS Ss Veco e ... eee. aoe ee os 38 76 | 1,2,3,4, 5,6, 9, 10, 11,12, 13, 14, 15, 16, 17, 18,
20, 21, 23, 24, 25, 26, 27, 28, 31, 33,34, 35, 37,
38, 39, 40, 44, 45, 47, 48, 49, 50
Seventh raised a semitone.........--..- 1 2| 36
Sixth raised a semitone.....-.......---- 1 2| 4
Sixth lowered a semitone...........-.-- 5 10 | 7, 8, 19, 22, 41
Fourth lowered a semitone. ........-..-.- 1 2 | 30
Second lowered a semitone..........-..-- 2 4 | 29, 46
Second, third, and sixth lowered a semi- 1 2| 42
tone
Second lowered a semitone and fourth 1 2 | 32
raised a semitone
MO pale ce 34 o. oh sie es ee eh rd Beeie reece
STRUCTURE
Numbers | Per cent. Serial Nos. of songs
AGI, See es ee 11 22 | 3, 4, 5, 10, 17, 24, 26, 33, 35, 37, 50
Purely MelOGICs y= 7 sa425n ce ess St 25 50 | 1, 2, 6, 7, 9, 13, 15, 16, 20, 21, 22, 23, 25, 27, 28,
29, 32, 34, 36, 38, 39, 42, 43, 46, 48
Melodic with harmonic framework... - . . 14 28 | 8, 11, 12, 14, 18, 19, 30, 31, 40, 41, 44, 45, 47, 49
Motalee- 5. Ssewcme oe h aca. ne= 2 50! |S Sse s

136

BUREAU OF AMERICAN ETHNOLOGY

[BULL. 53

Metopic ANALYsIS—continued

FIRST PROGRESSIONS

Numbers

30

50

Per cent.

Serial Nos. of songs

60 | 1, 2, 3, 4, 5, 6, 8, 12, 14, 15, 17, 19, 21; 22, 23,

24, 27, 28, 29, 30, 33, 35, 36, 38, 39, 40, 41,
45, 47, 49

40 | 7, 9, 10, 11, 13, 16, 18, 20,°25, 26, 31, 32, 34, 37,

42, 43, 44, 46, 48, 50

Ruytumic ANALYSIS

PART OF MEASURE ON WHICH SONG BEGINS

On accented part

On unaccented part

24

Numbers

Per cent.

Serial Nos. of songs

48

62

2, 3, 5, 6, 8, 14, 15, 16, 17, 20, 23, 25, 26, 27, 31,
32, 37, 38, 40, 43, 44, 46, 48, 49

1, 4, 7, 9, 10, 11, 12, 13, 18, 19, 21, 22, 24, 28, 29,
30, 33, 34, 35, 36, 39, 41, 42, 45, 47, 50

RHYTHM OF FIRST MEASURE

Beginning in— Numbers | Per cent. Serial Nos. of songs
e a iste, |

Q=SMNG pee eee en ieee eee eae | 26 52 | 5, 6, 9, 11, 13, 14, 16, 18, 21, 23, 24, 29, 30, 31,
32, 33, 34, 35, 37, 40, 41, 42, 45, 46, 48, 49

Sa TIMNC. oes -s wae ses cace rc cestetoeeees 19 38 | 1, 3, 4, 7, 8, 10, 12, 15, 19, 20, 22, 28, 36, 38, 39,
43, 44, 47, 50

eh i ye rR i hea a a a 2 | 27

OAM So oe aan eee nee ee eee 6 | 17, 25, 26

DO UgINO ee ee roe eee ee Seen pe eee 2/2

Wotalisrwedosass cosa ne dE oe OER Oa. bee A

CHANGE OF TIME

Songs containing—

Change of time

Serial Nos. of songs

Numbers | Percent. |
38 76
12 24
BON ease se

1, 2, 3, 5, 6, 7, 8, 9, 11, 12, 13, 14, 15, 17, 18, 19,
20, 23, 24, 25, 27, 29, 30, 31, 32, 34, 35, 36, 39,
40, 41, 42, 43, 45, 46, 48, 49, 50

4, 16, 21, 22, 26, 28, 33, 35, 37, 38, 44, 47

DENSMORE] CHIPPEWA MUSIC—II 137

Ruaytumic ANALYsIs—continued

RHYTHMIC UNIT

Songs containing— Numbers| Per cent. | Serial Nos. of songs
|

Peeeethinit unit. -<. 22. eS 38 76 | 1, 2, 3, 4, 5, 6, 8, 11, 12, 13, 15, 16, 18, 19, 20,
21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 32, 33, 34,
35, 36, 37, 38, 39, 40, 42, 44, 45, 46

Twombythotic unites. <-)- a2 sss<< << = 2 4 | 17, 47
INGER UMRIC UIE - cos. cc sea mews = 10 20 | 7,9, 10, 14, 31, 41, 48, 48, 49, 50
LNCS | aR. UR oe Re Oe 3 Sleep |

COMPARISON OF METRIC UNIT OF VOICE AND DRUM!

Numbers | Per cent. Serial Nos. of songs
PEI BLSAIIG =. 35 fss2os Se tose ce et ek 12 24 | 5, 15, 16, 17, 18, 19, 22, 29, 33, 42, 48, 49
CE CITE REG Fe | 29 58 | 2, 3, 6, 7, 8, 9, 10, 11, 12, 13, 20, 21, 24, 25, 28,
30, 31, 32, 34, 36, 38, 39, 40, 41, 43, 44, 46,
47, 50
Recorded without drum...............- 9 18 | 1, 4, 14, 23, 26, 27, 35, 37, 45
DARN eo ae Se ee Fee eee Ni Saeed

1 For more detailed analysis see Table 20, p. 30.
CHILDREN’S GAMES OF WAR

The children as well as the older members of the tribe formed
new acquaintances while the Chippewa and the Sioux camped near .
together. Games were arranged in which the children of the two
tribes contended with each other. War was the chief interest and
even found its way into the play of the children.

Odjib’we stated that he remembered an instance which happened
when he was a little boy. The Chippewa and the Sioux were camped
near each other and the small boys had a sham battle, with the men
and women of each tribe as spectators, cheering on their young
warriors. Rushes, sharpened at one end and notched at the other
so that they could be shot from bows, were used as arrows. The sting
inflicted by these was painful, as the boys wore no clothing, but no
one who entered the contest was allowed to run away. The rules of
the game forbade shooting at the heads of the opponents, as otherwise
serious injury might have resulted, but the fight was waged right
lustily and blood flowed freely.

138 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 51. War Song of Odjib’we’s Childhood !
(Catalogue No. 278)
Sung by Opsis’weE
VoIcE e- 80
Drum d= 80
(Drum-rhythm similar to No. =

Gti Mase ——

Nin - do-kidja nin-

do-kidj a nin-do-kidj a
WORDS

EURO RI ee eke east Oe Lee my pipestem

Analysis.—This song contains the tones of the fifth five-toned scale
according to Helmholtz (see p. 4), a scale which comprises the tones
of the diatonic octave, with the exception of the second and fifth.
The song is in the key of D minor and the tones E and A do not
appear. No. 52 is based on the same scale. This song is charac-
terized by the approach to an harmonic tone by means of the tone
above. (See No. 53.) The three renditions recorded are uniform in
every respect. The metric unit is very slow, a characteristic of many
songs of self-control. (See Nos. 30, 52, 103, 161).

The following song was used as a preliminary to a sham battle
between Chippewa and Sioux boys. The combatants, divested of
clothing, were ranged in facing lines. The men of each tribe stood
behind the boys and sang the song with them. When the song was
finished the men shouted, ‘‘ Now start to fight,” and thereupon the
little warriors flung themselves into the scrimmage. The rules of
this battle were different from those referred to in connection with the
preceding song. In this contest the boys tried to kick one another
down, not being allowed to use their hands. If a Sioux boy succeeded
in felling a Chippewa, the war whoop arose from the whole band of
Sioux. Perhaps this exultation was still at its height when a Sioux
boy fell before the sturdy kicks of the Chippewa, and a whoop arose
from the Chippewa ranks. The battle was well fought and in it
many a boy received his first training for the sterner game of tribal
warfare.

1 This and the two songs next following are included in the tabulated analysis of White Earth songs, p. 306.

DENSMORE] CHIPPEWA MUSIC—II 139

No. 52. Song Before the Boys’ Fight (Catalogue No. 279)

Sung by Opsin’weE
Voice J= 63
Recorded without drum

sh eee ff 2-0 2 O:0 5.9 9

ogg SS per es
ity Se Serer ell

Analysis.—This melody, like the preceding, is based on the fifth
five-toned scale with D as the tonic. The song is minor in tonality
and very slow in tempo. The subdominant triad (G—B flat-D)
is prominent in the middle section while the minor third on the tonic
(D-F) characterizes the first and last sections. A slow metric unit
in songs of controlled excitement is noted also in Nos. 30, 51, 103, 161.

No. 53. Little Girls’ War Song (Catalogue No. 280)

Sung by Opsis’wE
VoIcE ae 96

Recorded without drum
.

Sag epee
[eresecsisaseaimss eeaseareeae|

».

Nin-a-bem ga-mo-kwa-na-wind

WORDS
MUM ACME ewe Cease as ieict = anise my husband
camo Kwanawind 2. <6. s5.ha4 5: - ti who was wounded

While the boys held their sham battles the little girls mimicked
the woman’s share in war. The aged warrior remembered well
the boys’ contests and also the song which the little girls sang,
giving several uniform renditions of it, but in his description of
the girls’ play there lingered a trace of the boy’s condescension.
Odjib’we said merely that “the little girls were dancing and jumping
around.”

Analysis.—This melody contains three peculiarities which rarely
occur in Chippewa songs. First, it begins and ends on the same tone.
This feature is found in only 11 songs (3 per cent) of the entire series
of 340. The examples found in Bulletin 45 are Nos. 132, 142, 149,

140 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

150, 170, 174, 197; those in the present volume are Nos. 53, 112, 125,
and 127, the last being another version of No. 149 in Bulletin 45.
Of this number 4 are moccasin game songs, 2 are war songs, 1 is a
love song, and 3 (including the present example) are songs for the
entertamment of children. Second, it begins with the upward pro-
gression of an octave, a characteristic of only 5 other songs of the
entire series; possible connection of this with the content of the song
is noted in the analysis of No. 9. The other examples are Nos. 170
and 174 in Bulletin 45, and Nos. 9, 31, and 125 in the present volume.
Third, this song does not contain the third tone of the scale. Only 12
songs (3.5 per cent) of the series of 340 show this peculiarity, the song
here considered being the first of the group in this volume. The
serial numbers of the entire group are 45, 49, 60, 91 in Bulletin 45,
and 28, 53, 112, 113, 116, 121, 178, 180 in the present work. We
note that three of these songs were sung by women or by little girls
and that 3 concern women, the 6 constituting half the group. Three
of the remainder are songs of the Mide’wiwin, to which women as
well as men belonged, 1 is a begging dance song, 1 a war song, and 1a
_ song for the entertainment of children. The present song (No. 53)

is the only one which contains only the first, second, fourth, and
fifth of the scale. No. 121 contains only the first, second, and fifth;
No. 113, the octave complete except the third; No. 60 (Bulletin 45),
the octave complete except the seventh and third; No. 28 (herein),
the octave complete except the fourth and third; and No. 116, the
sequence of tones designated by Helmholtz as the first five-toned scale
(see p. 4); and we find only the first, second, fifth, and sixth tones in
Nos. 45, 49, 91 of Bulletin 45, and in Nos. 112, 178, 180 of the present
volume. With the exception of No. 45 in Bulletin 45, and No. 180.
herein, these songs are major in tonality. A brief analysis of them
for comparison is given herewith.

Bulletin 45

No. 45.—“‘T can tame the shell;’’ Mide’ song; key of B minor;
tones comprised in melody, 1, 2, 5, 6; trend of melody, 2-1, 6-5.

No. 49.— Do not speak ill of a woman;”’ Mide’ song; key of A flat
major; tones comprised in melody, 1, 2, 5, 6; trend of melody, 2-1.
6-5.

No. 60.—‘‘ Weasel, thou art calling me;” Mide’ song; key of G flat
major; octave complete except seventh and third; progression 2-1
occurring frequently in the melody.

No. 91.—“T am walking to the spirit land;” Mide’ song; key of
B major; melody tones, 1, 2, 5, 6; trend of melody, 2-1, 6-5.

DENSMORE] CHIPPEWA MUSIC—II 141
Present work

No. 28.—Song of a war charm; key of D flat major; octave complete
except third and fourth; trend of melody, 2-1, 6-5.

No. 53.—Little girls’ war song; key of F major; melody tones,
1, 2, 4, 5; trend of melody, 5-4, 2-1.

No. 112.—Song of an ambitious mother; love song; key of E flat
major; melody tones, 1, 2, 5, 6; a free melody with the progressions
6-5 and 2-1 occurring frequently.

No. 115.—Love song; key of E flat major; octave complete except
third; the progressions 6-5, 2-1 emphasized in melody.

No. 116.—Begging dance song; key of G major; melody tones,
1, 2, 4, 5, 6; progressions 6-5 and 2-1 prominent in melody.

No. 121.—Song of ca’wino’ga dance; key of A flat major; melody
tones, 5, 2, 1; trend of melody, 5-2-1.

No. 178.—“ He is going away;”’ love song; key of F major; melody
tones, 1, 2, 5, 6; progressions 6—5 and 2-1 prominent in melody.

No. 180.—Song of the crawfish story; key of C sharp major; melody
tones, 1, 2, 5, 6; trend of melody, 6-5, 2-1.

In examining these outline analyses we note that 2 and 6 occur
as tones of approach to 1 and 5. This characteristic allies the group
under analysis with another group in which the harmonic tone is
frequently approached by the tone above, this group consisting of
Nos. 29, 45, 51, 53, 65, 137, 139, 141. It will be noted further
that the tones 1, 2, 5, 6 (in a song of major tonality) are the tones
of the fourth five-toned scale lacking the third; another form of the
incomplete fourth five-toned scale consists of the tones 8, 6, 5, 3, 1
occurring as given in descending order. This is the major tonic triad
and sixth, which’ constitutes the tone material of 42 per cent of the
340 Chippewa songs under analysis. (See Table 6.) It has been
noted that in songs containing this tone material the sixth is usually
a preparatory tone to the fifth; the present group, however, may be
considered the more primitive as both tonic and dominant are
approached from the tone above and the intermediate third is absent.
The emphasis of the fifth suggests a particularly strong feeling for
that interval. The fifth is absent from only 2 (Nos. 51, 52) of the 340
Chippewa songs. The prominence of the octave and twelfth (or
fifth) in the beginning, as well as in the range, of these songs is shown
in Tables 2-5. In this connéction it is interesting to note that these
are the principal “overtones” (see p. 4) of a fundamental tone.

DRUM-PRESENTATION CEREMONY

In October, 1910, the writer witnessed the ceremony accompany-
ing the presentation of two drums by the Lac du Flambeau Band
of Chippewa in Wisconsin to the Menominee Indians in the same
State. Part of this ceremony was enacted on the Lac du Flambeau
Reservation and part on the Menominee Reservation. It is called
by the Lac du Flambeau Chippewa Dewe’igin omi'giwen’ (“a drum
is given away’’) or the Drum-presentation Ceremony and is described
by Barrett under the title of the Dream Dance."

During four days before their departure the Chippewa danced on
their own reservation, the Menominee dancing the same length of
time before their arrival. There were also four days of dancing on
the Menominee Reservation when the drums were presented and four
days of dancing together after the ceremony.

So great is the veneration in which the drum and its ceremonies
are held that there has sprung up what is called the “drum religion.”
This does not supplant the Mide’ (Grand Medicine), but introduces
a new element. The Mide’? has regard chiefly for the individual; its
aim is to secure health and long life for him, and its instructions con-
cern his own character. Its precepts regarding the relation of man to
his neighbor (so far as observed) are connected with the cure of illness
and general rectitude of conduct. The “religion of the drum” incul-
cates a developed and broadened sense of responsibility and con-
cerns peace between peoples who have been at enmity. The cere-
monies of the Mide’ are not marked by extreme ritual exactness and
some latitude is allowed the leaders in the choice of songs as well as
in the text of their discourses, but in the ceremonies connected with
the drum certain songs and no others must be sung, and dancing
once begun must be continued the prescribed length of time regard-
less of conditions. The central idea of the ‘‘drum religion”’ is that of
peace, yet mingled with this idea is law, rigorous and inflexible. The
Chippewa say that the drum and its “religion” came to them from
the Sioux many years ago, but it came to them also through
development of character, as a step in the progress from the childhood
toward the manhood of a race.

1§. A. Barrett, Dream Dance of the Chippewa and Menominee Indians of Northern Wisconsin, in Bulletin
of the Public Musewm of the City of Milwaukee, vol. 1, art. 4, 1911, pp. 251-371. Cf. also section entitled
“The Dreamers,” in The Menomini Indians, by Walter James Hoffman, M. D. (Fourteenth Ann. Rep.
Bur. Ethn., pt. 1, pp. 157-161.

2 See Bulletin 45, p. 13.

142

DENSMORE] CHIPPEWA MUSIC—II 143

No attempt has been made herein to analyze this “drum religion,”’
but the attitude of the Indians toward it is indicated by the follow-
ing statement of Wis’kino (‘‘bird”’), the Menominee chief to whom one
of the Chippewa drums was given. Referring to his position as owner
of a drum, Wis’kino said:*

J will keep this drum in my house. There will always be tobacco beside it and
the drum pipe will always be filled. When I smoke at home I will use the pipe that
belongs to the drum. My friends will come to my house to visit the drum. Some-
times my wife and I will have a little feast of our own beside the drum, and we will
ask the drum to strengthen us in our faith and resolution to live justly and to wrong

noone. When my wife and I do this alone there will be no songs. Only special men
may sing the songs of the drum, and my part is that of speaker.

When asked how often his friends came for this purpose, he said:

We visit the drum about every fourth night and sing a few songs. Any persons who
desire may come and each brings a gift of tobacco. The owner of the drum is the only
speaker at these small gatherings. He speaks as representative of those who come, and
presents the tobacco to the drum, after which it is given to the singers who sit at
the drum.

It is said that many generations ago the Sioux gave to the Chip-
pewa a large drum similar to the one used at the present time in the
ceremony here considered, taught them the ‘‘songs belonging to the
drum,” and related to them the tradition concerning its origin. It
is believed that permanent peace between the two tribes was a
result of this presentation of the drum. Following this presentation,
in accordance with the instructions which accompanied it, the Chip-
pewa made similar drums, which they afterward gave away, with
the proper songs. In presenting a drum it is customary for the giver
to relate his individual dream to the recipient, thus adding to the
value of the gift and strengthening the bond between the two men.

The tradition concerning the origin of the drum was a subject of
inquiry among the Lac du Flambeau Chippewa, the Bad River
Chippewa on the La Pointe Reservation in northern Wisconsin, and
also among the Menominee. Ten or twelve informants agreed on
the principal features of the account, all stating that a woman was
the means used by the manido’? in giving this type of drum to the

1 This and other speeches by Wis’kino were interpreted by Mr. Frank Gokay, a prominent member of
the Menominee tribe.

2 The word manido’ (spelled also manito) is defined by Baraga as ‘‘spirit, ghost.’’ The following explana-
tion of the word in some of its compounds was given by Rev.J. A.Gilfillan: Ki’jie’ manido’, literally, ‘“he who
has his origin from no one but himself, the Uncreated God’’; Mén/ido wenda’g witk, that which is so astonish-
ing as to be considered superhuman; Manido’ wab, the name ofa man, meaning, ‘“‘he looks through the thing
as God does, or with superhuman insight”; Man’idoka’zo, he tries to make people believe he has superhuman
power, but he isan impostor. The same authority states that a small wild animal is called man/idowéns’,
meaning ‘‘a poor, miserable little spirit,’’ the explanation being that the little animal is not a clod of earth,
as is shown by its running around, but has life, or ‘‘spirit.’’

Na/waji’/bigo’kwe, a member of the Mide’wiwin, said that the Chippewa believe in many manido’,
or spirits (see Bulletin 45, p. 21), the highest of all being called Ki/jié’ manido’, and that there are four
manido’ connected with the Mide’, each being regarded as dwelling at a cardinal point of the compass.
Four Mide’ manido’ are mentioned in songs Nos. 16 and 24, Bulletin 45, as ‘living in the four layers of the
earth.’’ The word is applied to animals in the Mide’ (songs Nos. 34 and 41, Bulletin 45),and a man who
sees an animal in his youthful vision calls that animal his manido’ and wears some part of the animal on
his person as part of his ‘‘medicine.”’

144 BUREAU OF AMERICAN ETHNOLOGY [BULE. 53

Indians, thus securing peace between the Sioux and the Chippewa.
They agreed also in the statement that the woman hid in the water
four days, her face being concealed by a broad lily pad. In minor
details the accounts differ somewhat. The first part of the following
account was given by a Lac du Flambeau Chippewa and the remainder
by one of the Bad River Band living at Odanah, Wisconsin. These
two narratives were the clearest and most authoritative secured by
the writer, and they are given, combined, as nearly as possible in the
words of the interpreters.

When the Sioux were fighting the white men a party of them were closely pursued,
and one woman, unable to keep up with the warriors, hid in a pond of water. There
she stayed four days, submerged in the shallow water at the edge of the pond, with a
lily leaf over her face. At the end of four days she heard a voice say, ‘‘The people who
have been killing your friends are about to eat; come and share their food.’’ The
woman was afraid to leave her hiding place. Soon she heard the voice again, saying,
“Come; I am calling you to come.’’ At last she believed the voice and came from
the water. The voice said, ‘‘ Keep right on this path and I will see you after a while.”’
The next the woman knew she was among soldiers and eating with them. She could
see them, but they could not see her. After eating she started in the direction her
people had taken. Then she saw the person whose voice she had heard. He was a
manido’ and appeared in the form of a white man. He gave her directions for making
the drum, taught her the songs which should be sung with it, and told her that by
means of it the Sioux would make friends with all theirenemies. He told her that the
women could sing with the drum, but that only the men could dance around it; he also
told her that when the first drum was finished he would come down to it and that two
men must be offered to him in return for his gift of the drum.

The woman told the men how to make the drum. When it was finished and the
singers had learned the songs they all gathered around it. The instant that the drum-
mers struck the drum for the first time ' the manido’ appeared again and the two men
who had made the drum fell dead beside it.

It is said that the drums now given by one tribe or band to another
are sumilar to the one made at the direction of the manido’, and that
the same songs are still sung. Thus the songs used at all important
points of the Drum-presentation Ceremony witnessed by the writer
were Sioux songs and were credited to the Sioux. When a drum is
transferred the proper songs are carefully taught to the members
of the new drum party by the leading singers of the party presenting
the drum.

During the dancing which precedes and follows the presentation
each tribe sings its own songs, the Chippewa using certain of their
war songs on these occasions. In accordance with this custom,
typical Chippewa songs are interspersed with the Sioux ceremonial
songs in the following narrative, but the songs of the two tribes are
considered separately in the tabulated analyses.

Drums of two types may be given in this ceremony. These differ
slightly in size and in elaborateness of decoration. The larger is

1 A certain formality attends the first stroke on the drum made by the person to whom the drum is
‘given (see p. 171).—F. D.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 18

DRUM AND STAKES USED IN DRUM-PRESENTATION CEREMONY

SNVIGOLSNOD SLI GNV WNYya

61 31V1d €S NILATING ASOIONHL]A NVOIYAWYV 30 NvAYNG

DENSMORE] CHIPPEWA MUSIC—II 145

called o’gima dewe’igin (chief drum) and the smaller ogi’tcida
dewe’igan (warrior drum). The chief drum, as the name implies, is
usually given by one chief or leader to another and the warrior drum
is presented by one member of the tribe to another. The word
‘“‘chief’”’ as used in this connection refers to the leading man of a
village or settlement and throughout the description of the ceremony
the word “‘ warrior” refers to any of the men of the assembly.

At the ceremony witnessed by the writer the chief drum was pre-
sented to Wis’kino, chief or “‘speaker”’ of the West Branch Settle-
ment of the Menominee tribe, by Bi’jikéns * (“small ox’’), a promi-
nent member of the Lac du Flambeau Band of Chippewa, and the
warrior drum was presented to a Menominee from another part of
the reservation by a Lac du Flambeau Chippewa.

The chief drum (pl. 18) presented on this occasion was seen by the
writer in the house of Bi’jikéns. It was placed on a low box in one
corner of the room; the box and the floor around it were covered
with a clean white quilt. Beside the drum were the various articles
belonging to it, the pipe filled and ready for use, and the drum-
sticks in neat cloth cases. The drum and all that pertained to it
were treated with greatest respect by Bi’jikéns and his family.
After some hesitation he gave his consent to the photographing of
the drum and it was carried to the dancing circle by his son and his
son-in-law (pl. 19), two of the men officially intrusted with its care.

The curved stakes supporting the drum were move than 3 feet in
height and when in position were about 6 feet in span (pl. 18). The
drum was 27 inches in diameter and about 12 inches in thickness.
It had two heads of untanned hide decorated alike—one half painted
blue and the other half red, with a band of yellow near the edge of
the bluesegment. The sides of the drum were concealed by a strip of
red flannel edged with blue, which hung below the rim; this was deco-
rated with pierced silver disks. Around the upper rim was a band of
otter fur 2 inches wide, with four loops of fur which served as
handles for lifting the drum and also as a means of suspending it
from the stakes when in use. Below the band of fur was a broad band
of beadwork edged with a deep fringe of beads terminating in tassels
and metal thimbles. Four ornaments of heavy beadwork decorated
the sides of the drum. The stakes supporting the drum were com-
pletely covered with beadwork and bands of otter fur. In a socket
on the top of each were placed two large feathers, and each stake was
tipped with the tufted end of a cow’s tail and several ribbon stream-
ers, blue on the stakes at the west and north and red on those at

1 This name is composed of two words, “‘bi’jtki,’”’ meaning originally “buffalo’’ and later applied to “cat-
tle” (see pp. 63, 203), and “‘éns,’’ a diminutive termination. The meaning ofthe name was given as
“small ox,” this being the more common translation of bi’ jiki.

67996°—Bull. 53—13——10

146 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

the east and south. Beside the drum were the four drumsticks used
by the leading drummers, each covered with soft brown deerskin and
decorated with a band of otter fur and long ribbon streamers. There
was also a longer stick used only by the owner of the drum in a par-
ticular part of the ceremony (see p. 171). This stick was more than 3
feet long. Over the curved end was slipped the skin from the neck
of a loon, its glossy black feathers dotted with white. The pipe
belonging to the drum had a flat stem decorated with geometric
drawings, with a tuft of red woodpecker feathers sunk in the wood
(fig. 3). (The second pipe belonging to the drum, known
as the warrior pipe, is not shown in the illustration, as
it had been sent to Wis’kino in anticipation of the cere-
mony.) Beside the pipe are seen also a turtle shell, which
contained apak’osigtin’ (tobacco mixed with the inner
bark of the red willow) and a wooden box having three
compartments; those at the ends contained, respectively,
tobacco and red willow and the middle one contained
matches. In a similar box are kept the feathers which
decorate the stakes of the drum. There are also 8 or 10
ordinary drumsticks used by the drummers.

Four years ago this drum was given to Bi’jikéns by a
leader of the Bad River Chippewa. Although he has
parted with it, Bi/jikéns retains the right to make dupli-
cates and to give them away at any time. In connection
with this right the following incident came to the writer’s
notice: A few weeks before the presentation of the drums
to the Menominee a drum was given by Mec’kawiga’bau to
a Chippewa at a neighboring settlement. Mec’kawiga’bau
stated that he intended to make a duplicate of the drum
during the coming winter and to give it away the next
summer. According to him there are no songs or cere-
| monies connected with the making of a drum, but the
Fic. 3. Stem songs used in connection with the new one must be

te drum those he received with the original drum. He did not
receive the drum in the usual manner. It had been
given to Me’dweya’siii (see p. 249), the chief of the Lac du Flambeau
Chippewa, whose advanced age rendered him unable to discharge the
obligations associated with it. Afew months before his death, there-
fore, he gave a dance at which he made a speech saying that he was
very feeble and wanted the drum to be in safe keeping, but that he
was not strong enough to visit some other settlement in order to
present it to the people. As he did not want to impose that duty on
his children in the event of his death, he publicly transferred the drum
to Mec’kawiga’bau, who was willing to assume the responsibility.

DENSMORE] CHIPPEWA MUSIC—II 147

‘Drums of similar design have been seen by the writer on the
. White Earth, Leech Lake, and Red Lake Reservations in Minnesota.
These, which were said to have been received from the Sioux, were
used in the social dances. At Waba/’cifig settlement, on the Red
Lake Reservation, the drum was suspended from crotched sticks
(see p. 252); in all other instances it rested on the ground. No
decorated drumsticks were used, there was no pipe belonging to
the drum, and its significance as a peace symbol seemed to have been
lost. It is reported, however, that occasional ceremonies of drum-
presentation are stil held in remote parts of the Minnesota reserva-
tions. The Chippewa of Minnesota are in frequent contact with the
Sioux, the two tribes advancing side by side in civilization. In
Wisconsin the contact is less recent and more of a glamor is thrown
around the past, the old men telling how in former days the war
canoes of the Sioux came up the Chippewa River from the Mississippi.

A drum party originally consisted of 29 persons and it was not
customary for a person to “belong” to more than one drum. At the
present time, however, it is necessary for each of the good singers to
belong to more than one and even for the same person to hold more
than one office im a drum party. The complete personnel of such
party is as follows: The chief of the settlement; the owner of the
drum; the speaker; the aid (oc’kabe’wis); the manager of the
dancing hall or circle; five men who take care of the drum; the man
who takes care of the drum pipe (used by the drummers) ; the man who
takes care of the warrior’s pipe (used by the dancers) ; the chief drum-
mer and singer; four leading drummers and singers (one being seated
at each “‘leg’’ of the drum) ; four leading women singers (seated behind
the leading drummers) ; four assistant women singers (seated between
the leading women singers) ; four leading dancers (said to be ‘‘one for
each ‘leg’ of the drum”). There are also other singers and drummers.

During a ceremony the chief drummer is usually seated at the
western side of the drum and at his right hand are placed the drum
pipe, the turtle shell filled with apak’osigin (tobacco mixed with red
willow bark), and the other articles belonging to the drum. He
it is who starts the songs and leads the sging. The leading drum-
mers are seated by the four stakes, or “legs” supporting the drum,
and between them are the singers and drummers of less importance,
who have no permanent seats. The women form a large outer
circle, sitting with bowed heads, their mouths covered by their hands *
or shawls. The singing of the women, which is entirely through
the nose, gives the melody with clear intonation, an octave above
the voices of the men. The octave appears to bea natural interval
between the voices of men and women when singing together. It
_is possible that the perception of the octave as a pleasing musical

148 BUREAU OF AMERICAN ETHNOLOGY (BULL. 53

interval may have come to the Indians from this source. The promi-
nence of the octave in Chippewa melodies is noted on page 4.

The chief of the band, owner of the drum, speaker, and the four
leading dancers sit on the long seat which surrounds the dancing hall
or circle. The aid sits alone at a little distance, ready to act as mes-
senger. Those who take care of the drum and the pipes have no
official duties during a ceremony and are usually seated with the
drummers.

As the gift of a drum involves the return of gifts supposed to equal
in value the drum and the presents bestowed by the original drum
party, it is customary for the man presenting the drum to ascertain
from the one to whom he wishes to present it whether the latter
desires to assume the obligations associated with its acceptance. This
is done several months before the drum is to be given. It is the duty
of the recipient to see that a suitable quantity of gifts is presented to
the drum party at the ceremony, that one or more feasts are pro-
vided for the guests, and that their camp is supplied with food during ©
their entire stay. At some later date he must return a full equiva-
lent of gifts to the donor of the drum. A year or two may elapse
before he is prepared to do this. When he is ready he sends a mes-
senger to the donor, and shortly afterward visits him with a large
party carrying the gifts.

About 10 days before the presentation of the drums by the Lac
du Flambeau Chippewa to the Menominee two messengers were sent
with the warrior pipes belonging to the two drums. Before they
left Lac du Flambeau a dance was held, the final song being the
Sioux song of departure sung at the close of all the gatherings con-
nected with the Drum-presentation Ceremony.

All the ceremonial songs given in connection with the following
narrative were sung by Mec’kawiga’bau (pl. 20), one of the promi-
nent singers of the tribe. As he was the leading singer of the drum
presented by Bi’jikéns, these songs represent those of a chief drum;
the songs used during the presentation ceremony of the warrior drum
were different, although they have the same general characteristics.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 20

MEC’KAWIGA’/BAU

DENSMORE] CHIPPEWA MUSIC—II 149

No. 54. Song of Departure (Catalogue No. 8. 1)!

Sung by Me’cKawIGA’BAU
VoIcE j= 76°
Drum = 76
- (Drum-rhythm similar to No. 2)

pip See et 3 ieee

aia ASI ee
omits ee Se

eee eeeie sere

ave 8 ie ane
Sen a =i a= et

Pip ss Sa ee ee SS =

Analysis.—The three renditions of this song recorded are uniform
throughout. The time is not rigidly maintained, but varies in cor-
responding measures in the several renditions. The intonation of the
D flat in the opening measures was faulty in the first two renditions,
but practically correct in the third rendition (compare Nos. 129,
133, 146, 164). A faulty intonation on the interval of a second occurs
also in Nos. 55, 61, 64, 145, 166.2. It is noted that the rhythmic unit
occurs in both double and triple measures.

The two messengers smoked the pipes with the two Menominee
who were to receive the drums, and said that they would return with
their people after a certain number of days and smoke the pipes again.
This number of days was supposed to allow adequate time for the
messengers to return and the people to make the journey.

When the messengers reached Lac du Flambeau, active prepara-
tions for departure were begun. It was the custom for each tribe to
dance four days on its own reservation, and during this period the
Chippewa held a ceremony called the Restoring of Mourners, and, if
occasion required, a Ceremony of Divorce.

1 . Catalbebe atienbere' reabd by S. refer to Ghokeetanh records of Sioux songs.
2 As this concerns manner of rendition and not structure of melody, the reference includes both Sioux
and Chippewa songs.

150 BUREAU OF AMERICAN BTHNOLOGY _ [Bunn. 53

At the presentation of the drum the tribes dance together for four
days, and on the fourth day a Dog Feast may be held for the further
cementing of the peace bond. This feast was not held on the Menom-
inee Reservation, but the writer witnessed it on the Leech Lake
Reservation in Minnesota during the celebration of July Fourth, 1910
(see p. 173). A Dog Feast may be held independent of a Drum-pres-
entation and is of somewhat frequent occurrence on the Wisconsin
Reservation.

On the first day of dancing on their own reservation the Chippewa
sang a series of five songs, called, respectively, the Song of thé Chief,
Song of the Speaker, Song of the Owner of the Drum, Song of the
Warriors, and the Song of Giving Away the Drum. These were
also sung at the opening of the ceremony on the Menominee Reser-
vation, and if the final four days of dancing had been held at Lac du
Flambeau these songs would have been repeated at the beginning
of that period of the ceremony.

No. 55. Song of the Chief (Catalogue No. 8. 2)
Sung by Mec’KAaWIGA’BAU
VoicE me 88
Drum J 96
(Drum-rhythm similar to No. 2)

ae : 2... -0- #& -»-

Analysis.—All the renditions of this song show faulty intonation
on the interval of a second in the opening measures, in some instances
the upper tone being flatted and in others the lower tone being sharped.
This uncertainty suggests that it may be difficult for the singer to
adapt his voice to so small an interval (see Nos. 54, 61, 64, 100, 145,
166). The interval of the eleventh was sung with reasonable accu-
racy in beginning the repetitions of the song. In the first two meas-
ures the harmonic tone is approached by the tone above, which is.
accented; this characteristic leads to the classification as melodic
with harmonic framework of a song which otherwise would be classi-
fied as harmonic in structure. The song contains only the tones of
the minor triad and fourth.

DENSMORE] CHIPPEWA MUSIC—II 151

No. 56. Song of the Speaker (Catalogue No. 8. 3)

Sung by Mrc’KAwIGA’BAU
VOICE = 184
Drum a 00
(Drum-rhythm similar to No. 3 )
ze wo »- ~- -8- 9- -0-

engl OF peg Steer

Analysis.—This song is transcribed as it was sung in three rendi-
tions. The first part of the song is distinctly major and the last’
part minor in tonality; therefore it is transcribed in the keys of
D major and D minor. The F in the opening measures is clearly
sung F sharp, and the F in the latter part is as clearly sung F
natural; the C in the twelfth measure is sung C sharp in the first
two renditions, C natural in the third, and between the two tones in
the last. The rhythm does not vary in the several renditions. <A
half note followed by a quarter note occurs frequently but can
scarcely be said to constitute a rhythmic unit. The metric unit of
the voice (indicated by J=184) is very rapid. If each drumbeat
were regarded as a quarter note the tempo of the drum might be
indicated as J=160, but the drumbeats are in groups of two; it is
more convenient therefore to regard each drumbeat as an eighth
note and indicate the tempo as J =80. |

No. 57. Song of the Owner of the Drum

Sung by Mrec’KAWIGA/BAU
(Catalogue No. 8. 4)

VoIcE ‘2 80
Drum e = UE
( Drum-rhythm similar to No. 2)

152 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Analysis.—This is an instance in which the sharps at the beginning
of the transcription should be regarded as indicating the pitch of
certain tones rather than as implying an established key. Thus the
song is transcribed as in the key of E major although the third of
that key does not appear. The principal chords of the key of E
accompany the melody in a satisfactory manner and the tones F
sharp, C sharp, and D sharp are found in the melody.

No. 58. Song of the Warriors (Catalogue No. S. 5)

Sung by Mrec’KAwIGA’BAU

Voice ws 108
Drum s= 116
( Drum-rhythm similar to No. 15)

Analysis—This song is characterized by the approach to an har-
monic tone by means of the tone above it. The melody tones are
those of the fourth five-toned scale and the trend of the song is an
almost unbroken descent. Four renditions were recorded, which are
uniform in every respect.

No. 59. Song of Giving Away the Drum (Catalogue No. S. 6)
Sung by MEc’KAWIGA’BAU
VoIcE j= 80
Drum Je: 80
( Drum-rhythm similar to No. 2)

DENSMORE] CHIPPEWA MUSIC—II 153

Analysis—The intonation of the opening .measures of this song
was faulty in all the renditions. The melodic tones are those of the
fourth five-toned scale and the trend of the melody is steadily down-
ward. Although strongly rhythmic in character, the song contains
no unit of rhythm.

CEREMONY OF RESTORING THE MOURNERS

The ceremony called Restoring the Mourners, usually held during
the preliminary days of dancing, begins on the first day, if possible,
in order that those whose period of mourning is formally ended may
join their friends in the remainder of the dance.

This ceremony was witnessed by the writer at Lac du Flambeau
October 16, 1911. It was held in the dancing inclosure of the Lac
du Flambeau Chippewa, which is situated on a knoll overlooking the
Indian village; this inclosure is surrounded by a high board fence
(see pl. 19). Four drums were placed at intervals around the circle
and beside them were seated their respective drummers and singers.
E’niwtb’e (‘‘sits farther along’’), leader at one of the drums, had
painted the lower half of his face black, as a token of mourning.

At this ceremony the period of mourning of four persons—a man
who had lost his wife, two young women who had lost children, and
an aged woman who had lost her husband—came to an end. Al
these deaths had occurred since a similar gathering of the tribe, the
period of mourning usually lasting from six months to a year. Dur-
ing that time a mother who has lost her child carries a cup tied in a
cloth around her waist. This she frequently fills with berries or
some other delicacy and places beside her “for the child.’ After
a little while she gives the food to some needy person and replaces
the cup in the cloth.

The mourners were seated in the center of the circle. The women
were newly arrayed in bright dresses and gay shawls. The man wore
a bright blue shirt with beaded sash. Even the aged woman was
dressed in bright colors and her hair was tied with a gay ribbon.
These brilliant colors contrasted sharply with the evident sadness of
the mourners, who sat with downcast eyes. At intervals some one
stepped forward and hung a bead chain around the neck of one of
them or laid a bright garment or shawl at his side, but the gifts were
received without response.

It was a strange scene. Looking beyond the inclosure one saw the
towering pines, majestic in outline but wondrous in soft shadows;
to the right lay the scattered cabins of the Indians grouped on the
shore of the lake, and at a little distance was another hillside on which
were the smaller cabins of the dead. Above all was the bluest of
October skies. Some said the ceremony was pagan, yet in it was

154 BUREAU OF AMERICAN ETHNOLOGY [BULD. 52

mingled all that is deepest and most tender in human life.

The leader of the ceremony was White Feather, who is highly
respected by both Indians and white men. On being asked his
‘Indian name’ he gave, not the Chippewa equivalent of White
Feather (Wa’bickigwin’), but Odja’nimwe ‘wegijigons’.!

At the opening of the ceremony a woman brought water and soap,
which she placed before the man who had lost his wife. He washed his
hands, drying them on a towel which she offered for the purpose. A
man then parted his hair and combed it very smooth, while the
following song was sung at one of the drums.

No. 60. Song of Restoring the Mourners
(Catalogue No. 8. 7)
Sung by Mrec’KAWIGA’BAU
VoIcE i 176
Drum e = 88
( Drum-rhythm similar to No, 2)

a APU Be Ne AN pp a eee oe ee
pip iaeee ee a pe al eee

== aan. es gig I. ae
A ee ees fee ea ee

————————_

Analysis—This song is characterized by a very rapid tempo and
by measures containing five counts. A few measures in quadruple
time break the monotony. It is worthy of note that the interval of
an octave and a fourth is compassed in three measures.

After a short time a woman brought water and offered it to one
of the women who had lost a child, this being done also for each of
the women while the same song was sung at one of the drums.

When this was finished White Feather rose and said:?

1 The meanings of the component parts of this word are as follows: odja’nim signifies a disturbance;
wewe is a root implying a swaying motion (see footnote 2, p. 241); and gi’jig in proper names is usually
translated ‘‘sky.’’? The last-mentioned part of the word is found also on p. 249, with the prefix ki’tci,
“large.’? Hence the name as analyzed thus far may be translated ‘“‘sky in commotion.” The termina-
tion ons in some cases indicates that the bearer of the name was small in stature, but more often that
his father bore the same name. (Cf. pp. 76, 145.)

2 This and other speeches made by White Feather were given the writer at a later date by White Feather
himself and are transcribed in the words of the interpreter.

DPNSMORF] CHIPPEWA MUSIC—II 155

A person who believes in the drum and has lost friends can not go to a dance unless
he is invited, but I asked that these mourners be invited. I came myself and spread
my own blanket on the ground for them, and I asked the warriors that they be invited
and their mourning ended. When I did this I knew how this ceremony should be
conducted. I thank my people and Manido’ that the warriors are so generous as to
bring these mourners here to share our happiness.

A woman then stepped forward and painted a row of dark blue
dots below the eyes of the man who had lost his wife. Before the
painting of the two younger women White Feather made another
speech somewhat similar to those which are here recorded. There is
no prescribed pattern for the paimting. The younger women were
painted with a horizontal red line below the eyes, and on one the
parting line of the hair was painted red. It was said, ‘‘Red means
blood (life), and the red paint is for long life.” While the faces were
being painted the following song was sung.

No. 61. Song of Painting the Faces (Catalogue No. S. 8)

Sung by MrEc’KAWIGA’BAU
VoIcE = 92
Drum 2S 96

( Drum-rhythm similar to No. 15)

gg
_ Se
SS

ell

Analysis.—This melody contains a peculiar grace and charm. The
E in the opening measures was sung slightly below pitch (see Nos.
54, 55, 100, 145, 166). After the opening measures the song flows
smoothly along the intervals of the second five-toned scale, with
special emphasis and feeling of repose on the tonic. There is no unit
of rhythm, yet the rhythm of the song asa whole is pleasing and well
defined. The metric unit of the drum is slightly more rapid than that
of the voice and seems constantly urging the voice forward. Four
renditions were recorded, which are uniform in every respect.

156 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

The eldest woman among the mourners was White Feather’s
mother, who mourned the death of his father; for this reason it was
deemed not fitting that he should make the speech which preceded the
painting of her face, so he asked that one of the old men speak in his
stead.

An old man arose and, leaning on his staff, said that he had fought
in the Civil War. He told of his bravery as a soldier and said that he
would give to this mourning woman the strength and power which
upheld him on the field of battle. He then handed paint to a woman,
who, kneeling before the aged mourner, traced scarlet lines on her

‘thin face.

It is said that a man who has distinguished himself in war may
give the full result of his prowess to a friend in this ceremony, and yet
by so doing not lose it himself. If he is entitled to wear a feather, he
may give his friend the right to wear a similar feather, and even to
point to it saying, “‘7 was as brave as that.’’ Sometimes the right
thus generously shared was won at the risk of the man’s life.

The following song was sung during the ceremony.

No. 62. Mourners’ Song (Catalogue No. 8. 9)

Sung by Mrec’KaWIGa’BAU

VoIcE J= 84
Drum = 84
(Drum-rhythm similar to No. 2)

ff #F i+p-or-#? » eam Peel ~ ee ee
ee

Analysis —The metric unit of this song is unusually slow and was
not maintained with absolute regularity. The three renditions
recorded show no variation. The rhythm is less interesting than in
many songs of the present series, but was clearly marked and accu-
rately repeated. The song is minor in tonality and has a range of
12 tones.

DPNSMORE] CHIPPEWA MUSIC—II 157

When the painting of the faces was finished, White Feather thus
addressed all the mourners:

Lift up your eyes. Look at your friends sitting around you so gaily arrayed. , If
you still look down your sorrow will not leave you. Do not think so much about
your sorrow and that you, too, willsoon die. It is true that we all must die, but we
shall meet afterward. You must not cling to your sorrow nor hold an unkind feeling
toward anyone. Have faith in yourselves and people will think more of you and
Manido’ will help you. There’are no enemies around you. Think only of what is
good.

The mourners were then led to their respective seats, those who
belonged to one of the drum parties being seated at the drum and the
others being placed with friends at the edge of the circle. From time
to time additional gifts were silently laid beside them, but they made
no response, sitting with downcast eyes or sadly touching the gay
little trinkets.

On the evening of the day following the ceremony of Restoring
the Mourners the writer went again to the Lac du Flambeau village.
The Indian village is about 4 miles from the Government school, but
the drum could be heard distinctly and, as there was a full moon, it
was thought possible that the Indians were dancing outdoors. On
arriving at the village, however, the bright light in E’niwtb’e’s
window and the sound of the drum indicated where the Indians
were gathered. The house is small and in beating the drum the In-
dians make little difference whether they are beneath a roof or the
dome of the sky. The four or five drummers, seated around the
warrior drum which would be presented to the Menominee, played
and sang right heartily. A drum of similar type was on a table,
the decorations of the two instruments forming spots of vivid color.
A few women were seated on the floor behind the drummers, with
heads bowed and their shawls held over their mouths as they sang
in a weird, high falsetto. From time to time the men sitting in
the room rose, and danced in their places with a bending of the
knees and a rhythmic shifting of their weight from one foot to the
other. There were soft brown tints of unpainted wood, dull colors
of weatherworn garments, and a bit of brilliant green where
E/niwttb’e’s familiar blanket hung against the wall. The dark faces
were grave with the import of the dance and the lamplight cast strange
shadows. It was a scene long to be remembered. Chippewa war
songs were sung during these dances. It was stated that all war
songs could not be used, but that the following three songs were
frequently sung at the dances preceding or following the presentation
of a drum.

158 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 63. “The Sound Comes Pleasingly”

sddcals Rebates (Catalogue No. 423)
VoIcE B| = 100

Drum J 112

( Drum-rhythm similar to No. needs

[2 oe

py et Siete eos =e
Ge - bi-o - dja- min - we - we gi - jig e ge - bi - moc

ki - ne vont, (Lt ak gre fig Ose

WORDS
gebi’ odja’ minewewe’...........- the sound comes pleasingly
iF a a A a ak ie Ce across the sky
ebi’ mockine’ aciyan’ .......... filling the air
5

Analysis.—This is the dream song of a man who had a vision of the
thunderbird. On hearing thunder he took tobacco in his hand, and,
holding it toward the sky, said to the storm, ‘‘Go around that way,”’
tossing the tobacco in the direction he wished the storm to go and
singing this song. The three renditions recorded show no variation.
The melody contains the tones of the fourth five-toned scale and is
melodic in structure.

DENSMORE] CHIPPEWA MUSIC—II 159

No. 64. “The Ravens are Singing’’ (Catalogue No. 424)
Sung by E’nrw6B’E
VOICE P| = 120
Drum 7 120
( Drum-rhythm similar to No. 19 )

Ka-ga - gi-wiig e ka-ga - gi-wig e na-giim-o-wfg gi -

Si vesaese

Jig- ung
BSS wees > a =
Ss tte fo os eerie Seeieae =
ail « ame b= HKG = 7 a DC 4 Sn =
Paani =a ss, an eee tod = =e!
WORDS ;

|S | eR RR the ravens

mea mGe wie o2 222232 are singing

5 CGI, enue areal lle in the sky

Analysis.—The rhythmic unit of this song is short, interesting, and
repeated frequently. In the five renditions recorded the only difference
was that in one rendition the tone G in the sixth measure was sung
as a quarter instead of as a half note. This exact repetition of the
rhythm is interesting because the intonation in the first part of the
song was very uncertain. It appeared difficult for this singer to
keep correct intonation on small intervals (see Nos. 54, 55, 61, 100,
145, 166). The song is minor in tonality, melodic in structure, and
contains all the tones of the octave except the seventh. The interval
of the fourth is prominent in the structure of the melody (see No. 22).

160 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

No. 65. War Song (Catalogue No. 425)
Sung by E/n1wtB/

VoIcE _ 116

Drum = 126

( piper Aaa coe ae to No. eee soe

eae Steg tere pe “ipl ies ness
BEY eased pasate seeees eae

4
2b SSS SaaS sees

Analysis.—In structure this song is classified as melodic with har-
monic framework. It begins on the twelfth and ends on the tonic,
the descending intervals of the tonic chord being varied by a fre-
quent occurrence of the tone above the harmonic tone, which is
accented and forms an important part of the melody (see No. 53).
The rhythmic unit is long and occurs only twice. Five renditions
of the song were recorded.

DENSMORE] ' CHIPPEWA MUSIC—II 161

No. 66. “I am Small” (Catalogue No. 432)

Sung by Mec’KAwiGa’BAU
VoIcE Jz 88
Drum J == 112
aa similar to No, 19)

agg 2 Sees ee Zaee

Wen -

ie Gian a
ge. ayn 8 ee Fs Bi Pino nh yet
pp eS

dji - 4-ga-ci - ya - an wen - dji - 4- ga - ci-

py Saas

ya - an wa ca-wiin-o - natig don-dji-ba a wen -
: SSS SS ee aa oe Ds
; oo a ee = + ==
i ee Ee Bo SS |
aes Saree = _—- BR SSeS
dji- aga-ci - ya-an
WORDS
wendjia’gaciyan’ 0. oP o tS. IT am small
Co/hwllmonanio< .- src fe from the south
dontdjibsgoes ste ties ee I come

Analysis —This melody, which contains seven sections, is based on
a rhythmic unit, although that unit does not appear at either the
beginning or the end of the song. The opening phrase has a rhythm
of its own, and the closing measures were slighty hurried in tempo,
as though the singer were in haste to reach the final tone. The song
is major in tonality and comprises the tones of the fourth five-toned
scale. In structure it is melodic with harmonic framework.

After listening to a number of songs in the house of E/niwtb’e the
writer passed into the open air. The lake was white and glistening
in the moonlight and the pines were outlined darkly against the sky.
A party of Indians, carrying a drum, were coming down the road,
and in the distance a light shone from Bi’jikéns’s window. On inquiry
it was learned that the party belonging to the chief drum had been
dancing at Bi’jikéns’s house and that they were bringing that drum
to E/niwttb’e’s, where they would sing with both drums.

67996° —Bull. 53—13 ely

162 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Remembering the sound of the lesser drum in the house of E’/niwtb’e,
one did not wish to return and hear the chief drum. Far on the road
through the pine forest the throb of the drum was heard, and one
knew that in E’/niwdb’e’s lamplight the dark figures were donee as
the Indians danced before ever a white man came to their shores.

CEREMONY OF DIvorcE

A Ceremony of Divorce is sometimes held on thelast day of one of
the periods of dancing. There are four songs for this ceremony;
these are similar in character, and only two are recorded. The cere-
mony is said to be very simple, the man or woman desiring the divorce
merely going through the motions of throwing something outside the
dancing circle as these songs are sung.

No. 67. Divorce Song (Catalogue No. 428)

Sung by Mec’KawiGa’BAu
VOICE = 88
Drum a 80
(Drum-rhythm similar to No. 2)

Peer oter [ :
a SSS

» apaaepeete pearance ae oe
sre SAS aye ==
eae piste pbc tespet tt te er ey

Analysis.—This melody consists of four parts, two of which are
major and two minor in tonality. The song opens with a particularly
bright and happy strain in which the rhythmic unit occurs twice; a
few measures later this unit is used (without the tied notes) in the
minor tonality. It does not appear with the return to the major
tonality, the rhythm of these measures being direct and somewhat

-

DENSMORE] CHIPPEWA MUSIC—II 163

emphatic, but is used in the recurring minor passage and is suggested
in the triple measure near the close of the song, as though sung in a
lingering fashion. (Other instances of a change in tonality are Nos.
189,192,in Bulletin 45.) It is of interest to compare this melodic form |
with the content of the song. The rhythm was clearly given and the
important tones of the song were accurate in intonation. The three
renditions recorded are uniform in every respect.

No. 68. Divorce Song (Catalogue No. 429)
Sung by Mrec’KawiGa’BAU
Voice Bhs! 84
Drum Je 80
( Drum-rhythm similar to No. 2)
Pie gens a gevsltchag tesla ee
ces, a Te = == i x]
aia aos ea” Be Sas 2 Se Ss

FEE Se ee |

Analysis.—The rhythmic unit of this song se serie that of the pre-
ceding, but is in triple instead of double time. This unit occurs five
times, comprising practically the entire song. The interval of the
fourth is emphatic at the close of the song, but can not be said to
characterize it as a whole. In this connection the frequent use of the
fourth in songs concerning motion (see No, 22) should be noted. The
six renditions of this song recorded show no variation.

There was a controversy regarding the day for leaving Lac du
Flambeau, some maintaining that if they started on the day after
the dancing they would reach the Menominee Reservation before they
were expected. A certain number of days were to elapse between
the presentation of the pipe to the Menominee chief and the arrival
of the Chippewa drum party, but it was uncertain whether the day on
which the pipe had been given should be included in the count. It
was finally decided that the start should be deferred a day. Asa
result the Menominee awaited their arrival with some anxiety.

The Chippewa village is about 7 miles from the railroad station at
Lac du Flambeau. Thither the Indians drove their shaggy ponies
and then turned them loose to forage. On Tuesday morning,
October 18, 1910, a party of about 70 Chippewa took the train,
carrying the two drums, tents and camp equipment, rolls of blankets
and matting, and huge packs containing the gifts intended for the

164 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Menominee. The distance to the Menominee settlement by rail, the
route taken by the writer, was about 150 miles. The Indians, how-
ever, left the train at Antigo, a station about half that distance from
Lac du Flambeau, and walked eastward 20 miles across the country.
This part of the trip was carefully planned—they would walk 12
miles the first day, camp at night, finish the journey the second day,
and, after camping overnight, would be ready for the ceremony:

From the car window at Antigo they were seen starting gaily on
their way, strange figures on the streets of a prosperous little city.
They walked in groups of two or three. The packs did not seem
heavy nor the clutter of small articles a burden. The bearer of the
large drum walked alone, not forgetting his dignity, with the drum
fastened on his back. From within the shawl on many a woman’s
back there peered a grave little face with blinking eyes. The older
children trudged sturdily along and the women jested together. The
road was hard and firm beneath the feet and the sweetness of the
autumn was in the air. Surely it was good to go to the country of
the Menominee.

After a circuitous journey, the writer arrived the following day at
Neopit, a town on the Menominee Reservation. The place of the
ceremony was reached by driving westward about 5 miles through the
pine forest. There the Menominee were found dancing. They had
completed the four days of preliminary dancing and, while awaiting
the Chippewa, they spent part of each day in their dancing circle
(pl. 21). The place selected was near a vacant Government day
school, the house intended for the teacher and two or three cabins
occupied by Indians completing the settlement. An open area of
several acres afforded ample space for a camp. The Menominee who
came to attend the gathering did not use this ground but left it for
the Chippewa. The dancing circle was about 30 feet in diameter and
was outlined by a bank of earth which served as a seat for the dancers.
The bare earth within the circle was pounded hard, but the seat for
the dancers was turfed. There were three openings in the circle,
located approximately at the east, south, and west, but only the one
nearest the east was used; the others were narrower and had been
closed by logs. An American flag on a tall pole was placed near
the eastern opening, where the man was seated who took the toll of
tobacco, each person who entered the inclosure giving him a small
piece. Two drums were at the right of the entrance, resting on rush
matting similar to that made by the Chippewa.

Wis’kino (‘‘bird’’), the chief of the West Branch Settlement of the
Menominee, received the writer with courtesy and said, through an
interpreter, that the Chippewa were reported as on the way and
greatly wearied with their long journey. He had requested his people
to go to meet them and to bring the women and children in their

DRNSMORE] CHIPPEWA MUSIC—II 165

wagons. Some had already gone and he was hourly expecting their
return. Several miles westward the first Chippewa were found rest-
ing by the roadside, while in the distance others appeared, toiling
and staggering beneath their packs. Could these be the same men
who had set forth so bravely the day before? Footsore, dusty, tired,
and bedraggled, they had reached the country of the Menominee.

The next morning the Chippewa were much refreshed. A tempo-
rary camp had been established about a quarter of a mile from the
dancing circle. The tents, which were close together, shone white
beneath the pine trees; camp fires burned brightly, kettles were
steaming, and a pleasant, cheery atmosphere pervaded the scene.

Meantime the Menominee assembled in the dancing circle and
danced at intervals for about two hours. Shortly before 12 o’clock
on the 20th of October Wis’kino summoned his messenger and said: !
“We are now ready to receive our visitors. ‘You will go to them and
tell them to proceed to this place. They will inform you what we
are to do.”

Wis’kino’s messenger was a tall, finely built Indian. His headdress
was of stuf moose hair and erect feathers and his garments were bright
with beads and scarlet trimmings. He was a picturesque figure as
he ran down the winding road in the direction of the Chippewa camp.
In a short time he returned and said, ‘They have accepted your invi-
tation and are on the way.”

Wis’kino then directed the messenger to take up the American flag
and carry it before him. Preceded by the flag, Wis’kino left the
dancing circle, the members of the tribe following him in single file,
and took his position about 50 feet from the entrance of the circle,
with the flag bearer beside him.. The men of the tribe formed a line
which extended almost to the circle; behind this were two lines of
women, and children, a space of about 6 feet being left between, the
Imes. Thus the Menominee stood ready to receive their guests.

Soon a wagon was seen at the turn of the road, heaped to its highest
capacity with the camp equipage of the Chippewa. Beside the sway-
ing load walked Na’ganac’ (Head Flier), who might be termed the
“man of affairs’? among the Chippewa. At a short distance followed
the drum parties, each consisting of a flag bearer, a pipe bearer, the
owner of the drum, an aid, a man carrying the drum, and others
carrying the supports and drumsticks; these were followed by the
singers and drummers, while other members of the tribe, with the
women and children, brought up the rear of the procession. All were
arrayed in their brightest garments and gayest decorations.

The Chippewa paused a short distance from the Menominee and
planted their flags in the ground. White Feather then advanced,

1 This and all the other speeches of Wis’kino were given the writer by him a few days later and were
interpreted by Mr. Frank Gokay.

166 BUREAU OF AMERICAN ETHNOLOGY (rune. 53

followed by the pipe bearer of the chief drum (pl. 21). When about
midway between the two tribes, White Feather made the following
speech (see footnote 2, p. 154):

This is the day which the warriors named for our meeting. Manido’ commanded
us to meet here to-day. We meet in order to have a happy time together. Manido’
eave us this happy time that we might be at peace with each other. We will use a
pipe as we meet before Manido’. After we smoke we will all shake hands and enjoy
ourselves in the sight of Manido’.

In response to this speech the Menominee aid stepped forward,
shook hands with White Feather, and returned to his place. The
Chippewa pipe bearer then advanced and made a somewhat similar
speech. A Menominee pipe bearer then came toward him, the two
presented their pipes four times to the circle of the sky, and lit them;
the pipes were then crossed, each man puffing the other’s pipe. The
Chippewa pipe bearer then approached Wis’kino and offered him the
pipe, Wis’kino puffing it as he held the bowl. The pipe bearer then
passed down the lines, offering the pipe to each member of the tribe.

Meanwhile the company of Chippewa approached Wis’kino. First
to shake hands with him was Bi’jikéns, from whom he would soon
receive the chief drum. Others followed rapidly and greetings were
exchanged. Wis’kino had an especially cordial welcome for many
whom he had met at previous gatherings (pl. 22). After shaking
hands with Wis’kino the Chippewa passed down the three lines, each
member of the Chippewa party shaking hands with each of the
Menominee.

When this was finished Wis’kino led the way to the dancing circle,
preceded by the flag of the Menominee, which was returned to its
former place, the two flags belonging to the Chippewa being set in
the ground outside the circle at the left of the entrance. The two
drums brought by the Chippewa were placed within the circle, the
chief drum at the left of the entrance and the warrior drum next to
it. The drummers seated themselves in their proper places and the
drum pipe was laid at the right of the leading drummer, with the
tobacco pouch, the turtle shell, and the other articles belonging to
the drum (see p. 147).

Wis’kino then made a speech of welcome in Chippewa:

My relatives, the Chippewa. I thank Ki’jié’ Manido’ [see footnote 2, p. 143] that
we join in peace where we were once at war. We leave all differences behind us as
we shake hands. Ki’jié’ Manido’ has seen us shake hands. Let us remain in peace
as we arenow. My relatives, the Chippewa, when the Indians of one tribe present °
a drum to those of another tribe they perform that ceremony in the sight of Ki’jié
Manido’. To-day Ki’jié’ Manido’ sees all that we do. I thank youall. Now I shall
wait to see how you will proceed. I hope that you will proceed at once and that we
may finish this ceremony by to-morrow. I have work undone. The product of my
farm is not gathered, but I prefer to serve Ki’jié” Manido’ before I finish gathering my

harvest. Then I shall return to my work with good spirit. Of course I may expect
success by serving Ki’jié’ Manido’ before I finish my harvest.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 21

MENOMINEE AWAITING APPROACH OF CHIPPEWA

APPROACH OF CHIPPEWA

PARTICIPANTS IN DRUM-PRESENTATION CEREMONY

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 22

CHIPPEWA SHAKING HANDS WITH MENOMINEE

MENOMINEE LISTENING TO SINGING OF CHIPPEWA

PARTICIPANTS IN DRUM-PRESENTATION CEREMONY

rears CHIPPEWA MUSIC—II 167

The Menominee beat their drums and sang and danced around
them, the Chippewa then sang the songs used at the opening of the
four days of dancing at Lac du Flambeau, the series containing the
special songs of the various officials of the drum party (see p. 150).
The Menominee listened as the Chippewa sang, the women sitting
with heads bowed, in a position similar to that assumed when they
were singing (pl. 22).

At the conclusion Wis’kino rose again and said, ‘‘ My relatives, the
Chippewa, you must be tired and hungry after your journey.' We
will set before you whatever cooked food we have. I will send some
of my men to my own house and to the houses of my people and
they will bring the food here to you.”

Wis’kino asked the Chippewa aid where the food should be placed
and he directed that it be put at the left of the entrance. Soon both
men and women appeared with kettles and pails containing wild rice,
white rice, squash, and tea, while others bronght pans heaped with
fried bread. Each Chippewa took out his cup or pan and spoon and
the Chippewa aid superintended the distribution of the food. Thus
the Chippewa enjoyed the hospitality of the Menominee, none of
whom partook of the feast. When the feast was finished the kettles,
pails, and pans were placed outside the entrance where, a few hours
later, the Menominee women were seen identifying their own by
familiar dents or by colored strings on the handles.

During the remainder of the day the two tribes danced together.
Meantime Na’ganac’ had piloted the swaying load of equipage to
the place assigned for the camp, the white tents had sprung up, and
that night the camp of the Chippewa was fully established. —

The next morning a cold, dismal rain was falling. The water was
deep in the little hollows of the dancing circle. At the Chippewa
camp a few fires were smoldering and most of the tents were tightly
closed. It was evidently impossible to proceed with the ceremony
and that day was not counted as one of the four days of dancing.
It was stated that this was permissible because the actual presenta-
tion of the drums had not taken place.

With the sudden changes of weather which characterize the autumn
season the next morning dawned bright and clear. Preparations
were begun at once for the presentation of the chief drum. Every
one was in good spirits. Gala trappings were brought out, faces were
carefully painted, and long braids rearranged. The men in charge of
the drums cut branches of pine trees and laid them in the dancing
circle, spreading them thick where the drum was to rest and the
drummers and singers were to sit. These circles of fresh green
added effectiveness to the picture, setting off the bright shawls of the
women and the beadwork worn by the men.

1 The Chippewa were supposed just to have arrived after a continuous journey from their own reservation.

168 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 53

By about half-past 10 in the morning all the Chippewa and Menomi-
nee were in the dancing circle. Wis’kino, his aid, and his leading
dancers were seated on the farther side, opposite the entrance. On
the right of the circle were two Menominee drums; at the left, next
to the entrance, was the chief drum, which was to be given away that
day, and next to it was the warrior drum to be given away the fol-
lowing day, while nearest Wis’kino was a Menominee drum. Thus
there were five drums in the circle. Only a few persons were seated
around the Menominee drums, but the full quota were around the
two Chippewa drums, where most of the singing was to be done.
The aid of the chief drum sat on a low seat at the entrance and
received a toll of tobacco. from all who entered the circle. He was
elaborately attired and as a badge of his office wore a garment
received from the Sioux, called by them wami’hina’ka. The writer
has seen a similar garment worn by the Teton Sioux in their social
dances and also by the Chippewa at Leech Lake, Minnesota, July 4,
1910, who said they received it many years ago from the Sioux.
This garment consists of a piece of cloth about 18 inches wide and
40 inches long, on which large feathers are closely sewed, being
lightly fastened by the quills, so that they move with every motion
of the wearer. The garment, which is attached to a belt, hangs
behind the wearer, reaching to his ankles (pl. 23). In order that it
may not be injured, it is customary among the Chippewa and the
Menominee for the wearer to spread a blanket over the box on which
he sits, allowing the garment to rest on the ground behind him. As
he sits down he spreads the feather garment carefully on this blanket,
so that it may not be injured. The four leading Menominee dancers
wore these feather garments, resembling a row of brilliant birds.

The officials of the chief drum sat at the side of the circle, on the
left of the entrance. Their faces were painted, and they wore orna-
ments of beadwork and many streamers of bright-colored ribbon.

PRESENTATION OF THE DRUM

Bi’jikéns opened the ceremony with a formal speech, after which
the tobacco which had been placed before him was distributed to the
entire assémbly. As chief of the band, he gave what might be termed
an “invocation,” standing with right hand extended toward the drum
and speaking with dignity, and then repeated it as owner of the drum,
dancing three times around the drum with right hand extended over
it and pausing after completing each circuit (pl. 23).

The leading drummer then started the Song of the Pipe, and the |
pipe bearers of both drums rose in their places and, after presenting
the pipes to the circle of the sky, lighted them and offered them first
to the drummers in order of importance, then to the entire company,

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 23

OWNER OF DRUM (DANCING)

PROMINENT CHIPPEWA ACTORS IN DRUM-PRESENTATION CEREMONY

DENSMORE] CHIPPEWA MUSIC—II 169

the Song of the Pipe being sung continuously. In presenting the
pipe to the sky the drummer stood facing the east, holding the pipe
almost horizontal and turning it four times in a circle above his head.

This was done four times during the day, at intervals as nearly
equal as possible, the last offering of the pipe being near the close of
the day. By reason of its frequent repetition this song became par-
ticularly familiar to those attending the ceremony.

No. 69. Song of the Pipe (Catalogue No. 8. 10)
Sung by Mec’KAWIGA’BAU
VoIcE e = 84

Drum a 92
(Drum-rhythm similar to No. 2)
(1)

35s Seema sSeerecla=
(2)

[-9- -9--9--9- -9-

SSS

otto "pe ee gs o_o e's}
Be eee

Analysis.—This song consists of two distinct parts, each of which
is characterized by a rhythmic unit. These units are somewhat simi-
lar in divisions of the count and form answering phrases. It should
be noted that the melodic feeling of the song seems to require a break
between the first and second measures of the repetition of the second
rhythmic unit, a feature showing the extreme freedom of native
musical expression. The effect of the triple measures is interesting,
as they add character and effect to the rhythm of the song as a
whole. The song is minor in tonality and contains the interval of a
whole tone between the seventh and tonic. (See No. 9.) The acci-
dental was uniformly given in the several renditions.

There were many speeches, and the ceremony, so briefly described,
lasted many hours. At noon a feast was held similar to that of the
preceding day. Certain delicacies had been “ presented to the drum”;
these were placed beside the drum until the time of the feast, when
they were divided among the singers and drummers.

It sometimes happens that the untanned head of the drum becomes
loosened during a ceremony. When this occurs, the Song of the

170 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Drum is started by one of the drummers. At this signal the five men
who have charge of the drum rise and dance around it. When their
special dancing is finished, they take the drum from the inclosure
and hold it near a fire until the desired resonance is restored. The
fastening of a drumhead is rarely disturbed, tightening being accom-
plished by exposing it to the heat of a fire or of the sun.

No. 70. Song of the Drum (Catalogue No. 8. 11)

Sung by MeEc’KAwIGaA’BAU
VOICE I — 84
Drum es 92
( Drum- (i similar to No. 2)

[ -9-*-8- -e-

pet tt te iee geet tee
ei ee = 6 refg yey

Sarre Sees
Digg par ese a el

Analysis.—This melody is major in tonality and contains the tones
of the fourth five-toned scale. The rhythmic unit, which is short, is
found in both double and triple measures. The song is somewhat
awkward in both phrasing and progressions.

The actual presentation of the drum began about 3 o’clock in the
afternoon. Bi’jikéns crossed the dancing circle, and, taking Wis’kino
by the hand, led him to a seat beside the officers of the chief drum.
Standing before him, Bi’jikéns then made the presentation speech,
asking him to select those among his people whom he intended to
intrust with the care of the drum. Removing all his beadwork, Bi’-
jikéns hung it around the neck of Wis’kino, even bestowing on him
his coat and vest. A blanket was then spread on the ground before
Wis’kino, and the Chippewa proceeded to heap gifts upon it. Among
other articles women brought strips of cloth or garments they had
made and shawls and quilts, while the men brought blankets and
shirts. There seemed no end to the variety of gifts, some new and
some well worn. More than one woman, taking the shawl from her
shoulders, laid it on the pile and walked away with no protection
from the chilly autumn wind. Even little children added their gifts
to the constantly growing store.

When the pile of gifts was considered complete, the drum was lifted
from its supports and allowed to rest on the matting, the supports
were taken down and laid beside the drum, the singers and drummers

DENSMORE] CHIPPEWA MUSIC—II lay

retired, and the singing was done by the party at the other Chippewa
drum. Only Bi’jikéns and the pipe bearer remained near the chief
drum.

Wis’kino then crossed the circle, and taking a young man by the
hand, led him to a seat on the matting beside the drum. This was
the man whom Wis’kino had selected to have charge of the pipe
belonging to the drum. It would be his duty to see that the pipe was
always filled and also to be present whenever the drum was taken,
from Wis’kino’s house for use in a general assembly. The pipe belong-
ing to the drum was then presented to Wis’kino by the Chippewa
pipe bearer.

The drum was then considered transferred to Wis’kino. He brought
Menominee men and women and seated them beside it, and his aid
took the seat next to the entrance, where the Chippewa aid had been
seated. All the gifts bestowed by the Chippewa were divided among
the Menominee, Wis’kino himself superintending the distribution.
While this was being done the Menominee erected the supports of the
drum and put it in position; then they sang, drumming lightly on
the edge of the drum.

After this song Wis’kino stood beside the drum, holding in his hand
the long drumstick with the loon neck at the end (see p. 146). With
this he pretended to strike the drum three times and as many times
drew back. The fourth time he touched the drum lightly, and at the
same time each of the four leading drummers struck it a sharp blow
with his decorated drumstick. The Song of the Owner of the Drum
(No. 57) burst forth, signifying that the drum belonged fully to the
Menominee. The striking-of the drum by Wis’kino was done with
great dramatic effeet; his feints at striking held the people in sus-
pense, and the final tap was welcomed as a relief from the tension.
The Menominee drummers took up thew task with right good will,
singing a number of Menominee songs.

It was then the turn of the Menominee to present gifts to the Chip-
pewa, though it was not expected that a full equivalent would be
given at that time. A blanket was spread on the ground, and on it
were laid articles similar to those which the ‘Chippewa had given to
the Menominee.

Wis’kino made a speech concerning the drum, saying that he would
take good care of it and that the persons whom he had selected as his
drum party could use it whenever they desired to do so. He pre-
sented Bi’jikéns with three or four new blankets and added several
crisp bank notes which he took from his wallet. The two then shook
hands and sat down side by side.

The day was wearing to a close. Rising in their places, the pipe
bearers again presented their pipes to the circle of the sky, lighted
them, and passed them from one to another in the assembly, each
person puffing the pipe.

172 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

In a short time the leading singer started the Song of Departure, a
signal that the day’s ceremony was at an end. The Chippewa
returned to their camp without the chief drum. This was placed
with all the accustomed respect in the house of the Menominee chief
and beside it as of old was the pipe, filled and ready for use.

On the following day took place the presentation of the warrior
drum. This was given by a Chippewa to a member of the Menominee
tribe from another part of the Menominee Reservation. The cere-
mony, which was not so impressive as that for the chief drum,
lasted about the same time. The differences between the ceremonies
were but slight. For instance, the drum was lifted from the ground
and placed on the pile of gifts, all being presented together; and when
the new possessor of the drum was about to strike it with the long
drumstick, two of the leading drummers stood up, holding the drum.

The fourth day of the ceremony was occupied entirely with dancing,
during which the Chippewa presented to the Menominee all their
adornments, consisting of beaded belts and bags, gay headdresses,
and other articles. On this day the Song of the Closed Door was
sung, after which no one was allowed to leave the inclosure without
paying a fee to the aid, who was seated at the entrance.

No. 71. Song of the Closed Door — (Catalogue No. S. 12)
Sung by Mec’KAWIGA’BAU
VoIcE ee 92

Drum os 92

(Drum-rhythm similar to No. 2)

2 Sees

Analysis —This song begins on the seventh and the opening meas-
ures do not suggest the chord of F, which characterizes the close of
the song. It is interesting to note, therefore, that the several rendi-
tions were begun on the same tone, the transition from the close of the

DENSMORE | CHIPPEWA MUSIC—II 173

song to the beginning being made with no break in the time and no
apparent difficulty. The last tone in the first and fourth measures
was slightly prolonged, while cther tones also were prolonged but for
periods too small to be indicated. All these variations from exact
time were uniform in the several renditions. The song is major in
tonality, melodic in structure, and contains all the tones of the octave.

Dog FERAstT

A Dog Feast is sometimes held on the fourth day of a drum-presenta-
tion. Such a feast was not held on the Menominee Reservation, but
the writer witnessed one on the Leech Lake Reservation, Minnesota,
during the celebration of the Fourth of July, 1910. Only Chippewa
took part in this ceremony, two of them enacting the part of Sioux
who were said to be “teaching them the ceremony.” It was stated
that the ceremony had been received from the Sioux and that the
feather garments worn by the four leaders were given to the Chip-
pewa by the Sioux about fifty years ago. The songs of the Dog Feast
(sung by Mec’kawiga’bau) were recorded at Lac du Flambeau in
October, 1910. His description of the ceremony as given on that
reservation corresponded with the ceremony witnessed in Minnesota,
and it may be assumed that the songs he furnished are the proper ones.

The four chief actors in the ceremony were two Chippewa repre-
senting respectively the oc’kabe’wis (aid or messenger) of the entire
Drum-presentation Ceremony and the oc’kabe’wis of the Dog Feast,
and two Chippewa representing the Sioux. These men wore elabo-
rate native costumes, and feather garments of the kind described on
page 168. The ceremony was held late in the afternoon. <A large
number of Chippewa were seated around the dancing circle, many
having come from other reservations to attend the ceremony.

The first song was sung as the messenger of the Dog Feast brought
in the kettle containing the cooked dog. He placed this kettle near
the entrance of the circle and danced during the song; when the song
was finished he removed the kettle to the western side of the inclosure.

(Catalogue No. 8S. 13)
No. 72. First Song of the Dog Feast
Sung by MEc’KAWIGA’BAU
VoIcE ane 80
Drum a 88
(Drum-rhythm similar to No. 19)

.
a=

a
oe eee oe = jeg et a ae
2S=SSSiSae Seas ee

—

174 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Analysis.—This song was sung with great vibrato. The rhythm,
which was clearly given, was uniform in all the renditions, but the
time was not maintained with absolute regularity.

The following two songs were sung with no pause between them.
During the first song the four men knelt on the ground, the two
oc’kabe’wis on one side, and the two men representing the Sioux on
the other side, of the kettle, at a distance of about 6 feet. As the
song was sung they raised their arms high above their upturned
faces, then lowered them until the palms of their hands almost
touched the ground. This was repeated five or six times, the sweep-
ing downward motion of the arms being simultaneous. Then the
second of the group of songs was sung, the men rising and dancing
around the drum, led by the oc’kabe’wis of the drum, with their
hands extended in turn toward the north, east, south, and west.

(Catalogue No. 8. 14)
No. 73. Second Song of the Dog Feast
Sung by MEc’KAWIGA’BAU
VoIcE s= 88
Drum a 88
(Drum-rhythm similar to No. 19)
(1) Accor 8

D2 ee = thoy i= = e-F pe re a eee =4
a — Ee F
(2) i (1) (2) 1
opp oe HE ze ieaee
(2) (1
r 74 a 1 an
SS er Saal
——"

Analysis.—This song contains two rhythmic units, the first occur-
ring four times, the second three times. A pleasing effect is pro-
duced by the succession of these units in the middle and latter part
of the song. The rhythmic unit of No. 77 (S. 18) is similar to the
second unit of this song and with one exception forms the only instance
of duplication in either the present volume or Bulletin 45. The
tempo of this song is slow; the song begins on the twelfth, ends on
the tonic, and is melodic im structure,

DENSMORE] CHIPPEWA MUSIC—II 175
(Catalogue No. 8S. 15)
No. 74. Third Song of the Dog Feast

Sung by MrEc’KAWIGA’BAU
Voice ¢g — 120
Drum ae 104
(Drum-rhythm similar to No. 19)

1)
peg eee eee
= r= — E

t
'

(2)
PS es eS io sili a ete mal a WA eee Tee
22 SESS SS SSeS ees
livagnes surthesto- oil Tf mame aiid or Ange atari iw
SL ere ecre screen ieedad Pee ce
ik ar
= eed
ee,

Analysis.—This song, like the preceding, contains two rhythmic
units; the last measure of these is the same while the first measure
is in double time in the first unit and in triple time in the second,
In the latter part of the song the division of the closing measure of
the second unit is slightly changed, and the sixteenth note followed
by a dotted eighth is transferred to the measures intervening between
the units. The two renditions of the song are exactly uniform, a
fact which shows that the rhythmic structure of the song was clear
in the mind of the singer. The song is minor in tonality and contains
the tones of the second five-toned scale. The tempo of both voice
and drum is more rapid than in the next preceding song.

After dancing around the drum the four men side by side, with
arms uplifted, advanced toward the kettle contaiming the dog. As
they approached the kettle they lowered their hands, extending them
over it. This was done several times, the men forcibly ejaculating
ho ho ho ho, as described in connection with the Mide’ ceremony.*
The last time they lowered their hands rapidly, as though about to
strike the kettle. This motion was the signal for the drumming and
singing to cease. The following song was sung during this part of
the ceremony.

1 See Bulletin 45, p. 44,

176 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

(Catalogue No. 8. 16)
No. 75. Fourth Song of the Dog Feast
Sung by Mrec’KawiGa’BAu
VOICE = 88
Drum J: - 88
( Drum-rhythm similar to No. 19 )

apg iter
=

Analysis.—The three recorded renditions of this song are uniform
in every respect, the repetitions begmning with correct intonation
and without break in the time. The opening measures in 5—4 time
contain no secondary accent and are readily distinguishable from the
triple measure followed by a double measure, which occurs later in
the song. Attention is especially directed to the progressions in the
fifth measure; these intervals were correctly sung, the accidental
being given firmly and accurately. The song is transcribed in the
key of C minor, but the fifth of that key does not secur in it.

This song was followed by a dancing song, the oc’kabe’wis signaling
all to rise and dance.

(Catalogue No. 8. 17)
No. 76. Fifth Song of the Dog Feast

Sung by Mrc’KAwiGa’BAu

VoIcE ee 88
Drum ae 96
(Drum-rhythm similar to No. 2)
[ >| | >
‘2 # » #: » # | ‘Pt # g fg fg |
a eee :
eo @ -@ —— = ioe mai
= ec» —--4 = =
Sits ee

9-9 2

ae prs [Fes ae os emcee |

<3 oH

Analysis.—A 5-4 measure characterizes this song, the only change
of time being at the close, where three measures in double time occur.
(Compare No. 78.) The tempo was strictly maintained in these

DENSMORE] , CHIPPEWA MUSIC—II ATY

double measures and the repetitions of the song began without a
break in the time. It should be noted that the phrase which occurs
on the fourth and fifth counts of the third measure is used on the
third and fourth counts of the following measure. Three renditions
of the song were recorded, which are uniform in every respect. The
song is based on the fourth five-toned scale and is melodic in structure.
After the song was ended the oc’kabe’wis of the Dog Feast
took a small piece of meat from the kettle. It was said that he
selected the piece nearest the head of the dog and that he took it on
a small spoon fastened at the end of a long stick. After dancing
around the drum he presented the piece of meat to the owner of the
drum, who accepted and ate it. The following song was sung as the
oc’kabe’wis danced alone around the drum.
(Catalogue No. S. 18)
No. 77. Sixth Song of the Dog Feast
Sung by Mrc’KAwIGA’BAU
VoIcE d= 104
Drum Jz 104
‘a pablo similar to No. 2)

Bie ee asia | Earieaie eee
oe Seeiare aS = Eagar ae —
ie Sees Sastre
See Sel

Analysis —The rhythmic unit of this song is the same as that of
No. 73. The four renditions of the song recorded show no variation.
All the tones of the octave except the seventh are found in the song,
which is major in tonality and melodic in structure.

At the conclusion of the song the head of the dog was taken from
the kettle and placed in a pan at the eastern side of the dancing circle.
The oc’kabe’wis of the entire Drum-presentation Ceremony then
danced several times around the drum, after which he selected four
men from the assembly, leading them forward one at a time and
seating them beside the pan. These were warriors of the tribe who
had distinguished themselves by deeds of valor, They ate the meat

from the dog’s head as the following song was sung at the drum.
67996° —Bull. 58—13——12

178 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

(Catalogue No. 8. 19)
No. 78. Seventh Song of the Dog Feast
Sung by Mrec’KawiGa’Bau
Voice = 88
Drum J= 96
glean similar to No, 19)

= E TH BO a Spe > Biss Pac sees =
aS Seas ————_—

SES Earl Pay apps, = a ——— a =|

Analysis.—This song begins in 5-4 time and ends in double time.
(Compare No. 76.) Four renditions were recorded. There was no
break in the time throughout the entire performance. The song is
based on the fourth five-toned scale and is melodic in structure.

i

When the four warriors had finished eating, they returned to their
places, and the following song was sung.

No. 79. Warriors’ Song (Catalogue No. 8. 20)
Sung by Mrec’KAWIGA’BAU
VOICE 1e 88
Drum Pies 96
(Drum-rhythm similar to No. 19)
-9- = Seen Sere = ore
Ke ‘= 2 2.22 ee.
v

o. 27° # @. ae ae a
+—a=— Ce -+—#@ »—@ _ o—o— t Gale @» @

SES === a= eae So

5:82 ara Pree ° Seri ss Zia etpeeteer

ore spi peas |
= S inndhan

Analysis.—The rhythmic unit of this song occurs four times in a
double, and once in a triple, measure. Four renditions were recorded.

DENSMORE] CHIPPEWA MUSIC—II 179

The repetitions were exact, but the time was not maintained with
absolute regularity. The song begins on the sixth above the tonic
and ends on the fifth in the lower octave; thus about half the melody
is above the tonic and half below it. The song is melodic in structure
and contains the tones of the fourth five-toned scale.

After this song the. warrior who was first selected danced around
the dog’s skull, which had been taken from the pan and laid on the
ground. After dancing he made a speech regarding one of his most
distinguished victories and sang a song commemorating the event.
A similar course was followed by each of the three other warriors who
had eaten of the dog’s head.

The following song is typical of this class of war songs. It was
recorded by Mec’kawiga’bau, who learned it from the composer, a
prominent warrior among the Lac du Flambeau Chippewa, Memen’-
gwa (Butterfly) by name.

No. 80. The Song of Butterfly (Catalogue No. 437)
Sung by Mec’KawiGA’BAU
Voice d= 84
Drum J= 84
(Drum-rhythm similar to No. 2)

| -9- -s- - o» a
epee te EE pstnest asl
22 ees === Sone eee
Bi-gi-ja-te gi- jig e tci-bi-na - ni - ba-wi - yan
-8- = * @ -s- = 1%
3 * ———s @ i——}— id
PDE, on suzet a fr ae oe eos + =
® o—
Sebatitis sis Pas A ase oe OSES SET a
—_ a 2 —e
=p = (eee — = = zB Sa ae —— (_ bess ae)
WORDS
| COVELL Ean 2 gia enolic in the coming heat
Pe Aes ee ee ee et ce ae of the day
tcibinani’bawiyan’........... I stood there

Analysis.—In this melody it is interesting to note the influence of
the rhythmic unit on parts of the song in which it is not repeated.
Thus the sixth measure from the close of the song resembles the first
measure of the rhythmic unit, the fifth and third measures from
the close are similar to the last measure of the unit, and the measure
next to the last is similar to the second measure of the unit. Obser-
vation of many of these songs will detect separation of the rhythmic

180 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

unit into phrases, one or two of which are combined with other meas-
ures to form the rhythm of the song asa whole. This song is classi-
fied as melodic with harmonic framework. The metric unit is unusu-
ally slow. Four renditions of the song were recorded; these show no
important variation.

At the conclusion of this song the kettle containing the remainder
of the dog was passed to the women of the company, some of whom
ate small pieces. The kettle was then passed to the men and in a
short time the feast was concluded.

Returning to the narrative of the Drum-presentation Ceremony, as
witnessed on the Menominee Reservation—the day after the drum-
presentation was completed the writer went again to the place where
the Indians were assembled. The Menominee had proved most gra-
cious hosts, and the Chippewa had decided to remain four days longer.
Custom required that each tribe dance four more days, and it was
decided that they should dance together. It was a hospitable sug-
gestion on the part of the Menominee, which promised much pleasure,
but a gray cloud lay close to the horizon, and in a day or two the
snow came, falling steadily in large, soft flakes. Several inches of
snow covered the ground, but still they danced, as custom required
that the dancing, once begun, be finished.

More difficult than the dancing was the weary tramp of 20 miles
which the Chippewa must take in order to reach the railroad. Their
packs were lighter than when they came, for the gifts they then car-
ried had been given away and the Menominee had not yet returned
the full equivalent, and, further, quantities of provisions had disap-
peared. The shawls which seemed a burden when the sun shone so
warm were but a scanty protection from the keen north wind.

It was a rather forlorn company that returned to Lac du Flam-
beau; yet it was something to have been for a little while on the
heights and to have given two drums to the Menominee.

DENSMORE] CHIPPEWA MUSIC—II 181

Sioux Songs of Drum-presentation Ceremony

Metopic ANALYSIS

TONALITY
/
Numbers Per cent. Serial Nos. of songs
MASA ere et ens hat Rd SeIe. Sse. il 55 | 56,57, 58, 59, 70, 71, 72, 76, 77, 78, 79
TS Se ee 9 45 | 54,55, 60, 61, 62, 69, 73, 74,75
ERD ES OS See et ne oy ee ee 20

BEGINNINGS OF SONGS

|

Numbers | Per cent. Serial Nos. of songs
= : /
Nibriedaes SOUR a os oe Ss es estas sa-<- 2 10 | 62,73
raebnG Filta Se ts 22 ee Oo na oo RS. 333 oy 3 15 | 57,69, 76
ee wmeventh =... 2. Soe ee am ge 15. 1 5 | 55
SUG MOMMA ae aoe Se Le eS 2 10 | 74,75
NOIRE MUTA oer eo Pere oS eek Son eS S SSS 2 10 | 72,78
SAA MDIOCUINO = = oe sae oe Se oe ES 6 30 | 54, 56, 60, 61, 70, 77
Gnu he Savona = soc. wn cso 1 5 | 71
(CES RO Sy Stirs iS a ea ee 3 15 | 58,59, 79
Rakai re ee Slee st 20 |

Note.—The Chippewa war songs occurring in the Drum-presentation Ceremony (Nos. 63, 64, 65, 66, 80)
are included in the tabulated analysis of war songs on p. 195, and the divorce songs (7, 68) are included in
the songs analyzed on p. 242.

ENDINGS OF SONGS

—— Per cent. | Serial Nos. of songs
| )
UTARDTIESGEANTANCS ett eos 8 Set an a 13 65 | 55,56, 60, 61, 62, 69, 70, 71, 72, 73, 74, 75, 77
ROTI RECS IRIN Pe eae OS oS oe an ws Se a 6 30 | 54,57, 58, 76, 78, 79
Tit pe a ee ee ee 1 | 5 | 59
ERROS [Sse ee ee Oe eee eee eee ei ae 20

TONE MATERIAL

- \Numbers | Per cent. Serial Nos. of songs
Second five-toned scale. ....-.<.<...-s<<2-<- 3 15 | 69, 73, 74
Fourth five-toned scale. ................-..- 6 80 | 58, 59, 70, 76, 77, 79
ROGISveGuINMOlO. +. ocaees oe = sce S- caecee 2 10 | 54,71
Octave complete except seventh...........- 2 10 | 72,78
Octave complete except seventh and second. 1 5 | 62
~ Octave complete except sixth. ...........-- 2 10 | 56,61
Octave complete except sixth and fifth... .. 1 Pt We A
Octave complete except fifth and second.... 1 5 | 75
Mingrenad and fourthic - ......<.2---.-+--.- 1 5 | 55
Other combinations of tone. ..............-- 1 5 | 60

182 BUREAU OF AMERICAN ETHNOLOGY (pub. 53

Metopic ANALYsIs—continued

ACCIDENTALS
Day | ; TaTHT Ly | 5a TD
Numbers | Per cent. Serial Nos. of songs
Songs containing no accidentals......-.---- 18 90 | 54,55, 56, 57, 58, 59, 60, 61, 62, 70, 71, 72,73,
74, 76, 77, 78, 79
Songs containing seventh raised a semitone. - 1 6 | 75
Songs containing sixth raised a semitone. - - - 1 5 | 69
TotHless: Se hes oii At AM ee eee 20
STRUCTURE
Numbers | Per Senit Serial Nos. of songs
HariMONiC.s <2} soe an bie ote ee INGHeY| 23s. oe.2e8
Burelysmelodic. <2: S22 cs: eee ee 17 85 | 54, 56, 57, 58, 59, 60, 61, 62, 69, 70, 71, 72,73,
74, 75, 78, 79
Melodic with harmonic framework....-..--- 3 15 | 55, 76,77
Total. 2.283 owas be eh, ae Te | 20
|
|
FIRST PROGRESSION
Numbers | Per cent. Serial Nos. of scngs
DOWLWATOs ee ee tee ee ee eee eee 12 60 | 54,55, 58, 60, 62, 69, 71, 73, 76, 77, 78, 79
Wipward * 355-68 GPa. 2k Fe eer 8 40 | 56, 57, 59, 61, 70, 72, 74, 75
LEG 2) (ee apes hea ae He ae tne SE th 20

Ruytumic ANALYSiS
PART OF MEASURE ON WHICH SONG BEGINS

Numbers | Per cent. Serial Nos. of songs

On serenied pasts oet}ece- forlorn 2: er: 40 | 54, 56, 59, 61, 62, 70, 72, 79
On unaccented part .........-..---.2-2---- 12 60 | 55,57, 58, 60, 69, 71, 73, 74, 75, 76, 77,78
Alois Ee pers Ae See Se ee eee 20

RHYTHM OF FIRST MEASURE

Numbers | Per cent. Serial Nos. of songs
Songs beginning in 2-4 time...............- 9 45 | 58, 59, 61, 62, 72, 73, 74, 78, 79
Songs beginning in 3-4 time............- |e 6 30 | 54, 56, 57, 62, 70, 71
Songs beginning in 54 time...... =e ee oe 4 20 | 55, 75, 76, 77
Songs beginning in 5-8 time......-...---.-- 1 5 | 60
Totals. woses esoss eee ee ee oe ee eee 20

183

DENSMORE] CHIPPEWA MUSIC—II
Ruytumic’ ANALYsIis—continued
CHANGE OF TIME
Numbers | Per cent. Serial Nos. of songs
Songs containing a change of time....----.-- 19 £5 | 54, 56, 57, 58, 59, 60, 61, 62, 69, 70, 71, 72,73,
| 74,75, 76, 77, 78, 79
Songs containing no change of time......--. 1 5 | 55
Maa Sn <a Spo ON SS occu daa: = yah 20

E RHYTHMIC UNIT

Numbers | Per cent. Serial Nos. of songs
Songs containing a rhythmic unit......---- 10 50 | 54, 58, 60, 62, 70, 72, 75, 76, 78, 79
Songs containing two rhythmic units... -..-- 3 15 | 69,73, 74
Songs containing no rhythmic unit.......-. v 85 | 55, 56, 57, 59, 61, 71, 77
NIST ean eee gee: Se eee ee are 2) a 20

COMPARISON OF METRIC UNIT OF VOICE AND DRUM

Numbers | Per cent. Serial Nos. of songs
Metric unit of voice and drum the same..... 7 35 | 54,59, 62, 71, 73, 75, 77
Metric unit of voice and drum different... -. 13 65 | 55, 56, 57, 58, 59, 60, 69, 70, 72, 74, 76, 78, 79

SONGS OF THE LAC DU FLAMBEAU RESERVATION

In the north-central part of Wisconsin, about 80 miles southeast
of Ashland, is the Lac du Flambeau Chippewa Reservation, formerly
under the La Pointe Agency, but now in charge of the school super-
intendent. It is a beautiful region of pine forests and quiet lakes.
A typical forest on the reservation is shown in plate 24. The prin-
cipal Chippewa village (pl. 25) is several miles from the agency. The
ceremonies of the Mide’wiwim are held regularly and many other native
customs are perpetuated. The gathering of wild rice forms an absorb-
ing interest in autumn, followed by hunting expeditions. Deer are
plentiful on the reservation and bears are not infrequent trophies of
the chase. With these native avocations is mingled much that has
been taught by the Government, many of the Indians cultivating
little farms and even shipping potatoes with due regard to their
market value.

E/niwtb’e (‘sits farther along”’), plate 26, the singer of many songs
in the present series, is the owner of two houses, one in the Indian
village, and one on his farm where he spends the summer. This
farm of 4 or 5 acres is cultivated to the best of his ability. His house
in the Indian village is ready for occupancy at any time, but he
spends the long cold winter at his son’s home near the agency. His
own team of horses furnishes conveyance for himself and family when
there is a gathering of Indians on a distant part of the reservation.
He has never complained of being cheated by the white man, for he
has been able to take care of his own interests. In his contact with
civilization he has conceded comparatively bttle and gained much,
standing to-day as a type of native manhood respected by all who
know him.

Mec’kawiga’bau (‘stands firmly’’), plate 20, another singer, has a
house and a few acres of cultivated land near the Indian village. The
phonograph was taken to his house for recording many of his songs,
which include those of the Drum-presentation Ceremony. His wife,
Dji’sid’sino’kwe (‘‘deceiving woman”’), also sang two love songs,
naively insisting that her husband depart while she recorded them, to
be recalled when they were played on the phonograph.

Seventy-five songs were recorded at Lac du Flambeau. The per-
sonality of the other singers is described in connection with the
analyses of the songs.

184

BULLETIN 53 PLATE 24

BUREAU OF AMERICAN ETHNOLOGY

WIs.

LAC DU FLAMBEAU RESERVATION,

J

PINE FOREST

SASVTIIA VMaddIHO GNV NVAEWNV1sd Nd OVI

S¢3lV1d €S NIL371N¢g ADSOTONHL]A NVOIYSWV JO NVAYNA

DPNSMORE] CHIPPEWA MUSIC—II 185

War Sones
No. 81. A Song of Indecision (Catalogue No. 393)
Sung by Mipe’wicer‘sic

VoIcE is 96

Drum a= 96
ca sicas similar to No. 2)
@- @ ns Oe | - o° © 1
Wi-na - wa - nin-da-ci-mi-gog wi-na-wa- nin - da - ci-mi-gog
Pree ill cliees tS he SRL lew ON eon
-):—_2—_# + f , 4 e- @ (@ @ @ @ {
— =- e_@_@ e ——— == fe |
ee ————
wi-na-wa- nin-da-ci-mi-gog wi - na - wa - nin - da - ci-mi-gog
=e eSaoe eee oe aa
3 —s — : Ses |
bé - si- na - si - wi-djig e wi -na-wa-nin - da - ci- mi-gog Wi -na-wa - nin-
ge oe le be - 3 == Tos.
2 oa car — o e Bs SS SS SSS 4 a ae
——— a
da-ci-mi-gog wi-na-wa-nin-da-ci-mi-gog wi-na-wa-nin -da- ci-mi-gog
WORDS
Part 1
[Free translation]
winawa/ninda/cimigog’.....- they are talking about me
besinaeiwid jie” 2.522... .2-..% saying ‘‘come with us”

This song was sung by the father of E’/niwdb’e, a man said to be
90 years of age, whose name is Mide’wigi’jig (“Grand Medicine sky”’).
He is almost blind but remarkably active, feeling his way about the
reservation with a stout cane. His voice was strong and he showed
no hesitation in singing the song, saying that he remembered when
the war parties went out to fight the Sioux and had heard the song
at the preliminary dances. The words concern a man who is urged
by friends to join the warriors but is not fully decided to go (see song
No. 14). After singing the song twice with the first set of words the
singer repeated it with the second set.

Part 2
owinén’dacnin’..........-- is there anyone who
Berrawinitn Fao 2s: s- would weep for me?
Mibuucwenlecs ses. 2S my wife

fe MAW ....:---------- would weep for me

186 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 53

Analysis—This melody is particularly simple in construction.
The rhythmic unit comprises two measures and is repeated with only
one interruption—the triple measure containing the change of words.
(See Nos. 1, 8, 12, 13, 30, 39, 40, 105.) A generally descending pro-
gression carries the melody along the fourth five-toned scale, beginning
on the ninth and ending on the tonic.

No. 82. Song of the Sentry (Catalogue No. 409)
Sung by E’n1wtn’e
VoIcE ake 80
Drum = 88
( Drum- iggrs ised E No. bis

ee ge eed eee ie paces

oy a a EE

Ga-ye - nin

rae De ee

mi-stfi- nested: -mofig ba-ba.-mo-mi - go-yan-e

SE pease aares SSS

eo

WORDS
Pe SUE SSS eters o kei I also
misti’ dimofie * ope tke oe on my horse
baba’momigoyan’.........-- carried around

Around the camp of the warriors nightly rode the sentry, singing
this song. It was said that the pony seemed to know the song and
galloped in time to the music. The song indicates that the Wis-
consin Chippewa had horses when they were at war with the Sioux.
Odjib’we stated (see p. 61) that when he first led war parties against
the Sioux in Minnesota the Chippewa had no horses and that very
few were used by the Sioux.

Analysis.—This melody is broadly outlined by two descending
intervals of a fourth, C sharp-G sharp, and F sharp—C sharp. A
similar prominence of the interval of a fourth has been noted in other
songs which contain the idea of motion, either of animals or of per-
sons (see analysis of No. 22). No rhythmic unit occurs in the song,
but a sixteenth note followed by a dotted eighth occurs frequently

L Mistii‘dim (cf. mistatim, in Lacombe, Dictionnaire de la Langue des Cris, Montreal, 1874,) is a Cree
word meaning “horse’’; og is a Chippewa ending meaning, inter alia, “upon.” See also pp. 72, 76, 108,
190, 230.

DENSMoORE] CHIPPEWA MUSIC—II 187

on the first count of the measure.- The slow tempo suggests the
leisurely gallop of the sentry’s horse. There is no excitement in the
idea of the song and none in the music. The phrase contained in the
sixth and seventh measures is found also in the fourteenth, fifteenth,
and sixteenth measures, one count being added, thus making the
first part of the phrase in double instead of in triple time. Three
renditions were recorded, with one repetition of the latter half of the
song. The first count of each measure was emphasized, but the time
was not maintained with absolute regularity.

No. 83. Song concerning Gwi’wiziins (Catalogue No. 406)
Sung by E’nrwip’e
VoIcE = 92
Drum a= 92
( Drum-rhythm similar to No. 19)

r Se Bo
pape ptr ee
oS ESSE peas ee

Gwi - wi-

Jaan SS eS See= as Seseee

3
zans gi-to- ta-ma-go-nafi i- ni - ni-wfg

= = ee
Sey aera ae ier eee eae

WORDS
EWE WIA onc = eee Gwi’wizins (man’s name meaning ‘‘ boy”)
Pigotama“gonani’.>.-........ - by his presence made them afraid
Muinwie sesso. el. fd those men

This song was composed concerning a great warrior named
Gwi'wizins (Boy). It is said that when he led his men on the
warpath he took his arrows, but did not fight; he stood still, watching
his warriors. His will was so strong that he could make them win
a fight without taking any part in it himself. His warriors were
very proud of their leader. On the way home from a successful
expedition they composed this song about him and sang it in the
victory dance. The Chippewa words contain a play on the name
of the leader. The word ini’niwag, ‘men,’ is frequently used to
designate warriors (see p. 69).

188 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

Analysis.—This song is minor in tonality and contains the first,
second, third, fifth, and sixth tones of the diatonic minor scale, tone
material occurring in only three other songs of the series of 340 (see
Nos. 178 and 184 in Bulletin 45, and No. 125 of the present series).
This is of special interest, as the omitted tones are the same intervals
as in the fourth five-toned scale, which is major in tonality. The
major third is a prominent progression in the opening phrases of this
song (see Nos. 1, 9, 34, 94, 120), constituting 52 per cent of the
entire number of progressions (31). (See also Nos. 29, 99.) The
tempo was steadily maintained and the music admirably expresses the
idea of the song.

No. 84. ‘‘ The Sioux Follow Me” (Catalogue No. 407)
Sung by E’nrwtp’e

VOICE a — 96

Drum = 96

(Drum-rhythm similar to No. 19)
-@.+ oii Pian, a - « - —. -#.
Ma - gi - ja - go ic -kwe - yafi Si - si - ta - wail bi - a-

TR

Zl § ‘fe s—o— a -9 e a—
og Settee

pi - si - ka-dog ic - kwe -yafi

ca a es 8 aang ned ss
Sapp pe By

WORDS
BNA ONE OO =m Biot tay raha raraloon I think
ICEWE JOBS cae 57 es at ac ees behind me
Sisi’tawafi (see p. 70).....-.-- the Sisseton Sioux
biapifsike/ dor. ide wep isaaciet is no doubt following

Analysis.—This song is based on the chord of D major and would
be classified as harmonic except for the presence of E flat as an
accented tone. The phrases are of irregular length and the song con-
tains no rhythmic unit, yet, as a whole, it has a certain rhythmic
unity and completeness. The only tones used are those of the major
triad and second.

The words of this and of the following song suggest that the songs
were composed during dreams.

1 The syllable dog eae toa ts. een Ect of nee know ee but oats! e that the state-
ment is correct.

DENSMORE] CHIPPEWA MUSIC—II 189

No. 85. “Around the Sky” (Catalogue No. 415)
Sung by E’n1wts/e
VOICE — 116

Drum pe 120
(Drum-rhythm similar to No. 19)

use te ae PS og Pr: tae pe ioe ‘ €
——) —| ——_ =
2 = == 2
Ai be — i =
3 —— e on ne
Bie Efe SS et

ieee Pe scie Soieee se hee =

-ji-guiig bi -

= *_»9 9 fp et eae = see
eas — es ie Lane some ee

mu-se-yan bi-né- si ni- wi-dji- wa

ae ee

FDEP obs Se ers ee @ = e ate 9 a tz |

be eae es ee ss

WORDS

Pree ht 1 oogthl in the sky

Dinie devon’. 5. 8 Peers I am walking

11 ee ee a bird

PRON R on clas ae = I accompany

Analysis.—The rhythmic unit of this song occurs five times in the
opening measures and is followed by a six-measure phrase, which is
repeated at the close of the song. In this phrase we find part
of the unit with a change of accent, the dotted eighth note falling on
an unaccented instead of on an eee count. The melody is
broadly outlined by two intervals of a fourth, B flat—E flat, and E
flat—A flat. (See analysis of No. 22.) The song is minor in banality
and contains the progression 8-7-8; this is acaree effective,
showing the interval of a whole cee which is found between seven
and eight in the second five-toned scale (see Nos. 9, 50, 100, 119, 124).
The drum is slightly faster than the voice and seems constantly
hurrying it forward.

190 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 86. “If He is a Warrior’’ (Catalogue No. 419)
Sung by E/nrwop’e
VOICE ake 126

Drum = 126
(Drum-rhythm similar to No. 15)

ce ee ) Te
Y te

SS = =— sm a
Lye Sy a ety

=

SEive=e =a at a

—
Pees Sees SSeeee eae
op St Syl
O - gi- tci-da-gwén na - wa‘- wi-na-kwe - dag
ee Songer ara
BL ivyaans os eeadee easeaees eee:
WORDS
ost’ teida’ewit4 |. geeks ~ de2: if he is a warrior
nawinakwedae’...:-.2:5..-- he will answer me

Analysis —This melody comprises the tones of the fourth five-
toned scale. It will be readily seen that the progressions of the
first six measures are outlined by the descending interval A-E, the
principal tones being those of the triad, with the second as a passing
tone. The next twelve measures are outlined by the descending
interval E-B, which suggests in musical terminology the dominant
chord in the key of A. We note, however, that G sharp, the third
of that chord, does not appear and that F sharp is used as a passing
tone, similar to B in the opening measures. Thus the framework of
the melody consists of two descending intervals of the fifth—K-A
and B-K, in both of which the second is used as a passing tone, the
third occurring only in the opening section. (Compare Nos. 23 and
28, based on the interval of a fourth.) The rhythmic unit occurs
three times. A triple followed by a double measure is found seven
times in the song but the two unite to form a rhythmic unit only in
the instances indicated by the bracket.

1From Sioux aki’éita, “warrior,” + Chippewa suffix -gwén, subjunctive mode (with kishpin, “if,”
understood). See pp. 72, 76, 108, 186, 230.

DENSMORE] CHIPPEWA MUSIC—II 191

No. 87. “In the South” (Catalogue No. 426)
Sung by E’nrwtp’E
VOICE — 112

Drum d= 120
(Drum-rhythm gies to No. 19)

eee maseee role a
Sue See SSS Ee |

SS aes Se SS

ee
~—@—__#______
ee seas
Ca - win-ofig bi- né - si- wg e
| Pt Fem 3 te =e
re aie ral ee ashe
ge - bi-non - da - go- zi-wa
are
iia: M4)
=a ee =a = Sail
—e $5872,
= pease
ee
WORDS
ca/winoiig’.......... ee in the south
I WAR. <r st bee owe the birds
ge’binonda’goziwa’........-.. are heard singing

Analysis.—A peculiarity of this song is indicated in the second
measure, the singer striking a tone above the proper pitch and
(rae glissando, apparently as an embellishment of the melody.
The transcription is from the first rendition, the others differing in
some unimportant note-values but not in the rhythm or in “the
embellishments. The song would be classified as harmonic in struc-
ture except for the accented E in next to the last measure. It is
based on the fourth five-toned scale and contains no rhythmic unit,

192 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

No. 88. War Song (Catalogue No. 411)

Sung by E’nrwts’eE

VoIcE j= 120
Drum g— 132
(Drum-rhythm similar to No. 19)

| -9--9--9- -#--.9- 9-

az. = Wage; ae a 5 Ce
a

lo abe

: = te Ce 92
Sige sit Sropitts oe = ——e —

ele: Bp rsEae Sazereosc: sas SSS

Analysis.—This song is particularly definite in tonality and force-
ful in rhythm, seeming to retain some of the spirit of the warriors
who sang it long ago. The song is characterized by syncopations,
which are found but rarely in the songs under analysis (see No. 47 of
the present book, and Nos. 123, 147, 152 in Bulletin 45). Attention
is directed to the progressions above and below the tonic at the close
of the song.

No. 89. War Song (Catalogue No. 412)

Sung by h’nrwtp’E
VOICE ‘= 112
Drum s= 112
(Drum-rhythm similar to No. 19)
Ce ce

— ee ra * ee ee
Sy ete foepi a=

ay

Sas sisted ers face a

SFE rise Sp Sa |

Analysis.—This song consists of eight three-measure phrases, the
rhythmic unit being accurately repeated except in the third and the
last phrase. So slight a change as the use of two eighth notes
instead of one quarter note (ninth measure) swings the rhythm of
the entire song clear of monotony and gives it character. Voice and
drum have the same metric unit but the drum precedes the voice by

DENSMORBE] CHIPPEWA MUSIC—II 193

a perceptible interval of time. The tonic chord is the evidént frame-
work of the melody. From two of the four renditions the last six

measures are omitted.
No. 90. War Song (Catalogue No. 416)

~ Sung by E’/n1wéB’E
VOICE Sek 116
Drum es 132

(Drum-rhythm similar to No. 19)
ees -0- -9-.

Ser reresae(egd | Fea rea srer|

Analysis.—The first measure of this song comprises a rhythmic
unit, which occurs only twice but forms the basis of the rhythm of
the entire song. (See Nos. 94, 96, 103, 108, 109, 115, 123.) The
second measure contains the same division of the counts but is a
double instead of a triple measure and the rhythmic unit is unfin-
ished. The fourth and opening of the fifth measure contain the same
division of the counts but with a change of accent. Five complete
renditions were recorded with seven repetitions of the latter half of
the song, the singer seeming to have no preference whether he began
at the first or at the middle phrase in giving the repetitions. This
peculiarity is occasionally noted in the performances of Chippewa
singers.

No. 91. War Song (Catalogue No. 417)
Sung by E’n1w6B’e

VoicE — 126

Drum po ee 126

( ena similar to No. 19)

Saas ees Ee etter

a ss ss!

pee se trypan Eee

Sse ee Ys oe e
os a

194 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Analysis.—A strongly descending progression and a vigorous rhyth-
mic unit characterize this song. A similarity between this and the
next succeeding song (No. 92) suggests that they may have been com-
posed by the same man, this being first in order of composition. It
is a stirring melody, but lacks the smoothness and grace of No. 92.
The rhythmic unit of the latter contains two measures instead of one,
the division of the first measure being the same as that of the rhyth-
mic unit of this song.

No. 92. War Song (Catalogue No. 418)
Sung by E/nrwés’E

Voice Z= 126

Drum a 126

(Drum-rhythm similar to No. 19)

@.- + 9 @ -@ -* -@-.
ee Pits fi Bet eieul op. a
BEy cose: Bicema sea zie tine

=

Witz yA BA
ype Se et eae

2.

pA gee frttis’ £ : A 39-6 0-0- 9
ogg es Se yet tyes

py ep ee ee
Sey eae ciraie aati

Analysis.—This is a particularly inspiring melody. The rhythmic
unit comprises two measures and occurs five times with two quarter
notes in the second measure. A rhythm similar to that of the first
measure occurs three times, but is followed by a measure containing
time-values differing from those in the rhythmic unit. The melody
tones are those of the second five-toned scale. This scale is usually
associated with a plaintive melody, but the present example shows
it to be adapted as well to a stirring war cry. The similarity between
this and No. 91 has been noted in the analysis of the preceding song.

DENSMORE]

CHIPPEWA MUSIC—II 195

No. 93. War Song (Catalogue No. 420)

Sung by E’/nrwip’s
VoIcE = 108
g= 13
(Drum-rhythm similar to No. 19 )

[De Soy ene penne Et ige

Drum

Samed
=e
page tps irri er

Ge ee ees

= SS sEE SESS Sass

Analysis.—The effect of this song is rhythmic, yet we find no phrase
repeated accurately enough to constitute it a unit of rhythm. The
opening measure of the repeated part contains a succession of note-
values in triple time, which is twice repeated in double time, and
which forms an interesting example of freedom in rhythmic treatment.
The song contains one accidental, which was we distinctly in all
the renditions.

War Songs—Lac du Flambeau Reservation
MeELopic ANALYSIS

TONALITY

Number

of songs Serial Nos. of songs

10 | 63, 66, 80, 81, 84, 86, 87, 88, 91, 93
8 | 64, 65, 82, 83, 85, 89, 90, 92

18

Note.—The following songs, included in this table, are found in the account of the Drum- Or ieaetion

Ceremony (pp. 158-161, 179): Nos. 63, 64, 65, 66, 80.

196 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Metopic ANALYsIs—continued

BEGINNINGS OF SONGS

peed Serial Nos. of songs
Ontthe tweltths st toes ae Das A ee ee see ee & | 64, 65, 66, 80, 86, 87, 89, 93
On-the Bfth &. 252% s-Pese ts Beste gore eee - 2 | 88, 90
On-the tenth...22s25 24 2s ce as eee 2 | 838, 92
Om Heth: oo os corre cera ee eee 1} 81 ;
On the octave ai .52 30 as gee ee eer eee tee ee 4 | 63, 82, 84, 85
On the sixth 2.5; 5; caus.) ews sesso cere eat ae ee 1] 91
A Wa ae a A een Ae 9. : aR Pe 18
ENDINGS OF SONGS
wanes Serial Nos. of songs
On the tOni@es. > foo nce nec se aoe ae peeneee ham aceae 14 | 64, 65, 66, 80, 81, 82, 83, 85, 86, 87, 89, 90,
92, 93
Quithediith= eee errs es heres eee ee 3 | 63, 84, 88
Onthethird 2: th eee ee AS 1 | 91
Total .. doers tccs MOS ae oa ee aes nea wgeeee 18
TONE MATERIAL
Por ae Serial Nos. of songs
Seconds Vve-tonow Scale... 4-22. 0-- 2s cette eee eae 3 | 82, 89, 92
Monrindive-toned Sales. <2. joSo-<56 oe name nines eeleee 6 | 63, 66, 80, 81, 86, 87
IMajOMtiaG ANG SPCOHG =e. sos eee oe ew te Rea neice 1 | 84
Minor inad and fourth 224 essen sack: ae te Se 1 | 90
Octave complete. ste ree eee eee ean ae cet ee 1 | 93
Octave complete except seventh........-...---------- 4 | 64, 65, 88, 91
Octave complete except seventh and fourth.........-. 1 | 83
Octave complete except seventh and second .......-..-. 1 | 85
TNObAL: acta ee Silos a4 Js SEIS eee eee 18
ACCIDENTALS
Number .
of songs Serial Nos. of songs
Songs containing no accidentals.............---.------ 17 | 63, 64, 65, 66, 80, 81, 82, 83, 84, 85, 86, 87,
88, 89, 90, 91, 92
Songs containing the seventh lowered a semitone. ...-. 1 | 93
Totals. 2 = eee ee eee eee 18

DENS MORE] CHIPPEWA MUSIC—IT 197

Metopic ANALYsIs—continued

STRUCTURE
Pee Serial Nos. of songs
PEAIINGINC =e cet eee se eee see eres ee Soe eee eles 1 | 8
urelyp Melodic. psa 25- 475-c\ise essen stench ee. Aaa-o-e 9 | 63, 81, 82, 84, 85, 88, 90, 91, 92
Melodic with harmonic framework........-...-.-.---- 8 | 64, 65, 66, 80, 86, 87, 89, 93
OLA eek cee cease eee asoees ett eeeweemeae 18 |
FIRST PROGRESSION
ieee Serial Nos. of songs’
OWTWANG ord eso 25b ets Bs ate aah 2 Sj apne see + ase toga 15 | 63, 64, 65, 66, 80, 81, 82, 84, 85, 86, 87, 88, 89
91,93
WIDER | Se Shease eco Aeee He ae eens a aan e One iets ane 3 | 83, 90,92
AL Obale ase oe amen ect ee eeee etewen ees ecs aoe : 18
Ruytumic ANALYSIS
PART OF MEASURE ON WHICH SONG BEGINS
N PAP eae
fence Serial Nos. of songs
_ On accented DAL) roe cece - cone ran em sacra Cece ees 12 | 63, 64, 80, 81, 82, 84, 87, 88, 89, 90, 92, 93
Oniunaccented partie) SSI FF, . £243. AE 6 | 65, 66, 83, 85, 86, 91
SRE led et el Re ee eh dD 18
RHYTHM OF FIRST MEASURE
wae Serial Nos. of songs
Songs beginning in 2-4 time..................-...-.-.- 12 | 63, 64, 65, 66, 80, 81, 85, 87, 88, 89, 91,92
Songs beginning in 3-4 time.-.-.........,-.--25------- 6 | 82,83, 84, 86, 90, 93
Mo tale oat oe Gas eae oats meeten eee eons 18
CHANGE OF TIME
nea Serial Nos. of songs
Songs containing a change of time_................-... 16 | 63, 64, 65, 66, 81, 82, 83, 84, 85, 86, 87, 88, 90,
91, 92, 93
Songs containing no change of time..._............--.. 2 | 80, 89
EDO Wel area eee iat <cloac's dix = oi 2 REA eee 18

198 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Ruytumic ANALYsIs—continued

RHYTHMIC UNIT

= Serial Nos. of songs
Songs containing a rhythmic unit..............-...-.- 14 | 63, 64, 65, 66, 80, 81, 83, 85, 86, 88, 89, 90,
91, 92
Songs containing no rhythmic unit...........-.....--.- 4 | 82, 84, 87, 93
otal 2 os cskes sskge ease ie cheek ee Ree 18

COMPARISON OF METRIC UNIT OF VOICE AND DRUM

Number Serial Nos. of songs

of songs
Metric unit of voice and drum the same..........-.--- 9 | 64, 80, 81, 83, 84, 86, 89, 91, 92
Metric unit of voice and drum different......-...-...-- 9 | 63, 65, 66, 82, 85, 87, 88, 90, 93
Ota) 2. enn knceee teen arc ea eee orate ete eee 18

DREAM SONGS

The following is the dream song of a man who painted his face with
charcoal and endured a fast of ten days. At the end of that time he
dreamed that he saw clouds rising in the south. There were manido’
in the clouds who spoke to him, saying, “‘Brother, come here with
us.”” So the man went up into the clouds. There he saw the thunder-
birds, who taught him this song which they were singing.

, No. 94. Song of the Thunderbirds (Catalogue No. 394)
Sung by l’nrw6B’e
Voice g=— 116

Drum e = 116 :
( Drum-rhythm similar to No. 19)

SSS eu aoe

og pp tree rere

DENSMORB] CHIPPEWA MUSIC-——II 199

Analysis.—This song is vigorous and clear in rhythm and tonality.
The first 12 measures are based on the triad G—B flat—D, these tones
occurring in descending progression in the third and eighth measures.
The last five. measures of the song are based on the descending chord
G—D-B flat~G. The song is minor in tonality, yet the major third
is the opening interval. (See Nos. 1, 9, 34, 83, 120.) The entire song
is thus shown to be harmonic in framework. The song contains four
phrases of five measures each. The first phrase comprises a rhythmic
unit, which is repeated practically without change in the second
phrase. The third phrase (measure 3) shows a reversal of the couplet
and triplet division which occurs in the corresponding measure of the
rhythmic unit, the two following measures being practically the same
as in the unit. The variations in the final phrase are readily dis-
cerned. The variation of a rhythmic phrase is a feature of special
importance in the study of primitive musical development. (See
Nos. 90, 96, 103, 108, 109, 115, 123.)

Other songs supposed to be the musical expression of animals are
Nos. 34, 41, 58, 68, 88, 119, and 197, in Bulletin 45, and Nos. 95, 96,
97, 98, 99, 114, and 115 of the present work.

The following song was heard by a man when he was fasting and
seeking a dream. As he was walking around he heard voices which
seemed to come from beyond a hill. Stealthily climbing this hill, he
saw a herd of deer standing in a circle. One said, ‘Now we will
dance. We always have a dance at this season, when the leaves have
fallen from the trees.’”’ All the deer pointed to a little buck whose
pointed horns rose somewhat higher than his ears, saying he should
be the one. to sing; thereupon he sang this song. Thus the man
learned it and afterward it became his dream song. He sang it when
he hunted the deer. There were two parts to the song: First, the
little deer sang about himself and then about the other deer. Only
the first part is transcribed, as the second was not an interesting
melody. Before singing this and the two next succeeding songs the
singer “‘imitated the noise made by the deer.”’ (See pp. 101, 203.)

200 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

No. 95. Song of the Deer (a) (Catalogue No. 398)
Sung by E’nrw6B’E
Voice <= 104

Drum — 104
Sorina isaac similar to No. FTO Ne oy suka

pity Stee See

Ki-we-wi-na - ko-wi-né res THe ai-ya - bé ki-we - wi-na -

2 -o- fy TO ae

oi fame Ee ee re eaasaeae
ko-wi - né be -jigai-ya - bé ki-we - wi-na - ko- wi-né

Sin Seer eeeet peer eer eee

be-jig ai-ya-bé

WORDS
kiwe’wina’kowiné’. .......... straight-horned
We Gis aut cbaesib sels vai vetc one
ie 6S eh ae Oe ee ee es BS buck

Analysis —Although minor in tonality this song is bright and full
of action. The descending interval of the fourth, which occurs fre-
quently, has been noted in other songs concerning animals (see No.
22). The rhythmic unit, which is clear and vigorous, is found three
times in this song.

No. 96. Song of the Deer (b) (Catalogue No. 402)
Sung by E’nrwtp’ez
VoIcr J 100

Drum a2 108
(Drum-rhythm similar to No. is

ervaserseeed eaedread ea ree

we-wi-na-ko-wi-né Sa jig ai- ZnS

Analysis.—This song, like the preceding, was heard by the man in
his dream of the deer. The words are the same as in the preceding
song. The first two measures contain four descending tones similar
to the successive tones of the scale, a progression rarely found in the

DENSMoRE] CHIPPEWA MUSICO—II 201

songs under analysis. The interval of the fourth is prominent in the
framework of this melody (see No. 22), the descending intervals D
flat-A flat, A flat-E flat being similar to the intervals C sharp-G
sharp, G sharp—D sharp in the preceding melody, yet this song is in
the key of A flat and the preceding song is in the key of B, and the
characteristics of the two melodies are entirely different. (See Nos.
105, 106.) This song contains no rhythmic unit, but the treatment
of its opening phrase is worthy of observation. It will be noted that
the phrase contained in the first and second measures is repeated in
the fifth measure and in the first part of the sixth measure, with a
change of accent. (See Nos. 90, 94, 103, 108, 109.) The same phrase
occurs with other changes in the third and fourth measures.

Similar to the preceding are two songs by another singer. The
narrative concerning the first song is as follows:

Long ago an old man made a feast and invited all the men and women. He did not
tell them why they were asked; he only said there would bea dance. When they were
all assembled the old man who had asked them sang this song, which had come to him
in a dream, and another old man led the dance, acting like a deer. The men followed
him, acting like the buck deer and the women acted like the doe. In old times the
hunters had a dance like this in the evening and went out to hunt the deer the next
morning.!

No. 97. Song of the Deer Dancing (Catalogue No. 433)

Sung by Mec’KawiGa’BAU
’VoIcE nies 104
Drum g—112
(Drum-rhythm similar to No. 19)

Jo Ee ee ee
ff» oe
8 ee E == =
Ee ies is
-bi-wén-da - ba - no-gwé no-gwén ai-ya - ti - bi - wén-da -
: Hs SS Ee
pig ps “ie ZA = pee Zt
esi eawbiicad. ai-ya - bé ai-ya - snes * ae
WORDS
ti’/biwénda’banogwén’...........--- whence does he dawn? ?
RUE E ACS: ofc. cob os cle sae the buck?

Analysis —The rhythm of this song is somewhat expressive of the
dance and its pantomime. The interval of the fourth is prominent,
as in many songs concerning animals. (See No. 22.)

1 Compare the dance of the warriors before a fight, imitating the action of the buffalo (p. 101); also the
imitation of the plover, in the pipe dance (p. 295).

2 This is an idiomatic phrase in common use among the Chippewa. It is not unlike the expression,
“‘Where did he spring from?”’

202 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 98. ““My Shining Horns” (Catalogue No. 434)

Sung by Mrc’KawiGa’BAaU
VoIcE d= 108
Drum se 108
toe seta similar to No. 19)

pip t= bepat afi secieeriaratee Fre: |

Wén-dji-we - a - i - sa-ko-nes-we-yan

WORDS
wén/ djiwei’sako’nesweyan’...........-- my shining horns

Analysis ——This song was said to represent the deer “walking
alone, singing to himself, and proud of his shining horns.” The
melody is harmonic in structure and contains a short rhythmic unit.
In general outline it presents a descending progression along the
intervals of the tonic chord. It is minor in tonality and is based on
the second five-toned scale. The six renditions recorded show no
important variation.

Like the two songs next preceding, this song had its origin in a
dream. A man who was fasting is said to have heard the buffalo
sing and to have learned their song. As he was wandering about he
heard sounds which seemed to come from some gathering of Indians.
On going to the place he saw a herd of buffalo walking in a circle,
knee-deep in mud, with swaying heads and lashing tails; all were
singing as they walked around. The Indian joined the herd and
thereupon became a buffalo. For this reason they gave him the
song which they were singing.

DENSMORB] CHIPPEWA MUSIC—II1 2038

No. 99. Song of the Buffalo (Catalogue No. 399)
Sung by E/nrwtp’r
VOICE is 96

Drum ¢— 100
(Drum-rhythm similar to No, 2)

ly as dew ee Tat al Wotailthate)
say SEER Pir ite eter
Bi - ji - ki- wig

TAL RS eb eS Por Sp eos eT PEO AP NR
22 gee es a eee SSS

we - ya -ka - ga - bfi - wi - wa - djin

suit ere tpt ore gee eRe

wa - do - ka- wa-gwa-nin -

cai

a Seo ero lena ae

e~ he wa tt e wa ni wa -do - ka- wa- gwa-nin-e
ZL /DESEEES wie era eae
Seo aaa sea cee =
é hwi G@ wi hi di =
WORDS

bi/jiki/witig’ . 1.2 45..2 the buffalo

we’yaka/ capiiwat aie Slee ae as they stand in a circle
wa’doka’wagwa/nine........-....... I join with them

Analysis.—Except in the last nine measures, the forte ipl tones of
this melody are those of the triad of F sharp minor; the song is there-
fore transcribed in that key, although the second ead seventh of the
key do not occur. This is an instance in which “key” can scarcely
be said to exist, and the signature should be understood as indicating
merely the pitch of certain tones. The formation of the melody is
essentially that of successive intervals, in a descending progression:
First, C sharp—A, second A-F sharp, and lastly F sharp-D. As an
example of interval formation this*offers an interesting contrast to
songs based on the interval of the fourth (see No. 22). Although the
song is minor in tonality, it is found that 50 per cent of the intervals
are major thirds, the song containing 18 intervals and 9 minor thirds
(see Nos. 29, 83). Before the recording of this song, and also before
the final word, the singer ‘‘imitated the noise made by the buffalo.”
Several renditions were recorded, interspersed with these peculiar
““noises.”’

204 BUREAU OF AMERICAN ETHNOLOGY [run. 53
SONGS CONCERNING A BOY’S FAST

This and the song next following are associated with the old Indian
custom requiring youths to hold fasting vigils in the wilderness.
These are songs which E’/niwtb’e’s grandfather sang to him when he
was a boy and were secured only after the latter‘s confidence in the
writer was fully established. The first song was sung when the boy
had blackened his face and was ready. to go forth alone from the camp.
E’/niwtb’e said that he danced, and his grandfather sang the song.
The meaning of the words is obscure. Wecan not understand what
boyhood vision rose in the mind of the aged man as he asked a
boon for the child whose vision was yet to come.

No. 100. Song Before a Boy Goes Out to Fast
(Catalogue No. 421)

Sung by F’nrwép’e
VOICE P| = 84
Drum 72 88
( Drum-rhythm similar to No. 2 is

is See oe FE ele o- -9- -»
ae
A - ni - nén-we-we a-ni-nén-we-we wa - zi-swfin nim-bi - zin-
ef 05 er +9 @ 6 6s
SS as, Sore scoe! Aft e Ey
da - go - ne
WORDS
a MING WEWe coasts ee the receding sound
VLA ZIG WLLL eee eee ose en eee of the nest !
nim’bizinda’gone’.........-- I listen to it

Analysis.—The compass of this song is only four tones, comprising
the first, second, third, and seventh of the minor scale; it begins on
the third, descends to the second, and ends on the tonic. Eight
renditions of the song were recorded; these are uniform in rhythm
but: uncertain in the intonation of the opening measures, the singer
seeming to have difficulty in giving intervals so small, with dis-
tinctness. (See Nos. 54, 55, 61, 64.) In contrast to this uncertainty
as to semitones and whole tones, we find the accidental in the third
measure and A flat near the close of the song given firmly and unmis-
takably. The whole tone between 7 and 8 is prominent in this song.
(See Nos. 9, 50, 85, 119, 124.) The melody forms a good example

1 This may refer to the ‘‘nest”’ which a man built in a tree, in which he waited, fasting, for a vision (see
p. 84), though the use of the word “‘sound” in this connection is obscure.

DENS MORE] CHIPPEWA MUSIC—II 205
of the entire song as a rhythmic unit, complete and homogeneous.
The metric unit of both voice and drum is slow and the general effect
of the song is different from that of the majority of songs under
analysis.

When the boy E/niwtb’e returned from his fasting vigil his grand-
father insisted that he dance before tasting food; he also talked with
him, asking long life for him and saying that he needed water to
ae Other boys returned at the same time from their fasts and
E’/niwfb’e’s grandfather talked to them all. Near his door there
was a medicine pole (similar to those described on p. 248), around
which the boys danced while E/niwfib’e’s grandfather sang the
following song. There was a hole through the medicine pole just
below the banner of deerskin. At the foot of the pole the old man
Bares a birchbark dish. As the boys danced and the old man sang

a strange thing happened—water flowed from the hole in the aut
and fell into the dish.t| When it was full E’niwab’e’s grandfather
stopped the dancers and gave them this water to drink. In this
manner their fast was broken. Both these fasting songs by E’ni-
wtb’e’s grandfather were ‘‘composed in his dreams,’’ and the medi-
cine pole was made to correspond to that which he saw in one of his
visions. (Compare Me’dweya’stii’s medicine pole, p. 249.)

No. 101. Song After a Boy Returns from Fasting

~ (Catalogue No. 422)
Sung by H’N1iwtB’E
VoIcE P| = 144
Drum e = 80
( Drum-rhythm similar to No. 2 )

—
o |

r ¢
rip he et) ae ee De a eal Tite
ee

eee ee eee ee

Py SG ee TS |

Ta -ki- ga - mi

SSS aes Mesa

ee

nin da-min-a-ig ma-ni-do wa-wa - bfi- mit

1 A similar practice is said to exist among the Assiniboin of Montana, a cinciigtcans -man cnehie a zigzag
line on the Sun-dance pole, drawing his feather fan down this line, and causing water to flow from the pole
for the refreshment of those taking part in the Sun dance.

206 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

WORDS
takr panics 22) MIS. Nee cool water
Hines HOw HE PF IPIOL RY Be tee d
° rr \he will give me to drink
ay nin st SE See
MAMTA SII: ATC hee manido’
Wawa biliait. sthjoe Seie seoe where he sees me

Analysis.—-The voice tempo is much more rapid in this than in the
preceding song, while the tempo of the drum remains about the same.
(Compare Nos. 103, 104; 121, 122; also No. 168.) The first measure
forms a rhythmic unit which occurs four times and clearly influences
the rhythm of the entire song. The flatted sixth is found twice and
was given in all of the six renditions of the song; it is not correct in
intonation, being somewhat less than a semitone above C. The song
is harmonic in structure and contains the tones of the fourth five-
toned scale. Attention is directed to the very low note at the close
of the song; this was sung softly but was clear and approximated
accuracy of intonation.

GAME SONGS

It is the belief of the Chippewa that gambling was taught the
Indians by a manido’ in order to relieve their distress from hunger
and ill fortune. Three games were taught them for this purpose—
the hand game (onin’jiwatage’win), the moccasin game (makizin’ata’-
diwin’), and the plate game (bagese’win). Songs were sung during
the first two games, but there was no music with the plate game, as
the play was very brief and the computing of the score required con-
siderable time. All these games are played by the Chippewa of the
present day and are commonly regarded as mere pastimes, but it is
said that ‘‘the older Indians who understand the origin of the games

, 9)

and songs still hold them in reverence as a gift from the Manido’.
The following narrative concerning the origin of gambling was
given by E’/niwtb’e (pl. 26):

Long ago there was a Chippewa who had two wives, each of whom had two children.
The man was a great hunter and could kill any animal that he desired. He once took
his family and went on a hunting expedition. They went far away from all other
Indians. Suddenly one of his children died and the next day another died. He and
his wives buried them. The third day another child died and on the following day
the last of his children died. The fourth day one of his wives died and on the follow-
ing day his other wife died. He buried them both. Then he wondered what would
become of him. Should he kill himself with his knife or with his arrow? He decided
not to do so. A death as certain awaited him if he wandered about the country until
worn out with exhaustion, and he decided on this course. Day after day he walked
continuously. If he saw water he did not drink, for he was determined to die. He
staggered on his way until at last he fell and could not rise. His clothing of skins had

1 In his description of Iroquois Music (in Archzological Report of Ontario 1898, p. 145) Mr. A. T. Cringan
states: ‘‘The rate of movement in the melody may be accelerated or retarded but that of the accompani-
ment remains constant throughout,”

BULLETIN 53 PLATE 26

BUREAU OF AMERICAN ETHNOLOGY

san

een

— 7 PP

st “ 3
eis mall

co Pee ee ae

a

A

E’NIWUB’E

I

_ DENSMORE] CHIPPEWA MUSIC—II 207

been entirely torn from him. He had lost everything—his family, his strength, his
tattered raiment; at length life itself departed.

As he lay dead he heard some one coming toward him, stamping heavily on the
earth. With returning consciousness he saw a man standing before him. The
stranger was dressed all in black, even to hismittens. The stranger (who was a manido’)
spoke, saying, “Brother, why do you lie here?” He who had been dead then rose to a
sitting posture. The stranger said, ‘‘Brother, let us gamble.’? The man answered,
‘“‘Very well,’ though he did not know what game was to be played. The stranger,
seating himself opposite the man, took askunk-skin bag from his hip pocket. In this
were a piece of flint and a small screw-shaped piece of metal used in removing the wad
from a gun.! The stranger tossed the flint to the man, saying, ‘‘ You may use this;”
he himself used the piece of metal.

The stranger showed the man how to play the hand game. Laying his coat across
his knees, he concealed his hands beneath it; in one hand was the metal object. He
then passed his closed hands rapidly before his opponent. Skill in the game con-
sisted in transferring this from one hand to the other while both were closely watched
by the opponent, who attempted to guess in which hand the object was concealed.
The man who had been dead won the game from the stranger, although it had just
been taught him.?

The stranger, though defeated by the man who had been dead, asked him to try
another kind of game. The stranger then took off his moccasins, and, laying them
on the ground, taught the man to play the moccasin game exactly as it is played by
the Chippewa at the present time.* At this, as well as at the first game, the man
who had been dead was victorious.

Then the stranger took from his belt a small shallow wooden plate, which hung
there by a cord, and from his tobacco bag some tiny figures made of bone. Placing
these figures in the plate, he showed the man how to toss them in the air and note
their positions as they fell. The former dead man was winner in this game also.*

After being defeated at the plate game the mysterious stranger rose and said to his
opponent: ‘‘ Brother, we will part now. Look, yonder is an Indian village. Go
there and gamble as I have taught you. I will now tell you who I am. Watch
me as I depart.”’

The man looked up and saw a large black bear walking away from him. The
bear turned and said, ‘‘ Brother, do you know me?”’ and the man answered, ‘‘ Yes,
I know now who you are.”’

The man then went to the Indian village and began to gamble. According to
E’/niwfib’e ‘‘the man won back his dead—that is, two women and four children
were staked on the game, and he won; so he felt as though he had the same ones
back again.”’

1 These spiral pieces of metal, ending in a sharp point, called “gun worms,” were secured from traders at
an early day.

2The hand game is probably the oldest and most widely distributed of Indian games. Culin states
(in Twenty-fourth Ann. Rep. Bur. Amer. Ethn., p. 267) that the game has been found among 81 tribes,
belonging to 28 linguistic stocks, adding: ‘‘ This extensive distribution may be partially accounted for
by the fact that, as it was played entirely by gesture, the game could be carried on between individuals
who had only the sign language in common.”’

According to E’niwdb’e, the hand game, taught by the manido’, soon came into general use among
the Chippewa. The numerous players were seated in two long rows facing each other, while the pile of
wagered articles, placed between them, was often so high that the opposing players could scarcely look
over it. The spectators danced around the players, singing the hand game songs. -

3 Tbid., pp. 340-342.

4 According to Culin, a game or games of this type exist ‘‘among 130 tribes, belonging to 30 linguistic
stocks, and from no one tribe does it appear to have been absent.”” (Ibid.,p. 45.) The plate game among
the Chippewa received attention from Schoolcraft (see Oneo’ta, or Characteristics of the Red Race of
America, New York, 1845, p. 85), whose description of the game and its implements corresponds with
observations made by the writer on the Leech Lake Reservation, in Minnesota, in 1910.

208 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 102. Song of the Hand Game —_ (Catalogue No. 395)
Sung by E/nrwtB’E
Voice e= 120
Drum ge 120
( Drum-rhythm similar to No. 19)

Se eee ee nee ane pens

Analysis.—This is said to be the identical song which was taught
by the manido’ to the man who had been dead. No words were
recorded. Drum and voice have the same metric unit but the drum
is constantly in advance of the voice, seeming to urge it forward.
The rhythmic unit in the first phrase of the song is once repeated
accurately, varied somewhat in the third phrase, and disappears
entirely in the final phrase of the song. Only one tone other than
those of the tonic triad occurs in the melody. The singer stated that
when the players ‘‘make a guess’’ in the game it is customary for the
song to stop at once and for the drum to beat rapidly while the score is
counted. In illustration of this he interrupted the singing of the song
with an exclamation and beat the drum very rapidly for several
seconds; he then resumed the song, beginning at the first measure
instead of at the measure where he made the pause. This appears in
the phonographic record of the song.

DENSMoRE] CHIPPEWA MUSIC—II 209

No. 103. Moccasin Game Song (a) (Catalogue No. 396) -

Sung by E’niwbép’z

Voice ge 88
Drum > 104
(Drum-rhythm similar to No. 19)

Livearrase ee pee

SLeaiae ee Prnieaes Zegarers| Serersc

Analysis.—This and the following moccasin game song were said
to have been taught by the stranger (or manido’) to the man who
had been dead. The stranger taught him to sing these songs in order
that he might play the game successfully. This song is in 5-4 time.
The first measure constitutes a rhythmic unit, which is twice repeated
accurately. The other measures show divisions, which closely
resemble those of the unit but are not complete repetitions. (See
Nos. 90, 94, 96, 108, 109, 115, 123.) It is interesting to note these
variations and also to observe the rhythmic effect of the song as a
whole. The interval of the fourth is prominent in the formation of
the melody. This is found in many songs concerning animals and it
will be remembered that the manido’ appeared to this man in the
form of a bear. (See No. 22.) A slow tempo in songs of controlled
excitement is noted also in Nos. 30, 51, 52, 161.

67996°—Bull. 53—13 14

210 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 104. Moccasin Game Song (b) (Catalogue No. 397)
Sung by E/nrwtp’e
VOICE J 100
Drom a= 104
( Drum-rhythm similar to No, me

eile ool ES ere eerie aie
eb ace Peccice reco Pen tered eaaea

pif idle FAIRER SSS

Analysis.—This song was said to be sung alternately with the one
next preceding and was so recorded on the phonograph cylinder,
The rhythm of the two songs forms a sequence, the first being agitated
and irregular and the second confident and emphatic but closing
with a rhythm resembling that of the first. This ending gives unity
to the group. The drum has the same metric unit in the two songs,
but the voice is faster in the second song. (See Nos. 100, 101; 121,
122; also No. 168.) The structure of both songs is characterized
by the compass of an octave and the interval of the fourth. (See
No. 22.)

The Moccasin Game

This game is frequently played by the Chippewa at the present
time, but has céased to be a serious occupation and has become a
mere diversion. The days are past when men sought success in
dreams and lost or won fortunes ina day. Yet many of the charac-
teristics of the game remain unchanged. In July, 1910, the writer
saw a party of Chippewa from Bear Island playing the moccasin
game with a party from the Leech Lake Agency. One side had won
11 games and the other had not won a single game, yet from the faces
of the players it was impossible to tell who had won and who had
lost. Additional games were scored without change of countenance
by the winners, while the losers met continued defeat with equal
stoicism.

The following incident indicates the manner in which the game
was formerly regarded: :

It is said that one of the most successful players of the game at Leech Lake in the
early days obtained the secret of his success from his wife, who returned to him in a
dream after death. He had been a gambler for many years before her death and had

been fairly successful, but after she died he met with nothing but failure until finally
he lost everything. In despair he went into the woods to fast and ‘‘dream.’’ Aftera

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 27

HIDING THE BULLETS

GUESSING THE LOCATION OF THE MARKED BULLET

MOCCASIN GAME AT WHITE EARTH, MINN.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 28

HIDING THE BULLETS

AFTER THE BULLETS ARE HIDDEN

MOCCASIN GAME AT WHITE EARTH, MINN.

DENS MORE] CHIPPEWA MUSIC—II 211

time his wife appeared to him and told him that somewhere in the woods were hidden
four bullets, which would bring him success in the moccasin game, and that he must
let them lie in the water before using them. Then the man began his search for the
bullets. He had no further clew to their whereabouts, but he searched constantly,
wandering in the woods day after day. At last he found four bullets and, as he had
been directed, placed them in the water at the edge of the lake. He then announced
that in a certain number of days he would have a moccasin game. By using the bullets
which had been in the water he won everything and thereafter was always successful.

With this incident began the custom of soaking the bullets. Many
players do.so now, believing this procedure will bring them success in
the game.

It was stated that another successful player had a dream in which
he saw a row of moccasins and that as he took them up, one after
another, he found a piece of money under each. This dream gave him
confidence in his playing of the game.

Two men may play the game, but the contestants are usually four
men, two playing as partners against the others. Each side in turn
hides four bullets under as many moccasins laid in a row on a blanket
(pls. 27, 28); one of the bullets is marked. Skill in the game consists
in placing the marked bullet in such a manner that it can not be readily
located by the opposing players.

' Other implements of the game are 20 counting-sticks, each about
9 inches long, and one slender striking-stick, about 36 inches long.
The writer has seen a set of moccasin game bullets made of solid
steel, which were very heavy. Such a set is valued at one blanket.
In addition to the bullets which are hidden, it is customary for the
guessing side to use four bullets in indicating its guess, as explained
below. The qualities required in playing the game are self-control
and keenness of observation; the prize is given to him who conceals,
not to him who discovers. The side which hides. the bullets is the
side which scores.

There are many involuntary signs which may indicate the placing
of the marked bullet, and the mannerisms of various players are
closely studied. Some affect many gesticulations and hide the
bullets with great rapidity; with others a slight motion of the head,
a change of facial expression, a slower or a more rapid motion of the
right hand may accompany the hiding of the marked bullet. It is
said that some players allow it to slip between the fingers when
placing it beneath the moccasin. Ki’ose’wini’ni (‘‘good hunter’’), a
successful player of the game, said that he always ‘‘watched the
chest of the man who hid the bullets,’ as a player who could control
every other muscle would often hold his breath for an instant when
he placed the marked bullet. He said further that some players
looked at the moccasin under which they had hidden the bullet, and
that others as systematically looked at some other moccasin. Still
others always hold the marked bullet in a certain part of the hand,

212 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

and a close observer learns to look there for a betraying muscular
movement.

In preparation for a moccasin game a blanket is spread on the
ground, beside which are placed the articles staked on the result of
the game. A rifle is usually wagered on the result of six consecutive
games, a blanket on three games, and a shirt on one game, while a
beaded bag is staked on two or three games, according to its value.

Before beginning the game a knife is tossed to decide which side
shall be first to hide the bullets. On the side which is to hide the
bullets one player holds a drum; the other lays four moccasins in a
row on the blanket and takes in his hand the four bullets which he is
to hide. On the side which is to guess, one player holds the striking-
stick with which to toss aside the moccasins, and the other, seated at
his left, holds in his left hand the four bullets with which he will
indicate his guess. Beside these players are laid the 20 sticks with
which the score is kept.

When all is ready the drummer sings a moccasin game song and
beats the drum while his partner lifts the toe of each moccasin with —
his left hand and slips a bullet under it with his right hand, his
opponents watching closely to detect some change of manner or facial
expression when the marked bullet is placed in position. (Pls. 27, 28.)

If the guessing player who holds the striking-stick is sure that he
knows under which moccasin the marked bullet is hidden and is
willing to risk the score on his own judgment, he extends his right
hand with two fingers spread. In this case his partner does not
indicate his guess, and if the leading player’s guess is correct the score
is the same as for a ‘“‘double crack.’ This course is seldom followed,
however, usually each of the guessing players deciding where he thinks
the marked bullet is hidden.

The guesser holding the bullets slips the marked one into a position
corresponding to the moccasin under which he thinks the other marked
bullet is concealed. For instance, if the guesser thinks his opponent
has hidden the marked bullet under the moccasin next to the right end
of the row, he places the marked bullet in his own hand between the
first and second fingers, the position corresponding to that moccasin
when his open hand is extended toward his opponents. The man
holding the bullets is allowed only one guess. The man with the
striking-stick is allowed three guesses; if he tosses aside two mocca-
sins without disclosing the marked bullet, he may turn another, on
which the score is made. His partner then indicates his own guess;
if correct, he opens his hand and shows the marked bullet in the
right position; if incorrect, he extends his hand with the thumb
down, meaning ‘‘I have guessed wrong’? (pl. 29).

A correct guess by both players is called a “double crack,” which
entitles them to an additional turn at hiding the bullets, provided

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 29

SIGNAL ‘“‘| GUESSED WRONG”

ARRANGEMENT OF BULLETS INDICATING A ‘‘GUESS”

MOCCASIN GAME AT WHITE EARTH, MINN.

DENSMORE] CHIPPEWA MUSIC—II oes

iz

their opponents do not make a ‘“‘double crack”’ in the meantime to
counterbalance the first. The ‘double crack” is mentioned in the
words of song No. 175, Bulletin 45. One side continues to hide the
bullets until the guessing side guesses correctly, after which the score
is counted. The guesser who holds the striking-stick in his right
hand holds in his left hand the counting-sticks, at first 20 in number.
From these sticks each side receives the number to which it is entitled
by the score. When the counting-sticks which remain are three or
fewer in number the man holding the bullets does not guess, the
game depending on the player who holds the striking-stick. If the
marked bullet is under either moccasin at the end of the row and he
guesses right, the game is his; if it is under either of the middle moc-
casins and he fails to locate it, the game is won by his opponents.

The score is complicated, depending on the position of the moc-
casin under which the marked bullet was hidden—whether at the
end or in the middle of the row, also on the number of guesses
required by the man with the striking-stick in locating the marked
bullet and on the agreement or disagreement of himself and his part-
ner in their choice. For instance, if the bullet is under one of the
middle moccasins and both guessers fail to locate it, the side which
hid the bullet adds eight counting-sticks to its score. If the bullet
is in the same location and only one guesser fails to locate it, the
score 1s Six.

At the conclusion of each game a stick about 10 inches long is
stuck into the ground at the edge of the blanket. The stakes are
settled after the playing of a number of consecutive games agreed on
in the beginning.

Dream Songs—Lac du Flambeau Reservation

Me.topic ANALYSIS

TONALITY
pe | Serial Nos. of songs
| ———
MAID re scene ese Some oe ween da ae eee cee ne oe 2 | 96, 101
METTIO Reece see ees ha as se AN es 9 | 94, 95, 97, 98, 99, 100, 102, 103, 104
UNE) Ss a ae Be Re Ses eee meee. Sas 11

BEGINNINGS OF SONGS

Bead Serial Nos. of songs
BURL LR EW Cli see mare = oo Fcc 3 a2 a's an wines Serne cee 2 | 94, 101
OVE TINE) Choe eI OARS ah Bo a 8 eR 2 Pe 3 | 95, 99, 102
Gina OCtaver- 2c. ccc; ck ab. A ae 4 | 97, 98, 103, 104
Brae MOREL oo. sees a Cie tenis =a nao eee See oe 1 | 96
1D: THLE 0 20 Eps iee cls caer a 1 | 100
PhO belmont sone cere atic cleo dnc ae eee 11

214

BUREAU OF AMERICAN ETHNOLOGY

[BULL. 53

Metopic ANALYsis—continued

ENDINGS OF SONGS

Number

of songs

On THe OMIC. 2. 20 scp esate eae e onesies sere ee 8
On the Mths. cess fee seen eee ROE eee 3
Totals. uke sessecs cee eee ee ene ill

TONE MATERIAL

Serial Nos. of songs

94, 97, 98, 99, 100, 101, 103, 104
95, 96, 102

ane Serial Nos. of songs
Second five-toned scale...........2.----22---2222--1.-- 1 | 97
Hourth}five-tonéd|seale.... af be fo sae enh 2 | 98, 101
Minor triad an Gi Sisciin se. Ace oceans sae aeas Set iets ee 1 | 94
Minor triad and tOurih= Ss een ote sce tee ee tee 3 | 95, 102, 104
Octave complete except seventh.......-......-------- 1 | 96
Octave complete except seventh and second.......-..-. 1 | 99
Octave complete except sixth... ...-.- =----4---n5---=- 1 | 103
Ociave complete except sixth and fourth.............. 1 | 100
Total wise geaceSs soe mos~ ae pers ae ese -peanen ose e 11
ACCIDENTALS
Numb :
prnotigs: Serial Nos. of songs
Songs containing no accidentals.............-.-------- 9 | 94, 95, 96, 97, 98, 99, 102, 103, 104
Songs containing the seventh raised a semitone .....-- 100
Songs containing the sixth lowered a semitone......-- 1 | 101
Motalliz ccwase we shackle a see | pee heise mee emer ois 11
STRUCTURE
Ee Serial Nos. of songs
Harmonics: ech ae tee an 6 een canis 3 | 97, 98, 101
Rarelysmielodics: s.r se tone ee a een 8 | 94, 95, 96, 99, 100, 102, 103, 104
Total. hse staccato ee toe oe ee an Pe ERE eels 11
FIRST PROGRESSIONS
Number ;
of songs Serial Nos. of songs
Downward... 2.2. 5<)- 2-2. - Se Oe Esse aes 8 | 94, 95, 96, 99, 100, 102, 103, 104
WIP WALG)s . cn/ercsne cso MEE SU PS ee oe ni eee ore 3 | 97, 98, 101

DENSMORE] CHIPPEWA MUSIC—II 215

RuytuHmic ANALYSIS

PART OF MEASURE ON WHICH SONG BEGINS

pieces Serial Nos. of songs
(ONMVNE Ce 4s LOO): elt te eRe 11 | 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104
PO UNACCOMUCCG DAD ct .t tae cee ous =o a.c ca = oT Se None
JLGGY See 5, 8 oe - SBS ICSE eC ae ne See Sse ae ig

RHYTHM OF FIRST MEASURE

Number 5
of songs Serial Nos. of songs
Be aeake ge aeeee ee Sear 7 | 95, 96, 97, 98, 99, 102, 104

Songs beginning in 3-4 time............--..-.--------- 3 | 94, 100, 101
Songs beginning in 5-4 times. 3.2265... 35.2. 0b. .s eee. 1 | 103
AT ONE ete 2 ach! ice Sotest ee eerste bes arenes ll

CHANGE OF TIME

ae eee Serial Nos. of songs
Songs containing a change of time..................--- 11 | 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104
Songs containing no change of time.......-..-...-.---. None
PROLAUS: Beate 22ee Sete t es rk Senko ee. 11

RHYTHMIC UNIT

Number P
of songs Serial Nos. of songs
Songs containing a rhythmic unit...............-..--- 9 | 94, 95, 97, 98, 99, 101, 102, 103, 104
Songs containing no rhythmic unit.......--.....-.---- 2 | 96, 100
TROBAUIS . IS eee). cS Mh ee tJseaes 11

COMPARISON OF METRIC UNIT OF VOICE AND DRUM

eae Serial Nos. of songs
Metric unit of voice and drum the same...:........... 4 | 94, 95, 98, 102
Metric unit of voice and drum different............... 7 | 96, 97, 99, 100, 101, 103, 104
Motals ii. f55. eh al 1s isis3h 24s. 11

216 BUREAU OF AMERICAN ETHNOLOGY [Bunn 53

4

Love Sones!

No. 105. “‘Go with Me” (Catalogue No. 400)
Sung by P’nrwtz’e
VOICE = 72
Recorded without drum
EEE —_—<S ESSEC Dine
2 7 a een a
9: 3- = = Cee gS TS ORT Ges) Os =
ate - ya- ni - ne ma - i ma -
a ——— S 13 =
Sree = =e - sant <—* Ze =
dja - ya-ni- ne ma dja - ya- ni -
SRP ELCS aio -6-
= 55 =-2= = ape ca i oe,
py ee
on eae
dja - ya-ni- ne ma - dja - ya-ni - ne ki - ga-mi-nin go-cf
‘a ; =a
28 @ 7 a
See ee eee ee Sey
ga - bi-zi- ka-mfin ma-dja - ya-ni- ne ma - dja - ya-ni-ne
WORDS
mda vane 2 eo ee eee when I go
jig) ch ge + 2 a ge I will give you
GOON seaesweiiaes pores ees exe = eet 5% surely
eT 7a MUD a. ~ «<n. = s » PSUS L what you will wear
WEE WEIN oc totes ca oben em ae if you go with me

Analysis.—This is the only love song in the present series that can
be called a “courting song,’ unless the “Song of an ambitious
mother”? (No. 112) be included under this head. The last word was
not sung, but was given by the singer as one of the words of the
song. The progressions are characterized by the interval of the
fourth, which has been noted in other songs concerning motion (see
No. 22). In several instances the intervals were sung glissando, a
feature which can be indicated only imperfectly in musical notation.
The metric unit is slow and not rigidly maintained by the singer, all
the Chippewa love songs being sung somewhat rubato. The rhythmic
unit, which is clear, occurs three times; it comprises the entire song
except the third section, in which a change of words is found. (See
Nos. 1, 8, 12, 13, 30, 39, 40, 81.) The melody is distinctly major in
tonality and contains an indefinable element of pleading. After
singing the song as transcribed the singer repeated the various

1 See p. 41.

DENSMoRE] CHIPPEWA MUSIC—ItI 217

phrases and sections in an irregular order, seeming to sing them as

suggested by his fancy.

No. 106. “Do not Weep”’ (Catalogue No. 401)

Sung by E/nrwt’e
VoIcE c= 72
pp seein without drum

aan al
eit aaa ABE is pees =e 2 eee [z=

Ca-i-gwfi ni-ma - dja ca -i-gwiini-ma - dja ca-i ae ni-ma- dja
zene aaa
Se - ca ae od a =
Sige ae pe BE Secs,
ca-i -- gwini-ma - dja ke-go-sfiima-wi - kén ke-go-sfi ma-wi-
: == ——-
are iereesaieae ome reee eee oo
o ZB o-t+ ied aa Ul
Z res Fe sees ei eee eae |
kén ca-i - fay ni-ma - dja ca ae - gwini-ma - dja
WORDS
CE i Near Soran oO Kom oa b.en Got now
CITES G1 ae i Se lean ae ee RNR 9
ies |) eh es 2 ees vee do not
TNO WAKE geek ketene ce UO ece nee weep

Analysis —This melody is transcribed in the key of C minor,
although the third of that key occurs only next to the last note of the
song. The descending fourths C-G, F—C mark the broad outlines of
the melody, which has a compass of an octave. It will be noted that
_ the same octave represents the compass of the preceding song, but

the two melodies are in different keys. (See Nos. 95, 96.) As in
~ the preceding song, the interval of the fourth is of frequent occurrence.
(See No. 22.) The rhythmic unit, which occurs five times, is accu-
rately repeated. The prominence of the subdominant is noted in
this and in other songs of sadness. (See Nos. 109, 110, 170.)

218 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 107. ‘You Desire Vainly”’ (Catalogue No. 430)

Sung by Mrc’KawiGa’/Bau
VOICE = 92
Recorded without drum
; ga Fs eee ee
aye ee Se
BLE Sere ere

Gi-da - ga - wa -_ dafi dji - mi ~ sfi- wi-no -
= ee * Bp . ae
8 —e-.>-"— 9-4 >
2 pep = = ss IB ae | wanes =
PDE ob = : =e 4 4
nan gi-da-ga- wa - daii dji-mi - sfi-wi-no - nan
£ —
@_ ao 2__5—)~-@ —o ee
pr Sy eget tape
PDS ebe —tk4: 4 = ee eee
a-ni - ca gi - ci- mé ba-6n-dji- i1-ka - yan
WORDS
oi’ dapatwanlafites .....- 1.40 .--.- 4! you desire vainly
dj/ misiwinonan’ 6.000) neon that I seek you
LUT £7 RRS a Ca A IER OR the reason is
PIS IMG... I oe I come
badmidgiicaiyan’ jo). tek. se to see your younger sister

Analysis.—The three recorded renditions of this song differ only in
the length of the prolonged tone in the fifth and sixth measures, one
rendition giving this tone the value of four instead of five quarter
notes. The rhythm of the song is smooth and flowing, the irregular
divisions blending in an effective whole. The song is distinctly
minor in tonality and freely melodic in structure.

DENS MORD| CHIPPEWA MUSIC—II 219

No. 108. “He is Gone’”’ (Catalogue No. 431)
Sung by MEc’KAWIGA/BAU
VoIcE e = 92
Recorded without drum
[ pee hse =
-(2- 24 kp: -@- #: Oe arses h cart See ot 3 Pay
ERS =: = eee =
eS tee
Na - nin-a - nén-da-wen-dim na - nin-a-nén - da-wen-
_Eces* SS) St
fa. —— . So -»-
pe re tes
poeta roa =a i= eee
Es PotoeBe = =
dfiim nin - da nin - ga-cken-dfiim gi-waa-djad nin -

>

Dep te eee

ie ik te PT an

nanin/anén’dawen’diim...........

ninda/. SoCs

ninga’ Gay dam. abit sya biel gene 8 yy am sad
ermadiad’ 34 oJ! YT yt. that he is gone
Hine eer tus ec. te. rultyiie my lover

It was said that this song was sung by either a man or a woman
whose lover was dead.

Analysis.—This song contains 29 measures and comprises five
periods of regular lengths. The rhythmic unit occurs only three
times, but it is interesting to observe that the rhythm of the inter-
vening parts of the song resembles the rhythm of this unit. For
instance, in the phrase which includes measures 6 to 13 we note that
the opening and the close of the phrase correspond to the beginning
and the end of the unit, respectively, but the phrase contains eight
measures while the unit contains only five. (See Nos. 90, 94, 96, 103,
109, 115, 123.) Two consecutive syllables of the third word are
equally accented:

220 BUREAU OF AMERICAN ETHNOLOGY [BULL. 58

No. 109. “Iam Thinking of Her’ — (Catalogue No. 442)

Sung by Mec’KwawIGa’BAU
VOICE d = 92
Recorded aeuhone drum

os eee g aac.

i eee

apes Bog ferteees

WORDS (FREE TRANSLATION)

I sit here thinking of her
IT am sad as I think of her
Analysis.—This was said to be a particularly old song. It contains
an unusual number of intervals of a whole tone—14 (58 per cent) of
the 24 intervals in the song. Reference to Tables Nos. 11 and 12
will show that only 42 per cent of the ascending, and 35 per cent
of the descending, intervals in the 340 songs under analysis are
intervals of a second, either a whole tone or a semitone. The promi-
nence of the subdominant is noted in this, as in other songs of
sadness. (See Nos. 106, 110, 170). The melody tones are those
of the second five-toned scale. The rhythmic unit, although repeated
only once, clearly influences the rhythm of the entire song. (See
Nos. 90, 94, 96, 103, 108, 115, 123.) The interval of the a in the
aoa e a aia is Soneeret in the analysis of No. 22.

No. 110. “‘Weeping for My Love’’ (Catalogue No. 443)

Sung by Da’st4’sINo’KWE (‘‘ DECEIVING WOMAN ’’)

VoIcE a= 92
Son 9B without drum

Gr Sy ese ae ae

PS e seer ere eer e es

eee Nee

fs 5
Gee
Oey IR Sa SS Le

DENS MORE] CHIPPEWA MUSIC—II A |

WORDS (FREE TRANSLATION)

I go around weeping for my love

Analysis.—The three recorded renditions of this song vary slightly
in the length of the sustained tones. The transcription is from the
second rendition. The rhythmic unit, which is long, occurs four
times. The middle part of the song contains progressions similar to
those of the unit, but having a different rhythm. All the tones of
the octave are contained in the song, which is melodic in structure.
The subdominant is given special prominence. (Compare Nos. 106,
109,170.) The interval of the fourth appears in the formation of the
melody (see No. 22).

No. 111. “Come, Let Us Sing”’ (Catalogue No. 444)

Sung by Dsr’st4/sino’KWE
Voice a= 96
Recorded without drum

Fave eer | eeetizes Tare ease

b sevens os a eas
Fate eae tee eae eerste
WORDS
DENG iliac 58 seco se cee come, I beseech you

nagiimo’da............-.--.-- let us sing
wegonén’ wéndjt’ At 8c cisiy why are you offended?

Analysis.—This song consists of three parts, the first two chiefly
in double, and the last in triple, time. There is no rhythmic unit,
and the rhythm of the song as a whole is smooth and graceful. The
wide intervals suggest to the eye a certain awkwardness not present,
however, in the rendition by the Indian singer, who sang the melody
with sweetness and good intonation. The words, which were sung
indistinctly, are not transcribed. The interval of the fourth occurs
frequently in the middle part of the song (see No. 22).

222 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 112. Song of an Ambitious Mother

(Catalogue No. 445)
Sung by Mrs. GAUTHIER !

VoIcE A= 176
Recorded without drum

Fo ee a ee ee

- =

Nin ae do - da - ma - ge - fated nin nun-do - da - ma -
pioinecl tAi tenegp den ead
cess = ease ae aaa

ee ie ee a oe

“—

ge - nin Bu-gac o-da - nin nin -gi-tci i-nin- a-kik
See

Gr uz eee ee —— + = ft

nin-gi - tci nin-a - kik o-gi - mi - gi - we - nin
WORDS

Bupa’. oF Te es be seaperscei ats Bugac’’s
oda/niin daughter
DIDMIGCE 5 viendo = as my big
inin’gkik ?......:..:..--2:-- DEaeSMeettle
Oni pIWwe DUM... - ses. he is giving

The singer stated that this song was a memory of her earliest child-
hood, when she heard her mother sing it. A brass kettle is said to
have been one of the first manufactured articles secured by the Chip-
pewa and was a highly valued possession. The words of the song
suggest that the woman singer is bestowing her own property, yet
the last line indicates that in doing so she is representing her son.

Analysis.—This song begins and ends on the same tone, a peculi-
arity found in only 11 songs of the series of 340, namely, Nos. 132,
142, 149, 150, 170, 174, 197 in Bulletin 45 and Nos. 53, 112, 125, 127
of the present work, No.-127 being a duplicate of No. 149 in Bulletin
45. All these songs begin and end on the tonic. This is one of the
comparatively few songs composed by women (see Nos. 31, 39, 40,
127, 151, 177, 178). The last measure of the rhythmic unit varies
slightly in its repetitions, a measure being added in the second occur-
rence of the unit. A peculiarity of this song is that it contains only

1 Mrs. Benjamin Gauthier (see pl. 30), who sang this song, is known also by her Chippewa name
Bi'tawagi’jigo’/kwe (“double sky woman’’). She isa granddaughter of Ginic’tano (“wind-bound”’), who
was chief of the M&/nitowic’ and Bimidjig’amag bands of Wisconsin Chippewa, and who several times
visited Washington with tribal delegations. Mrs. Gauthier is a progressive member of the Lac du Flam-
beau village, but retains her interest in tribal traditions and customs.

2 Said to be a compound of the words int/n% (““man’’) and wa’btk (‘‘metal’’), the large brass kettles
obtained from the traders in the early days being called ‘‘man-kettles,”

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53

PLATE 30

MRS. BENJAMIN GAUTHIER

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 81

CHIPPEWA DRESS

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 32

SLEEVE (ABOVE) AND LEGGING—CHIPPEWA

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 33

CHIPPEWA SASH

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 34

ented

CHIPPEWA HEADBAND

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 35

CHIPPEWA MOCCASIN (PRESENT STYLE)

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 36

CHIPPEWA MOCCASIN (OLD PATTERN)

DENS MoRE] CHIPPEWA MUSIC—II 293

the first, second, fifth, and sixth tones of the diatonic scale, the third
being omitted. This is fully considered in the analysis of No. 53.
The interval of the fourth is prominent and has been noted in other
songs concerning motion (see No. 22). Thus we find in the analysis
of this melody a peculiarity noted in other songs composed by women
and in other songs concerning motion.

At the time this song was used the Chippewa women were wearing
the old, tribal style of dress. Mrs. Gauthier recalled her mother’s
description of this dress, and the costume she wears (pl. 30) was made
under her own direction, no fewer than seven Chippewa women con-
tributing their skill. The several parts of the costume (dress, sleeves,
leggings, sash, headband, and moccasins) are shown in plates 31-35.
Before securing broadcloth the Chippewa made a garment of similar
design from a blanket. E’niwtb’e offered to explain this to the
writer and requested his wife to stand while he put a_ blanket
around her, fastening it at the waist with a scarf and arranging long
folds under each arm to dispose of the fullness. His wife merrily
agreed that he remembered the dress she wore when they both were
young. Thesurplus length of the blanket was folded over and allowed
to hang loosely on the chest, the garment being held in place by
shoulder bands. In the old days the only ornamentation was on this
piece which hung over the chest, the depth of which depended on the
height of the person. Later, when broadcloth was used for the gar-
ment, this was replaced by a strip of that material, beaded, and still
later by beaded velvet. The sash worn by Mrs. Gauthier is of yarn,
woven in an ancient manner by the wife of E’niwitb’e, the singer.

A somewhat later type of Chippewa woman’s dress is shown in plate
16. This costume is decorated at the hem of the skirt, a style said to
be comparatively recent, and the sleeves, instead of being separate,
are joined together in the back to form a short jacket. The floral
designs which form the decoration of Mrs. Gauthier’s costume (pls.
30, 32, 35) are typical of the designs in use among the Chippewa at
the present time, which are frequently copied from natural leaves
and flowers. Similar designs appear in plates 11, 20, and 39. A
floral design said to be older than these may be seen on the sleeve
pieces of the woman’s costume in plate 16; these pieces were brought
from Mille Lac many years ago. It is said that geometric designs
preceded floral patterns among the Chippewa. Perhaps the simplest
of the former was the ‘zigzag pattern,” which is shown on the piece
across the chest, in the woman’s costume in plate 16 and also on the
ma’‘kak (pl. 37). The ‘‘star pattern”’ is said to have been originally
a dream symbol (pl. 33). The decoration on Odjib’we’s war drum
also was the outcome of a dream (see p. 62).

Plate 35 shows the type of moccasin now in use among the Chip-
pewa, and plate 36 the type from which some writers have believed

224 BUREAU OF AMERICAN ETHNOLOGY ~ [BULL 53

that the tribe derived its name, many Indians holding the same
opinion (see footnote ', p. 59). In figure 4 is shown a pattern, cut
by the aged woman at Lac du Flambeau who made the moccasins.
Speaking through an interpreter, she said that in the old days they
had no shears and cut the deerskin with a knife. No pattern was
used, as they ‘‘just made a covering for the feet and gathered it up.”
She said that she sewed the moccasin up the instep and ‘“‘piped it
to hold it firm,” the shortest of the three strips being used for that
purpose. She then moistened the moccasin on the inside and molded
the outline with the back of a knife placed inside the moccasin.
The gathered front also was moistened with tepid water and flattened
by pressing it on her knee. The seam up the back was curved below
the heel, leaving the small triangle of deerskin. She cut patterns for
two strips to be used in fastening the moccasin, but one long strip was
used in the pair illustrated, being passed through two little slits at the
front of the instep and tied, leaving the long ends to be passed

Fic, 4.. Pattern of moccasins.

around the ankle and tied at the back when the moccasin was worn.
In the old days, when deerskin was plentiful, the moccasins were
cut in one piece; it 1s said that one deerskin would make only two
pairs of moccasins. In thepair illustrated the flaps are separate from
the feet. The sewing was done with sinew, according to the old
custom.

After much discussion and with no little hesitation on her part, a
blind woman sang the following song, which was recorded by the
phonograph.

DENS MORE] CHIPPEWA MUSIC—II 295

No. 113. Love Song (Catalogue No. 446)

Sung by O’aaBEA’siNo’KWE (‘‘WOMAN OF THE BREEZE THAT BLOWS TO THE END’’)

VoIcE a= 160
Recorded without drum

Cube PEE S|

Nin-ga-da - wi-ga - ga-no -na nin- i -mu - ae
2 Ss os a $— BE =e = ==]
Gu f—e = pz PSae: see [<= ==
—— a es ae
—
nin-ga-da - wi-ga-ga-no - na bi - ji -go - kwe

ae aS ee

nin -ga-da-wi- ga-ga-no - na bi - ji - go - kwe
eR je
ae Sea =i ies
sa - gi - a nin -i-mu - ce nin-ga-wi-ga - ga-no -
area rae Oo rae | yas as Ree ST
= SSI
Ce a = oa a oe al a i: Sed eee eee EE
ee o iol ee;
bi - ji-go - kwe sa-gi - a nin -i - mu - cc
WORDS
ningadawi/gagano’na......-..--...- I will go and talk with
ANU MRI CG oe ons 2 os OS my sweetheart
Pe We. 22-2 es 1) SO the widow
See eee ome feat se Se ce I love
Bin ta es.+ 5-655 ee 8s oe: my sweetheart
DADS C8 ce ee en the widow

Analysis.—The metric unit is more rapid in this than in most of the
love songs, but this is compensated for by the frequent occurrence of
prolonged tones. All the tones of the octave except the third occur
in the song, which is freely melodic in structure. (See No. 53.)

67996°—Bull. 58 —183——15

226 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Love Songs—Lac du Flambeau Reservation

Metopic ANALYSIS

TONALITY
predes Serial Nos. of songs
Major ct ecto da attics 6 $Sauas ocean Meebes Same se eee oe 3 | 105, 112, 113
Minor’. 5 520g Gp Eee a okt cooked 6 | 106, 107, 108, 109, 110, 111
Total scwsscesetes ser emss veeytepesapgeren ethers 9

BEGINNINGS OF SONGS

Number A
of songs Serial Nos. of songs
On THEOCTAVE! - oncd woot ca one andB ewe bee took 4 | 106, 107, 109, 111
On the SCvEHth. Soe ses sonic met oes te chee e ewe eels 1] 113
On Phe Withss-8 ce ays een ee aa ee eee oe eee 4 | 105, 108, 110, 112
Mbtali> Vous aes A eee a5 eee ee eee ne oe 9

ENDINGS OF SONGS

Number ¢ .
of songs Serial Nos. of songs
On the tonie:< 2..-sosc627 = ee Bee 5 | 106, 107, 109, 110, 111
Ons TEY rsh ae BE ea poatcoee ies soar Seas enesiaea ene 4 | 105, 108, 112, 113
POLAL Serene ce vide ance testes ctem scenes 9

TONE MATERIAL

Number -
of songs Serial Nos. of songs
Second five-toned scale... . <2. sce ncns aacense sous oi 2 | 108, 109
Octave complete. s<--2 2 osceeece sa-cns specdiesae oe eeeee 1 | 105
Octave complete except seventh and sixth............ 2 | 106, 111
Octave complete except fourth...............-...-..-- 1} 110
Octave complete except third...........-..-..-.---..- 1| 113
Octave complete except second.........-....--.--...- 1 | 107
First, second, fifth, and sixth tones..................- 1 | 112
TOCA Se oes csisiae Salt aoa ese ents See ee eee ceeseire 9
ACCIDENTALS
Number A
of songs Serial Nos. of songs

Songs containing no accidentals.................-..--- 9 | 105, 106, 107, 108, 109, 110, 111, 112, 113

DENS MORE] CHIPPEWA MUSIC—II. DON

Metopic ANALYsIs—continued

STRUCTURE
*
pees Serial Nos. of songs
EE AATUOUIC! «= Sata ae et ae tle qe ci eelon ottreare mn heer wo 2 None
PIES INPElO ICS ons .ceecee tect et qitech ea asccesqseces 9 | 105, 106, 107, 108, 109, 110, 111, 112, 113
OTA oe wete nA te ac ce oon ee cos eran ts aden = tee aor 9

FIRST PROGRESSION

Number ;
of songs Serial Nos. of songs
LDS Ann 7 iG | a eo Se ena aadas eee ne atoer ce 4 | 106, 107, 108, 111
RID MALU Soe team eae ios os eeia oe SSR Caaeen sd oaoa mete 5 | 105, 109, 110, 112, 113
TNE aces g Rae. oe eS OSPR TSS 5 eee 9

Ruytumic ANALYSIS

PART OF MEASURE ON WHICH SONG BEGINS

Bomes Serial Nos. of songs
Omaceanied Park, tae. osama tas smaid b= cette oBee sess ee 5 4 | 106, 108, 112, 113
OMUIMACCEHLCO ALL amc arse nh ein «3 die anc alfa win wie Raeicraha 5 | 105, 107, 109, 110, 111
otal Mio spose ie be sh 3ocb ope o-yaesss- bet ee 9

RHYTHM OF FIRST MEASURE

Numb ee
pos ape Serial Nos. of songs
Songs beginning in 2-4 time.-....../.2.------.------- 4 | 107, 108, 110, 111
Songsiberimning in 3-4 times... 2s2ss.ccccs sess -cscca-e 5 | 105, 106, 109, 112, 113
UG EDIE =) OSS, SE SRO Seen DOC Grn oc Sor OSA aee are 9

CHANGE OF TIME

Number :
of songs Serial Nos. of songs
Songs containing a change of time. .........-...-.--.-- 9 | 105, 106, 107, 108, 109, 110, 111, 112, 113
Songs containing no change of time........-...-..---- None
POU ert cicrd cease SOM TSI Sd WR EE RS 9

228 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Ruytumic ANALYsis—continued

RHYTHMIC UNIT

pene Serial Nos. of songs
Songs containing a rhythmic unit......-....-.--...-..- 6 | 105, 106, 108, 109, 110, 112
Songs containing no rhythmic unit...................- 3 | 107, 111, 113
Potal [ococs << ose ceee sa ee eee ee PEE Tar Seas 9

Notre.—No drum was used in connection with love songs.
Breceine DAaNcE Sones

The first of the following group of songs used in the begging dance
is said to have come from the Assinniboin, or Rock Sioux, many
years ago. The dance also was derived from the same tribe but has
been practised among the Chippewa for so many generations that it
may be regarded as one of their tribal dances. This song was said
to be connected with the origin of the dance.

E’niwtb’e stated that it was the custom among the Sioux to lay a
new-born baby boy on the ground about as far from the wigwam
door as the dogs usually lie. A place was made comfortable for the
child, who did not enter the wigwam until he could creep, when it
was said that he “entered the wigwam as the dogs enter.’’? While
the child lay on the ground outside the door the dogs formed a circle «
around him with their heads toward him, and their breath helped to
keep him warm. It was said that the dogs gave this song to a boy
during the time that he spent among them. E/niwtb’e said that the
dogs did not sing the song but willed the boy to know it and he did.
When the latter reached manhood he went from camp to camp sing-
ing this song, followed by the dogs. In his hand he carried a rattle
of deer hoofs which he shook as he sang. When he finished the song
he was given food and his dogs also were fed. This was the origin
of the begging dance. In its later use it was considered a legitimate
way for the needy members of the tribe to secure food and was also
practised for pleasure. A begging dance could be started at any
time, a leader and a small company going from one wigwam to
another, dancing and singing. If the occupants of the wigwam were
asleep the dancers entered and danced around their fire. The people
then arose and gave them food, for those who danced the begging

1 See p. 171, Bulletin 45, and p. 47 of the present work.

DENSMORE] . CHIPPEWA MUSIC—II 229

dance were never refused. If the people had no cooked food, the
visitors took such provisions as they had, placing them in a birch-
bark bag which an old woman carried for the purpose.

No. 114. Song of the Dogs (Catalogue No. 403)

Sung by E’nrwiép’r
VOICE 12 84
Drum J= 92
(Drum-rhythm similar to No. 2)

pg peter

ame eet OE a =
ee ese s she fae ee

- ni -mo-kan-fig nin-ga- wi -

z== Saaae Pe PN ore Sy

pf aaa - wi- gog
WORDS
SF KGET ose eS ot the dogs
ningawidjiwigoe”............ will go with me

Analysis.—In structure this song is classified as melodic with har-
monic framework. It contains no rhythmic unit and the time was
not steadily maintained. It is interesting to note that a variation in
time occurs on corresponding measures in the four renditions of the
song.

230 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 115. ‘‘Here I Come Again’’ (Catalogue No. 438)

Sung by Mec’KAWIGA’BAU
VoIcE — 84
Drum B — 84
(Drum-rhythm similar to No. 19)

ar

Bee Sees 2 se £ a = tf 2... ae PA
Sa PS ap es

ede omnes | =
Ca -i- gwfi mi -na- wa ni-ga- bi-dwe-we-dfiim o0- gi-tci-da-dog
=
Se 22e= ies ee eee ese : ———s “ptf
ae CSS geese a eee a
a he ca -i-gwi mi - na-wa ni-ga- bi - dwe - we -
Pai SRA Ea SE _
eS ee eer ae
Bp — ———
dfim ewer case ah ane e ca - i-gwi mi - na -

2S Se

Se oe | Se,

wa a Panik }

WORDS
cadawiWall. fost. t2 fra: -abeiel here
BMA, oS Soe che ee ob I come again
ni/gabidwe’wedim........... howling as I come
OY Pea GOO. oe Ae Sd ton O you warriors

Analysis.—Those who take part in the begging dance represent
themselves as dogs, using the term (ogi’tcida’dog) which dogs are sup-
posed to use toward their masters.

The first two measures of this song comprise the rhythmic unit.
These are followed by a triple measure containing the note-values of
the rhythmic unit but showing a change of accent. (Compare Nos.
90, 94, 96, 103, 108, 109, 123.) The ninth measure contains a
peculiar rhythm which does not vary in the six renditions of the
song; the first tone of the triplet is accented, and the note-values are
steadily maintained. The song contains all the tones of the octave
and is purely melodic in structure.

1 Ogi’tcida (from Sioux aki’¢ita, warrior) is a word which has come into common use among the Chip-
pewa. The ending dog in the case of a noun is a vocative, having a different significance than when used
with a verb (see No. 84). For other instances of words from Indian languages incorporated, with some
modification, into Chippewa, see pp. 76, 186, 190.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 37

“maa

—
Peseta

MA’KUK FOR MAPLE SUGAR

DENS MorE] CHIPPEWA MUSIC—II 231
No. 116. ‘““Maple Sugar” (Catalogue No. 439)

Sung by MEc’KAWIGA’BAU

Voice d= 88
Drum = 88
(Drum-rhythm similar to No. 19)

WORDS
ein’ ziba/ewat.. 2.0. .00 202. maple sugar
efts. murptL ils. Lil Aue is the only thing
me’noka’goyan’.............-. that satisfies me?

Analysis.—This song contains the tones G, A, C, D, E. Although
the song begins and ends on D, the tone acceptable to the ear as a
keynote is G. The tone material thus comprises the tones of a major
scale lacking the third and seventh, a sequence of tones designated
by Helmholtz? as the first five-toned scale. Other songs lacking the
third are considered in the analysis of No. 53. The influence of the
rhythmic unit is evident throughout the song, though the variation
of the phrases is less interesting than in the group of songs mentioned
in connection with No. 90.

The maple sap (sinziba’kwadwabo’) is boiled into sirup (jiwagim’-
izigin) and then prepared in three forms, the most common being
the grained sugar (nasa’igin), which is stored in ma’/kaks (pl. 37),
varying in size from very small ones to large ones holding 20 pounds
or more. With the covers sewed down the ma/kiks afford a con-
venient method of storing the sugar. In the old days they.were

1A pail or ma’ktk of maple sugar was a gift highly valued by those who joined in the begging dance.
2 In Sensations of Tone, p. 260.

232 BUREAU OF AMERICAN ETHNOLOGY (BULL. 53

sewed with spruce roots. The ‘‘molded sugar”’ (zi’gaigin) was packed
in cones of birch bark (fig. 5) fastened with tiny wooden pegs and
hung by narrow strips
of bark; several of these
cones were sometimes
hung together. A
duck’s bill was fre-
quently used to hold
the ‘‘molded sugar.”’
A third method of pre-
paring the sugar was
in the form of a sticky
gum or “taffy” (bigi-
yuwr’ zigain), which was
placed in small folded
packets of birch bark
and tied with strips of
the bark. At the close
of the sugar-making
the Chippewa went to
their summer camps
(pl. 38), which were usually situated on the shores of lakes. In the
illustration a man is shown mending his canoe by holding a charred
stick near the pitch which covers the seams; the heat softens the
pitch so that it can be rubbed into the seams with the fingers, making
them watertight.

lic. 5. Birch-bark cone filled with maple sugar.

No. 117. ““My Travels” (Catalogue No. 440)
Sung by Mec’KAWIGA’BAU
Voice g— 88

Drum |e 88
( Drum-rhythm similar to No. 19)

#. -@ @ -9- -9-* 0--9- 9--9-°-9- | -9-
ey FE Ee Eee ee
5 zoe eae ee ee see
ee
Bahia cheney eae
225-2 BES ee I= a ae ose -~t=——
b-bd [3 ae! = aos Bees ste
A -ga-wa-ni - gi-ken-dan be-ba-ma - di-zi-yane a he

3 <a ee ee
=

a

VLOSANNIN ‘A¥V1 HO33S7 ‘dNVO YSWANS VMaddIHO

8€ 3LV1d €©€9 NiLATING ASOIONHLA NVOINSWV 3O NVaeNE

DENSMoRE] ; CHIPPEWA MUSIC—II 235

WORDS
aga/wanigikendan’...............-. I can scarcely remember
bebama‘diziyan’................--. my travels

Analysis ——The words of this song suggest that the singer is
emphasizing his need of food by referring to the length of his journey.
This song contains no rhythmic unit but is characterized by a six-
teenth note at the beginning of the measure, followed by a dotted
eighth. Double and triple measures alternate throughout the song.
This succession of measure-lengths is uniform in the several renditions
on the phonograph cylinder. The song is purely melodic in structure
and contains the tones of the fourth five-toned scale.

No. 118. Song of Thanks for Food (Catalogue No. 441)
Sung by Mrc’KAWIGA’BAU

Voice g — 120
Drum = 138
(Drum-rhythm similar to No. 19)

i aes | ee

aes Bd i ans SE a = BESS 8 *9-0-—-» = Vie ol
: —- = —y+-+t+—_3+e
2 Gypsy

Analysis.—This song marks the close of the begging dance at a
house and is sung only once. The people have eaten the food given
them and sing this before proceeding on their way.

The rhythmic unit occurs in the opening measures and also at the
close of the song. The fourth and fifth measures bear resemblance
to the rhythmic unit, but show a change of time from double to triple.
The song contains only the tones of the major triad and sixth, and
would be classified as harmonic in structure except for the accented F

in the fourth measure from the close. Eleven renditions of the song
were recorded, which are identical in every respect.

934 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

SoUTHERN DANCE Son6Gs!

No. 119 (Catalogue No. 404)

Sung by P’/niw6B’z

VoIcE = 144
Drum = 120
(Drum-rhythm similar to No. 19)

Analysis —In this song the metric unit of the drum is slower than
that of the voice. The melody contains all the tones of the octave,
an unusual feature in songs of minor tonality. In one measure we
find C sharp, which characterizes the key of D minor in musical
usage. The other measures contain C natural, giving a whole tone
between 7 and 8 (see Nos. 9, 50, 85, 100, 124). The rhythmic unit
consists of two parts, the first of which contains four measures and is
based on the descending fifth D-G, while the second part contains a
short answering phrase on D in the lower octave. The melody is
unusually pleasing and effective.

1 See pp. 45, 129.

DBNSMORE] CHIPPEWA MUSIC—II 235
No. 120. “Invite Our Sweetheart”’ (Catalogue No. 405)
Sung by E’/nrw6p’s

VoIcE — 184
Drum a EG
Seeeresen ss similar to No. 19)

amet Stier ees aeneeaa es = ae os ee

TaTaeee a-wi-nfin-do-ma - keg ki ni-mu - ce-nano-
-9- eet, ees pied TS) EVA
— ane So ee
= Poe ! =e
gi - tci-min-wen - da - - cf 0 ca-win-o - ka - zi- win
ptt pr ere
ee eg ae
gi - tci-min-wen - da_ go - cf o ca-win-o - ka - zi- win
WORDS
a’wintin’doma’keg......-.---- go and invite
kes SESS We ye! A Gee our
MInCMNeS HAN: ioe asin, 2 05 2b. 5 sweetheart
ogi’tciminwen/’da........-..-- she enjoys
ENCES EE ENO EN truly
ca/winoka/ziwin...........-- the dance called ca’wino’ga

Analysis.—In this, as in the preceding song, the metric unit of the
drum is slower than that of the voice. Five renditions of the song
were recorded, the peculiar rhythm being steadily maintained. The
song is harmonic in structure, the melody moving along the intervals
of the chord of G minor. The first progression is a major third (see
Nos. 1, 9, 34, 83, 94). There is no rhythmic unit after the fourth
measure, yet the song as a whole has a rhythmic swing.

236 BUREAU OF AMERICAN ETHNOLOGY pRULL. 53

No. 121. Southern Dance Song (Catalogue No. 413)
Sung by E’/nrwtp’E

VOICE J= 96

Drum ee 96
( Drum-rhythm similar to No. 19)
(1)
“2 it
= | 9 2 | See @ @@ @- »
[De Pace ———— |

Eaves ee = =e =
Speeere ferest ptoperepestes Papeete

qe Er singer stated that this and the following song were
always sung together and at his request they were recorded consecu-
tively ‘on the phonograph cylinder. Throughout this song a double
measure follows a triple measure, the accent being so clearly defined
that the two can not be combined in a 5-4 measure. Two rhythmic
units are contained in the song, the division of the last measure
being somewhat similar in the two but each having a character of
its own. It is said that ‘the Indians were so carried away with
the ca’wino’ga that frequently they danced all night.’’ The songs
of this dance contain a rhythm which would tend to produce this
result. Each song was sung an indefinite number of times, with no
interruption of the time.

No. 122. Southern Dance Song (Catalogue No. 414)
Sung by E’n1wép’E
VOICE a — 200
Drum _ — 96
( Drum-rhythm similar to No. eee es

faz ~o-- =

ae Se pee ane ony
og = Stes

ae

omy S tptiaiitg Sap el

DENS MORE] CHIPPEWA MUSIC—II ew |

Analysis.—Between the recording of this and the preceding song
the pause was sufficient only for the prolonged call with which an
Indian frequently closes a song. It is impossible to transcribe this
eall, or ejaculation, which begins on a high tone and descends glis-
sando, the syllables being yu-u-u, wa! Sometimes such a close is
given with the syllables wa-a-a, hi! accompanied by a rapid beating
of the drum.

This song contains the same drumbeat as the preceding; the voice-
rhythm is more rapid than in the preceding song, and can be meas-
ured only by an eighth note as the metric unit. (See Nos. 100, 101;
103, 104; also No. 168.) Five renditions of the song were recorded
and the metric unit was steadily maintained, the only difference in
the renditions being that the last phrase was omitted from the first
three. Comparison with the preceding song will show the rhythmic
unit of each to consist of triple followed by double time, but in the
first song there is one, and in the second there are two, double meas-
ures. The dance seems to gather speed until it ends in a veritable
whirlwind, but through it all the stolid drum retains its even, mod-
erate beat.

Sones CONCERNING THE Girr oF A Pony

When the people at a dance hear the following song they know that
a pony is to be given away. A man dances around the drum with a
little stick in his hand with which he whips an imaginary pony; then
he presents this stick to a friend, the actual transfer of the pony
taking place later.
_ It sometimes happens that the people are slow in volunteering to
part with their ponies. In that event the head drummer may start
this song and one of the assembly may present a beaded suit to a
man who owns a particularly desirable pony. The proper return for
this gift is a pony and in this manner the presentation of one may be
forced. All who have given away ponies join in the dance and if
others dance at this time they are required to part with their ponies.

238 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 123. Song Accompanying the Gift of a Pony

(Catalogue No. 435)
Sung by Mrc’KawiGca’BAU

VoIcE a 96
Drum = 100

(Drum-rhythm similar to No. 19)
-s-

age === Soe eaesaee
pay aeeeieees SS
Sipe eRe ee

Analysis.—This song opens with a two-measure phrase, which is
repeated. This is followed by a phrase of two measures, which reap-
pears near the close of the song. The first phrase is not regarded as
a rhythmic unit, as it is found only at the opening and does not
influence the rhythm of the remainder of the song. The second
phrase has an evident relation to the rhythm of the entire song,
measures 7 and 11 containing a division of the count similar to that
in the first part of the unit, and the third measure from the close
containing the sixteenth followed by a dotted eighth note, which
characterizes the latter part of the unit. (See Nos. 90, 94, 96,
103, 108, 109, 115.) The song is minor in tonality and contains only
the tones of the minor triad and fourth.

The man who has received the pony-stick leads the dance as the
following song is sung, carrying the stick in his hand. All who have
ever given away ponies dance with him, many holding up fingers to in-
dicate the total number of ponies thus presented at various dances.

DENS MORE | CHIPPEWA MUSIC—II 239

No. 124. Song of Thanks for the Gift of a Pony
(Catalogue No. 436)

Sung by MEc’KAwIGA’BAU

VoIcE = 96
Drum g— 100
(Drum-rhythm similar to No. 2 )

pe terere
sgp oe Siete

Analysis.—This song is particularly rhythmic. The unit of rhythm
is in double time and is repeated once, followed by a section in triple
time in which is noted the triplet in the first count of the measure
which characterized the rhythmic unit. The song is minor in tonality
and contains a whole tone between 7 and 8 (see Nos. 9, 50, 85, 100,
119).

Ss

Moccasin GAME SONGS

This and the following song are ordinary songs of the game, and
no dream origin is attributed to them (compare Nos. 103, 104).

240 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 53
No. 125. Moccasin Game Song (Catalogue No. 410)
Sung by E/n1wt3’E

VoIcE = 84

Drum = 92

(See drum-rhythm below )

ar aere ese eed a agae eae ==S5) Ses pes
eater ae ae fal

Analysis.—This song is minor in tonality and contains the first,
second, third, fifth, and sixth tones of the diatonic minor scale, a
tone material occurring in only three other songs of the series of 340
(see Nos. 178 and 184 of Bulletin 45, and No. 83 of the present work).
This is of special interest, as the omitted tones are the same intervals
as in the fourth five-toned scale, which is major in tonality. The
melody begins with an upward progression of an octave (see Nos. 170
and 174 of Bulletin 45, and Nos. 9, 31, 53 of the present book); it
also begins and ends on the same tone (see No. 53). The rhythmic
unit is steadily repeated except in two measures in which the division
of the last count is changed, this slight change giving character to a
melody which otherwise would be monotonous. The entire song is
in triple time. Four renditions were recorded, the repetitions usu-
ally succeeding each other without a long closing tone. Such a tone
is indicated in the transcription, but appears only once on the pho-
nograph cylinder.

d

t .
¢
Wit

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 39

CHIPPEWA CRADLE-BOARDS

DENS MORE } 241
No. 126. Moccasin Game Song (Catalogue No. 427)
Sung by Mrc’KawiGa’BAU
Voice g—96
Drum — 104

(Drum-rhythm similar to No. 125)
a a . lo 2. a

oi ee eee Sates
aa aes. peas Sehr 7aaiers =

eee duis song is based on the tones a the minor triad.
The rhythmic unit occurs seven times, with a slight variation in the
division of the first count. The speed of the phonograph was greatly
reduced in order to test this variation, which was found to be clearly
and uniformly given throughout the several renditions. . The intona-
tion on the sixteenth notes occurring at the close of the measures was
uncertain, these being given with a “toss of the voice.”

SONG FOR THE ENTERTAINMENT OF CHILDREN |
No. 127. Lullaby (Catalogue No. 447)
Sung by O’GABEA’SINO’/KWE
Voice J = 96
Recorded without drum

Jest:

we we we we we wewe we we we we we we we

Analysis.—The only two songs which the Lac du Flambeau Chip-
pewa were found to have in common with the White Earth Chippewa
are the lullaby and the song accompanying the folk tale of We’nabo’jo
and the ducks (Bulletin 45, No. 197). This lullaby was first recorded
at White Earth, Minnesota (see ibid., p. 193). On comparing the
two transcriptions it will be seen that the first four measures are
identical and that the latter parts differ, though both renditions end
onthe same tone. This is one of the few songs composed by women
(see Nos. 31, 39, 40, 112, 151, 177, 178). No words are used in this
song, wewe? being continuously repeated.

1See also songs Nos. 51, 52, 53, 179, 180.

2 Wewe is a root, the meaning of which implies a swinging motion; thus, wewe’bizun signifies a child’s
swing or hammock. The writer has frequently seen a Chippewa mother put her baby, still fastened in
its cradle-board (atik’ana'gin), plate 39, into a hammock crudely made of a blanket stretched open with
astick, which she swung back and forth until the baby fell asleep. Still more primitive is the method
also shown in the same plate; here the woman is seated on the ground with feet extended in front and
the cradle-board resting against them, enabling her to move the cradle-board slightly back and forth by a
motion of the feet.

67996°—Bull. 58—13 16

242 BUREAU OF AMERICAN ETHNOLOGY -[BULL. 53

Unclassified Songs—Lac du Flambeau Reservation '
MeE.Lopic ANALYSIS

TONALITY
Sees Serial Nos. of songs
MSjOr), . foto scans cane oe ieee ee 8 | 68, 115, 116, 117, 118, 121, 122, 127
1.05610) SOO A. SREIERO AR. - OE NEN IMU Hh ae. 2. ORES. SP “8 | 114,119, 120, 123, 124, 125, 126, 171
Beginning major, ending minor (same keynote). ...-.. 1 | 67 sed
Totalssc = Ssewre cet See eee 17 |
BEGINNINGS OF SONGS
piaes | Serial Nos. of songs
Oni twelftheecz-) tere Ff sees oe tet ee ates te 2 | 68,115
Qn fifth. 55227505. Sss ae eae eee ea teens 4 } 116, 118, 120, 125
On, ninth 3 Sete. ee tere e a aRe ees see ees oe tee 2 | 67,117
ON OClaVE snc fesse eee anne sae eeaeuse is os iaeene 5 | 114, 119, 123, 124, 126°
Oni fourth iss a a SATE asst dae Sens odee ce ae 2°} 121,122
On- third: ens scasee state! Ae sascise teh betes teck te 1 | Ae
On tonic. i osccscoet he eck shee eae ce se see er aaa eee 1 | 127
Totalostcescaesenc ce csuse eter os oe eases sane 17
ENDINGS OF SONGS
Oran Serial Nos. of songs
On tone: ...d) ae Sees cess eee eo eee eee eae 12 | 67, 68, 114, 115, 119, 121, 122, 123, 124, 126,
127,171
QD filth — 25 pee ee ee ee a a oe eee 116, 117, 120, 125
On third: ces seed aches se shiedeca ce orcee ee anes 1| 118
Total: =: Berne ee nates ae ance eeemret ee See 17
TONE MATERIAL
Number d
of songs Serial Nos. of songs
Fins five-toned seale-=h 7.27 et eek REE. . see ck 1| 116
Sécond. five-toned scale... f 3.22222 secu bane eed ceases 1 | 122
Fourth five-toned'scalo. . . 2... soe eecnao re ueeees eter 3 | 68,117,127
Major triad amusixil----~- 2 sce cores see ae seee 1| 118
Minor triad) and. fourth $5328: 25 Sistah se see “2 | 120, 123
Qetave complete stash se8 22 bose sergee tener . 1 | 119
Octave complete except seventh...................--. 1} 115
Octave complete except seventh and second........... 1 | 126
Octave complete except sixth o.-.---.-2-----.222--s-- 2 | 114, 124
Minor third'and fourthes-)- eee a eee eee |
First, second, and fifth tones: =. .. .-- 5.52. .cc.ecseee- 1 | 121
Other combinations of tones... .......---...-2.0s2-5n- 2 | 67,125
lB) 2 en ee IS ge hh rh ES A, Wi eal 2 17

1 The following songs included in this table are described in other chapters: Nos. 67 and 68 are divorce
songs, found in the Drum-presentation Ceremony, while No. 171 is a song of the pipe dance.

DENSMORE]

CHIPPEWA MUSIC—II

243

Metopic ANALYsIs—continued

ACCIDENTALS
Number 2
of songs Serial Nos. of songs
Songs containing no accidentals..................--.-- 16 | 67, 68, 114, 115, 116, 117, 118, 120, 121, 122,
123, 124, 125, 126, 127, 171
Songs containing seventh raised a semitone.......-..- 1 | 119
ROR eh es erent en oo oe Ee sicc ac sta sisee 17
STRUCTURE
Number Sees
of songs Serial Nos. of songs
el ATOM Os o/s Set Sek EE As heey Re LER LS ee citec asi 3 | 120,123, 124
Rurelypmelodic.\ 5546s 959-508 354: dod Soe eseees = 11 } 67, 68, 115, 116, 117, 119, 121, 122, 125, 127,
171
Melodie with harmonic framework... ..........-.------ 3 | 114, 118, 126
SO bel eee ee eee a eas ee eRe mae enaat a 17
FIRST PROGRESSION
Number -
of songs Serial Nos. of songs
ND) COVEN LE OU age ee a ee oars ago aaah ob aleve dpa ee 10 | 68, 114, 117, 118, 119, 120, 121, 122, 128, 126
NATO ee See ce een i ie don sae ei cieeRsemen' 7 | 67,115, 116, 124, 125, 127, 171
MO LAL E erates steve eee nle es Meas os oie soe aah teichs 17

Ruytumic ANALYSIS
PART OF MEASURE ON WHICH SONG BEGINS

Number

of songs Serial Nos. of songs
pe alae eee 12 | 68, 115, 116, 117, 118, 121, 122, 123, 124,

125, 126, 171
5 | 67,114, 119, 120, 127

17

RHYTHM OF FIRST MEASURE

Number

of songs Serial Nos. of songs

Songs berinnine in QA time: fs e. o. ease gees Jose aek

“Songs beginning in 3-4 time...............-..--...----
Songs beginning in 3-8 time.............--...-----+---

12 | 67, 114, 115, 116, 117, 118, 119, 120, 123, 124,
127,171

4 | 68,121, 125, 126

1 | 122

244

BUREAU OF AMERICAN ETHNOLOGY

=»

[BULL. 53

Ruyrumic ANALYsIsS—continued

CHANGE OF TIME

Number

of songs

Songs containing change of time.............../....-- 14
Songs containing no change of time................... 3
Total. os. cs nsdsins Dee Bes =P eee ee ree 17

RHYTHMIC UNIT

Number
of songs

Serial Nos. of songs

67, 68, 114, 115, 116, 117, 118, 119, 120, 121,
122, 123, 124, 171
125, 126, 127

Serial Nos. of songs

Songs containing rhythmic unit 14

Songs containing two rhythmic units. ...........-.-.--- 1
Songs containing no rhythmic units.........---.....-- 2
BROBAL Ase eye Got ea Se ee ne eyes 17

67, 68, 115, 116, 118, 119, 120, 122, 123, 124,
125, 126, 127, 171

121

114, 117

COMPARISON OF METRIC UNIT OF VOICE AND DRUM

Number
of songs

Metric unit of voice and drum the same............-... 5
Metric unit of voice and drum different..............- 11
Recorded! withouh.dnuims....<cececa seek e oe Pe eee 1

Obs af «eam ce aceuts wise ston a BASE eae eee 17

Serial Nos. of songs

115, 116, 117, 121, 122

67, 68, 114, 118, 119, 120, 123, 124, 125, 126,
171

127

CoMBINED ANALYSES OF War, DREAM,

Lovr, AND UNCLASSIFIED

Sones '—Lac pu FLAMBEAU RESERVATION
Metopic ANALYSIS
TONALITY
War Dream Love | Unclassi-
songs songs songs | fied songs Total | Per cent.
IMAjOY hee names e ceetnt cere cee ee ene ae 10 2 3 8 23 42
MINOR peciot a oe cee cee ee renin ee eee 8 9 6 8 31 56
Beginning major, ending minor (same key-
TIOUC) «nw tos'e w cinsine te etessie epee te os ties Oren eee eee |e Sa anene ee eeeeot 1 1 2
ERSTAUSSS AER EMEA L PEE OSS oP DE DY. BBA 18 11 9 17 Oo. ee cee eee

1 Given separately on pages 195, 213, 226, 242.

DENSMORE] CHIPPEWA MUSIC—II

Metopic ANALYsIsS—continued

BEGINNINGS OF SONGS

245

See | come || kes SCE) tocar | Pv cont
Mune tweltth ss. 22 53 SP ees eed 8 7 | See 2 12 22
ie Goths. See eS. Bed coheed 2 3 4 4 13 24
On the tenth ......... Ce Soe ne Di. c...... ete eel 2 5
Ginsiiie ubtindesss eo ot SEES. cheese etc wee ene : | a 1 2 4
Onithominthy oo 2. Sosescase 5 abenetnceets Tien | eee 2 3 6
WMURCIOCIEVe.- (> os ose ects ce gee mace soe 4 4 4 5 av 30
Ominexiventhvect es Sanne. eee cebes. shal ontaase nals coco bey [pera seatoeney 1 y
Ome sudaleetes se sates noe eee eee oe 1h al si oe |g Se | leone gamete 1 a
Onithefourth.~.<.25 sscncse so: 2 oe cee nesses eo Dlesecarrscan 2 3 5
OMPRE TONIC ace sree eae Soe ee eae eal hoe eee: | oe eee he ae 1 1 2
otal See a2 ee ak ee a 18 11 9 17 DD | Paes aches
ENDINGS OF SONGS
ses |e gheatt |. Les | neta tad | Btoneade
(ONE Wee O11 Ce een pee on ee ee See ee 14 8 5 12 40 7.
Wintheditthee sacar ae ccaee ona see sone 3 3 4 4 13 24
OUR GUN le es ee ee eo ys tse Ac So eee eae I) ae Sit | ee le 1 2 §
{NO} tl ee Soe See. ae ee ere 18 1l 9 17 5Dp | Shox cescne
TONE MATERIAL
eee bee eee |Poel” Peres,
IMTS OE WE-LOMEC SCAIG 2c. caeceeons. os ose oon |ssonsk eeeuloee vaee - 28 |Soee oe 1 1 oy
Second five-toned scale...-...........-.--- 3 1 2 1 7 13
Fourth five-toned scale..........--..-.--.- 6 et | Bete wee es 3 11 20
DEOL iad ane, SiMe as Sete Se ee EF Uipy Ue ball eye ay 1 1 2
Major triad and second...':.-.-.-.+.2.:..- 1D re Aas: || ee ee ee ee See 2 1 Le
Minor, triad! and statin? ote ast Saeed oo og 8 1 | ace eeenenel ee eee 1 2
Minor triad and fourth.................... 1 Ballte Sohne 2 6 10
Ociavecompletec css as s.ccceek ec ceeeses 1S ene 1 1 3 5
Octave complete except seventh...._..... 4 HG) Se cece 1 6 10
Octave complete except seventh and sixth.|..........|.......... A ean et ten 2
Octave complete except seventh and fourth. 1, |Voercr eet =n rall eee Oe el (2 1
Octave complete except seventh and second. 1 i ee ae 1 3
Octave. complete except sixth). =: .-22:-<-. 45 -2-2.2-.4 IE | a Sate ee 2 3
Octave complete except sixth and fourth... |---------- 0H ee ae ie eee te if
Octayercomplete except fourth =... .225— es beeen as Pe vot Se ne 1
Octave complete except third. ...-.......- Jere stents siete |ia weve occas We eerste 1
Octaveicompleteexcept second 25522225 S222 22-2232 j i oe en 1
Minominird ano fo mtih 2.4: «12-2. <b e< 3) See ee re eo eee 1 1
ESP SeGONG. ciadhittit. TONGS: ...2.< 2222. < 5) eeeeeeeelaece cee a afon. ae. aoe 1 1
Hurst, second, fifth, and sixth tones........|5-.-+-c5-.|----.---<- AD eee Sieh eye 1
CRRERCOMMIHatIONS Of tONGS..-2 3-15. eso [essence te|-c 2-2 a eo sk ee 2 )
SING eee ee ee ie ae a okie coward 18 ll 9 17 DM ers sea rei

246

BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
Mexopic ANALYSIS—continued
ACCIDENTALS
War Dream Love | Unclassi-
songs songs songs |fied songs) T°tal | Percent.
Songs containing no accidentals. .........- 17 9 9 16 51 92
Songs containing seventh raised a semitone.|.......... Uo chseneree|eoeaseease 1 2
Songs containing seventh lowered a semi-
122): eee Se oe Ee nae ene ge Vi -teren pe tdleseserceae 1 2 4
Songs containing sixth lowered a semitone.|.......... 1 eee Ee aes rie 1 2
res Mena ein cae NS 18 | rn | 9 | 17 Fp maith
STRUCTURE
War Dream Love | Unclassi-
songs songs songs |fied songs} Total | Per cent.
HATINGMCS 257 acs ced cae ene eens ae eae 1 Wi Sadawicin ome 3 7 13
Purely MGC... - =. csc oat aceasta coed 9 8 9 11 37 67
Melodic with harmonic framework... ....-. | Rarities 3 il 20
Oboe ec a tee ne eee ees 18 11 9 17 50" Coane
FIRST PROGRESSION
War Dream Love _ | Unclassi-
songs songs songs | fied:songs Total | Percent.
MO WA WOLO) 352. ack ote eat Bean sse keke 15 8 10 37 67
LOS oer Dee ne eee One oes Se meee ae 3 3 5 v6 18 83
TTS 2 tte ee eee aed Mie eeT, 18 uu 9 | 17 55 | a
RuytHMic ANALYSIS
PART OF MEASURE ON WHICH SONG BEGINS
War Dream Love | Unclassi-
songs songs songs fied songs Total, . | Per cent.
Onaccented part... 2-2 o26c sees seco 12 11 4 12 39 71
Onvunaccen ted partos5-.- 22-2 waceee- ese Gil... sane z 5 16 29
Total. 25a renee ee eee 18 11 9 17 55 | purer

DENSMORE] CHIPPEWA MUSIC—II 247

RuytTHMic ANALYSIS—continued

RHYTHM OF FIRST MEASURE

War Dream Love | Unclassi-
songs songs songs | fied songs Total Per cent.
Songs beginning in 2-4 time...........-..-. 12 7 . 4 12 35 68
Songs beginning in 3-4 time...... Spa dare 6 3 5 4 18 33
Songs beginning in 5—4 time. -.-:..........|--.------: DE ere apa mars | sia eeatets sia’ 1 2
SONES DESUALEY 5 —SiUINO yon os wre ale aie cin eicnte s [foe a'ee cen [wines cone oe 1 1 2
MOtala sa See crass tase eos cciec hs 18 11 9 17 Obi ais ca eee

CHANGE OF TIME

War Dream Love | Unclassi-
songs songs songs fied songs Total °| Per cent.
Songs containing change of time.:......... 16 11 9 14 50 91
Songs containing no change of time....-... PuSebe Ssascalelecemee ee 3 5 9
60 rset nape ma at, Silla fal bar yi 18 11 9 17 til Be egeae posits

RHYTHMIC UNIT

War Dream Love | Unclassi-
songs songs songs | fied songs Total: | Per cent.
Songs containing rhythmiic unit.........-.. 14 9 6 14 43 78
Pongscontainine. 4wo:xhythmie units << <co2| eae ne sal ecesis-eoss|seceasess 1 1 2
Songs containing no rhythmic unit........ 4 2 3 2 11 20
toler ee San cere aoe et eee 18 11 9 17 GN Base Saeciee

COMPARISON OF METRIC UNIT OF VOICE AND DRUM

War Dream Love | Unclassi-
songs songs songs fied songs Total | Per cent.
Metric unit of voice and drum the same... . 9 | Se 5 18 33
Metric unit of voice and drum different... 9 ih |Seeeoe... A 11 27 49
Recorded withoupidrume <- fos qs 4. steve r= sea e er in e8|> sda ol 9 1 10 18
Totalee Sal3< Cee Ae ee ease A, 18 11 9 17 SS ie avesa. 2h

THe SyMBOLS oF Sones Wuicu NEVER WERE SuNG

In passing through the Chippewa village at Lac du Flambeau tall
poles may be seen standing beside many of the houses. Surmount-
ing each pole is a cloth-covered frame which resembles a small flag
and is so fastened as to permit it to swing with the wind. On
gray weather-beaten poles only part of the frame and a few tatters of

948 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

cloth remain (pl. 40), but from the newer ones fly banners bearing
strange figures outlined in red and blue. Symbols of the sun, moon,
and stars are easily recognized and there are also crude drawings
of birds. High up on many of the poles are tied bundles of faded
rags that flutter in the breeze and suggest mystery.

Inquiry as to the significance of the poles will probably be met
with evasive answers. The writer heard a white person ask an
Indian whether the fluttering rags were “‘supposed to frighten away
evil spirits.”” One who had lived in the vicinity many years said,
“The Indians put up a new pole when anyone dies; there is always
anew pole after a death at the village.’ Such is the superficial
impression regarding the medicine poles, showing how well the Indian
has guarded the things which concern his deeper nature.

If the entire story of one of these medicine poles could be written,
it would be the history of a man’s life—his boyhood dream, his failure
to fulfill that dream, and his struggle against sickness and death.

It is said that the custom of erecting a medicine pole beside a house
had its origin many generations ago, and was as follows: A young
man blackened his face and went away to fast, according to the cus-
tom of the tribe (see pp. 83,204). He dreamed a dream, in which he
saw the thunderbirds and the tall tree on which they lived. Return-
ing to his home, he cut down a tall straight tree and trimmed off the
branches, making a pole, which he placed in the ground at his door.
He pictured on a deerskin the birds he had seen in his dream. This
he stretched on a frame and fastened at the top of the pole, complet-
ing the representation of his dream. The later custom differed, in
that the young man did not erect the medicine pole as soon as he
returned from his fasting vigil, but waited to see whether his dream
would come true. The dream usually concerned war and promised
success on the warpath. If he went to war and “‘fulfilled his dream,”’
he did not erect a pole, but while on the warpath he sang for the first .
time the song which came to him in his dream (see p. 7i). The
words had reference to the birds, the sun, or the stars which he saw
in his dream. If he lacked the opportunity to go to war, he pictured
these objects on a deerskin or a cloth, but the song was never sung.
Such a man was supposed to have special power to cure the sick.
To one who understands its symbolism the pole beside a house says:
‘Here lives a man who dreamed a dream and the mysterious strength
of his vision is in him. He never used it against human foe, but
more than other men he has power against that greater enemy—
death.”’

In the springtime the owner of a pole frequently takes it down,
lays it on the ground, and makes a feast. He asks his friends to
come and “‘preaches about the pole.” If some one “‘ wishes to secure

*punossyovq oy} Ul UAOYs st A1ojoMIED RMOddTIYH B YYSII oY} UO ainjyord ay} UT '

$310d ANIOIGANW VYMAddIHO

Op 3ALV1d €9 NILATING ADOTONHL]A NVOINAWV JO NVauNa

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 41

CHIPPEWA MEDICINE POLES

DENS MorE] CHIPPEWA MUSIC—II 249

long life,’ he brings one of his garments with tobaeco folded in it
and ties the garment around the pole. In the autumn a similar
feast is often held, but the frozen state ie spond makes it impos-
sible to take down the pole.

When the friends of a sick person are anxious about his condition,
they put tobacco in one of his garments, which they fasten high on
one of these poles. Sometimes they scrape a weatherworn oe so
that it is white and smooth, or even replace it with a new pole, on
which they tie a garment belonging to the sick person.

The writer saw a pole which appeared to have been recently
erected; it was painted with bands of red and blue and the figures on
the banner were clearly outlined in blue. (PI. 41.) On inquiry the
information was given that it was not a new pole but one which had
been scraped a few months previously, when Me’dweya’sfif (‘the
sound of the wind’’), the chief or ‘“‘speaker”’ of the village, was very
ul. The pole belonged to one of his relatives. It had been freshened
and redecorated, the cloth of the banner renewed, and an offering
fastened on the pole. But Me’dweya’sffi did not recover; he had
lived the full measure of allotted years and died of old age.

At another house the writer saw the peculiar medicine pole which
Me’dweya’stfi himself erected; on this too were fluttering strips of
cloth, portions of garments he had worn, placed there by his friends
in the effort to prolong his life. This medicine pole consisted of an
uprooted tree placed horizontally between two forked poles as braces
at a height of about 53 feet from the ground. (PI. 41.) In his youth
Me’dweya’stiii dreamed of war; he dreamed that he was leader of a
war party, that he conquered the enemy, and in pursuing them
leaped over a fallen tree. Years passed. The call to battle did not
come, the tribes were at peace, and there were no war parties for him
to lead. At length he put up this tree as his medicine pole, placing
it at the same height as the fallen tree over which he leaped in his
dream.’ He felt obliged to do this because he ‘‘had not fulfilled his
dream,” but the song which should have inspired his warriors was
buried in his heart.

Ki’ tceiédja’nimwewegi jig (‘sky in terrible commotion ”’) told the
writer that when he was a boy he fasted and dreamed of a bird.
As he never went to war, he later erected a medicine pole beside

1See description preceding No. 101.

250 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

his dwelling, drawing on the cloth banner a picture of the bird he
saw in his dream. Although the cloth was torn and the drawing
almost effaced by sun and storm, he drew again the outline of the
bird (fig. .6), that the story of his dream and his medicine pole

Fic. 6. Design on cloth attached to medicine pole (native drawing).

might be known to his white brethren far away. His is the monoto-
nous life of a reservation Indian who can not fully adapt himself to
the white man’s way, yet beneath it is the memory of a dream and
above it is the symbol of the song that never was sung.

‘'NNIA “ONIO.WEVM LV ‘AXV1 GaYy

cx

*

ch ALV1d €9 NILA11NG ADSOIONHLA NVOIYSWV 4O NV3AYNE

‘NNIA “ONIOWEVM LV dANVO VMaddIHO

€r 3ALVid €©€9 NILATING ADOIONHL]A NVOINAWNV 30 NVaYNa

SONGS OF THE CHIPPEWA AT WABA‘CING VIL-
LAGE, RED LAKE RESERVATION

The songs comprised in this group were recorded at the Chippewa
village on Red Lake, in northern Minnesota, called by the Indians
Waba’cifig (‘where the wind blows from both sides’’), and known
among the white people as ‘‘Cross Lake Settlement,’’ a convenient
designation, as the village lies across the lake from the Agency. The
Indian title is derived from the location of the village on a point of
land which divides the upper and lower sections of Red Lake. (PI. 42.)
This point is narrow and several miles in length, so the village is fully
exposed to the winds. Twelve miles of open water separate it from
Red Lake Agency in summer and the means of transportation are
limited. In winter the village is somewhat more accessible, as the
ice forms a highway.

These songs were recorded during a gathering of Indians for the
celebration of the Fourth of July, 1910. (Pl. 43.) All the singers
live near the village of Waba/cifig, except one, a Canadian Chippewa
from the Rainy River country, who was camping on the upper lake
and came to attend the celebration. These Indians seldom hear the
music of the white race and may be considered comparatively free
from its influence, a feature which adds interest to the analysis of the
songs.

The Indians at Waba’cifig are estimated at about 350 in number.
They are acknowledged to be above the average in character and
intelligence. Most of them are full-blood Chippewa. The first
encroachment of civilization occurred in 1901 when the Government
established a day school at the settlement. The Indians opposed this
to the full extent of their power. To-day they are tractable and con-
tented and are interested in keeping their children at school. Some
of the younger men work in the logging camps during the winter.

Most of the Indians at Waba/’cifig are members of the Mide’wiwin,
and its rites are closely observed. The writer saw two women
tending a fire at the head of a newly made grave. According to the
teaching of the Mide’, this fire must be kept burning four nights.
Near this was the grave of a little child, with only the embers of the
fire remaining. On the grave was a crude rattle which the little one
had loved, and beside it was a paper bag containing food.

The dancing of the Waba’cifig Chippewa was characterized by
freedom and individuality, the best dancers using the muscles of the

251

952 BUREAU OF AMERICAN ETHNOLOGY [BULL 538

entire body. With some the motion seemed to begin in the shoulders
and progress with sinuous grace to the feet, while m others shrugging
and twisting of the shoulders were seen. (Pls. 44, 45.)

The drum used, which was of native manufacture, was about 24
inches in diameter and 12 inches in height; it was covered with
untanned hide. The drum was suspended between four crotched
sticks driven firmly into the ground (see p. 147). The singers at the
drum usually numbered six or eight. In beginning the leaders sang
a few bars alone, after which the others took up the song.

During the dancing food consisting of slices of beef boiled without
salt, triangular pieces of bread cooked in skillets beside the campfire,
and bits of bread dough fried in hot fat, considered a special delicacy,
was distributed. The older Waba’cinig Indians have not yet acquired
a liking for salt, which was unknown to them until a few years ago
(see No. 168).

According to the Canadian Indian Awin’/akim‘igickin’ (‘fog
covering the earth’’), his people have rarely heard a piano, organ, or
any other tuned instrument. He has always lived with the same
group of Chippewa, drifting with them from one camp to another.
He was a man about 30 years old, who appeared to be a full-blood
Chippewa. He spoke no English. He said that when he was a little
boy he ‘‘sat with the old men,”’ listening to their singing and learning
their songs, but that now he sang the songs which the men of his
village “‘made up in their dreams.’ He sang in falsetto voice with a
peculiar throaty vibrato. He said that he discovered his ability to
do this when he was a boy and had cultivated it ever since.

The other singers were A’jide’gijig (‘crossing sky’’), an old man
who seldom leaves Waba’cifig and who wears his hair in long braids;
Ki’miwtn (‘‘rainy’’), a man of middle age who is prominent in the
tribal councils; Ki’miwfina’nakwad (‘‘rain cloud’’), who had a par-
ticularly good voice, and Gegwe’djibi’tfi (‘sitting near it”), who
sang only one song.

Reproduction of these songs by the phonograph afforded the
Indians much pleasure. The phonograph was placed in the door of
the little carpenter shop in which the songs had been recorded. The
Indians were grouped outside and the sunset light rested on their
eager, intent faces. Beyond were the wigwams and the shining lake.
It was a picture long to be remembered.

DREAM Soncs!

ar

Forty songs were recorded at Waba’cifig, 26 of which were said to
have been composed in dreams. It is probable that most of the
Chippewa dream songs were used in war. This is not difficult to
understand. The young man who had a dream in his fasting vigil

1 See p. 37.

VMaAddIHO ONIOVEVM AO AONVG YVM

th 3LV1d €9 NILA11NG ADOTONHLA NVOIYSWNV JO NVSYHNE

BULLETIN 53 PLATE 45

BUREAU OF AMERICAN ETHNOLOGY

WAR DANCE

WOMAN’S DANCE

DANCES OF WABA’CING CHIPPEWA

DENS MORE] CHIPPEWA MUSIC—II 253

was usually an individual of character and strength of purpose.
War was the principal career which offered itself in the old days and
the man of the dream had the qualifications which made for success.
After he had sung his dream song on the warpath he sang it at the
dances preparatory to war, and in time it became the common property
of the tribe.

The dream songs recorded at Waba’cifg are arranged according to
the uses indicated by the singers. The first four were said to ene
been used in war dances; these are followed by five songs used in the ,
woman’s dance; by six songs used by the Chippewa doctor, whose
songs were always received in dreams, and one song of the moccasin
game, by which some successful player secured his advantage in the
old days. The uses of the remaining songs were not designated but
many such are undoubtedly the dream songs of forgotten warriors.

No. 128. A Song of Spring (Catalogue No. 289)
Sung by A’s1pE’GuiG (‘‘CROSSING SKY”)
Voice g—108

Drum A= 108
( Drum-rhythm similar to No. 2)

( ist) -6-.

2s SS eBay
(1st) : ES
Se a ae ee ee
RS ie al ovo ans iaskohtnh
aa oA 2S ae
(1st) a

ee Wi 2
= eee -Em eee =

Wa-pa-ba i-na-bi - yan mfic-ko-de

(1st)
(1st) "9,

ol Ea eeraee feaiaes eaeeay

nofi - go-mi-go-dji-ni - bin

Sue Shee

ee Sas pee ee Sriae. e SSI +

aL)

254 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

WORDS

WE POON cn ci cstdgsenpacoesnae as my eyes

OG RSE gee we one aoteeis search

mie’kode*. 9!) 1 astlew On the prairie
nofhgo’migodjini’/bin. .....--- I feel the summer in the spring

Analysis.—This song consists of nine phrases, seven of which con-
tain three measures each. From the beginning of the song to the
close of the eighth measure the melody contains only the tones of
- the minor triad F sharp A-C sharp. In the ninth measure F descends
to E, introducing the chord of A major, which forms the basis of the
next two phrases. The second section of the song opens with the
minor triad, changing after two phrases to the major triad, with
which the song closes. (Compare No. 33.) The song contains two
rhythmic units, one being used in the minor measures and (with a
slight change) in what might be termed the transitional measures,
and the other in the measures which contain only the tones of the
major triad. Upward progressions are more strongly marked in the
second unit than in the first, whose general progression is downward.
It is interesting to note the two eighth notes in the last measure of
the rhythmic unit, second section, which take the-place of the unequal
division of the corresponding count in the first section, the song
seeming to grow more steady as it draws to aclose. In the ca’wino’ga
songs Nos. 121 and 122 it was noted that the songs gained in excite-
ment as they proceeded. The melody is marked by simplicity and
well reflects the mood of one who discerns the first signs of spring on
the familiar prairie.

DENS MORE] CHIPPEWA MUSIC—II Bis5

No. 129. Dream Song (Catalogue No. 315)
Sung by Ki’mrwONna/NAKWAD (‘‘RAIN CLOUD’’)
VoIcE J= 116

Drum = 116
(Drum-rhythm similar to No. 19)

ee eke a ae

Se ee eee eee
oF) See ee pee ei

SSS S55

om

Analysis.—The tones comprised in this song are those of the
fourth five-toned scale, the melody being based on the tonic triad
and the other tones being used as passing tones. The rhythm of the
entire song constitutes a unit. On its first occurrence the lower tone
of the minor third was slightly flatted but during the remainder of
the song was given with correct intonation. (See analyses of Nos. 54,
133, 146, 164.)

256 BUREAU OF AMERICAN ETHNOLOGY [BULL 53
No. 1380. Dream Song (Catalogue No. 321)

Sung by Awtn’aKktM‘icicktw’ (‘‘FOG COVERING THE EARTH”’)

VoIcE fs = 184
Drum ois — 152

( Drum-rhythm similar to No. 2)

age Sire (eee eae eae Te

eitea Gaze jester Sree

Analysis.—The metric unit of this song was difficult to recognize
in the tempo at which the song was sung. By greatly reducing the
speed of the phonograph it was possible to detect this unit, and the
relative note-values were thus transcribed. The metric unit is
2 =184, which is unusually rapid. The tempo of the original rendi-
tion was determined in the usual manner, that is, by adjusting the
speed of the phonograph at 160 revolutions per minute, so that the
tone C’ as registered on the cylinder corresponded to the same tone
as given by the pitch pipe. The metric unit was steadily maintained
throughout the two renditions of the song, which were identical in
every respect. The song is melodic in structure and has a compass of
twelve tones, beginning on the twelfth and ending on the tonic.

DENS More] CHIPPEWA MUSIC—II 257

No. 131. Dream Song (Catalogue No. 324)

Sung by Awtn’axtm‘icicxtn’

VoIcE a= 69
Drum a 80
(Drum-rhythm similar to No. 2) ~

Sis 8-945 f}—-t-@-8- 05 FH -F S— ed ne

a a es ES a a= a a ae 2

ua i SSS SI
i |

Analysis.—This song was said to have been used in the victory
dances which followed a successful war expedition, but never in the
dances preparatory to war. The rhythm of the song is forceful and
triumphant. Four renditions were recorded. The melody tones are
those of the fourth five-toned scale, the melody being based on the
tonic triad, and the second and sixth used as passing tones.

No. 182. Dream Song (Catalogue No. 327)
Sung by Awtn’aktM/icicktN’
VoIcE J 108

Drum Z= 88
(Drum-rhythm similar to No. 2)

SS

CE eam iad freee eevee rare

Analysis.—This melody contains the tones of the fourth five-toned
scale, beginning on the twelfth and ending on the tonic, the tones
being grouped around the intervals of the tonic triad. The opening
measures were not included in the repetitions of the song.

This and the following four dream songs are said to have been used
in the woman’s dance.
67996°—Bull. 53—13

ALT

258 . BUREAU OF AMERICAN ETHNOLOGY [BULL 53

No. 133. Dream Song (Catalogue No. 317)
Sung by Awtn’axtM‘icicktN’
VOICE d= 104
Drum = 108
(Drum-rhythm similar to No. 19)

Fee Boete Pcs meee eretraeS
SL aoeaios coe ae el aaa

Sa AG ae na iat
Saye Cree en tae eel

Analysis.—The first two renditions of this song were faulty in
intonation, being sung a tone lower than the transcription; after a
pause the singer gave the song as transcribed, with more correct
intonation. (See Nos. 54, 129, 146, 164.) This is interesting, as the
singer stated that he was not accustomed to hearing tuned instru-
ments. The song is harmonic in structure, contains only the tones of
the tonic triad and sixth, and has a compass of eleven tones. The
submediant, or third below the tonic, is frequently used in connection
with the tonic triad, producing a minor triad with minor seventh
added, a group of tones occurring also in Nos. 147, 151, 152, 153, 154,
163.

No. 134. Dream Song (Catalogue No. 320)

Sung by Awtn’axtm‘icicxtn’

VoIcE pe 120
Drum A= 120
(Drum-rhythm similar to No. 19)

=|

Ris

DENSMoRE] CHIPPEWA MUSIC—I 259

Analysis.—Three renditions of this song were recorded, the first
three and a half measures being omitted in the repetitions. The range
of the song is unusually high and the first two tones were slightly
flatted. The short repeated tones were individualized by a muscular
action of the throat. The melody is strongly harmonic in character,
but the presence of accented E and A cause it to be classified as
melodic with harmonic framework. ‘The rhythmic unit is short and
the rhythm of the song as a whole is distinctive and clearly marked.

No. 135. Dream Song (Catalogue No. 323)
Sung by Awtn’axtM‘icicKk ON’
Voice g—100

Drum = 100
(Drum-rhythm similar to No. 19)

roe |

4 SR

gs &

. Il-e-. get ae im
Tes : ee 2

pier seg eee ee eet aaei arate!

Analysis —This song is a particularly good example of a melody
based on the second five-toned scale. The first measure contains
the rhythmic unit of the song, which occurs five times. The first
part of the melody is based on the chord of C minor and the latter
part suggests the chord of E flat, though the tone E flat does not
appear. In the absence of this tone, which would be the tonic of the
major chord, the song is considered to be minor in tonality; this is,
however, an\instance in which what we term ‘“‘key”’ can not be said
to be established. The relation of the tones is an interval-relation
rather than a key-relation (see pp. 7, 8).

260 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 136. Dream Song (Catalogue No. 325)
Sung by Awtn’aKOM‘icicx tN
VoicE = 112
Drum g—112
(Drum-rhythm similar to No, 19)

— 7? ——
oe ——s 2

als of progression 1n, peers melody are unusu-
ally large and would present some difficulties to a singer of the white
race. It is, however, a bright and attractive melody, lively m
tempo, and strongly rhythmic in character. The tones are those of
the tonic triad and sixth. The first measures were not included in
the repetitions of the song.

No. 137. Dream Song (Catalogue No. 326)
Sung by AwtON’AKUM‘icicKON’

VOICE J= 112
Drum a= = 112
(Drum-rhythm similar to No. 19)

pueSr erie ite nepre fee? etrs ES Ee

paige ee Se
oe Wier aG ahs ae

DENSMORE] CHIPPEWA MUSIC—II 261

Analysis.—In, this song the signature of the transcription should
be regarded as indicating the pitch of certain tones and not as imply-
ing an established key. The transcription merely represents the
tones sung by the Indian singer.

The framework of this melody is characterized by the interval of
the third. The first seven measures are based on the descending
third F sharp—D sharp, with G sharp as a tone of approach (see analy-
sis of No. 53). This is followed by the descending thirds B-G sharp;
D sharp-B; B-G sharp, with a return to the third F sharp—D sharp,
with G sharp as a tone of approach. The second section of the song
has essentially the same framework.

This song and the following five dream songs are said to have been
used by a Chippewa doctor during his treatment of the sick. (See
Bulletin 45, pp. 119, 120.)

No. 138. “My Body Lies in the East’? (Catalogue No. 308)
Sung by Kr’miwtn (‘‘raIny’’)

VoIcE d= 88
Drum “= 112
a ga = ela similar to 2H 2)

P55 P» — = ae 4
pea peters

ar
arn ae = =r |
Ste
Baan ial! ia . Aer ae -8- -0- -9- -
EE ee eee See

Wa-bfin-oiga - te ni-au e

Siesta — Sper

WORDS
Wabimghe.. 2 2.250 .2e in the east
FeO eet nate RS ei hes

262 BUREAU OF AMERICAN ETHNOLOGY (run. 53

Analysis.—The two renditions of this strange melody secured are
identical. The song is based on the minor triad, the fourth and
sixth being used as passing tones. The tempo is slow, with long
swinging cadence. The rhythm is characterized by the triplet,
which occurs frequently on the last count of the measure. The song
contains no rhythmic unit, but the rhythm of the entire song consti-
tutes a homogeneous whole. In this group of six ‘‘doctor’s songs”
it is noted that vowel syllables distinctly enunciated are used on the
tones not supplied with words, resembling the Mide’ songs, and
differmg from the majority of Chippewa songs, in which the separa-
tion of tones is produced by muscular action of the throat (see
No. 134).

No. 139. “Sitting with the Turtle’? (Catalogue No. 309)
Sung by Ki’m1wtn

VOICE we 96

Drum c= 112

(Drum-rhythm similar to No. 2)
-0- -@ - =

a

Ce aa = (.e at ee yep OE cs
vag eee gt yee

Mi-kin-ak ni-wi - ta-bi - mf

Pepe tS P- fede a

DEP by —— == |B == 3 2a = warete Pa =—= =|
=
op baa As Td
WORDS
materia: Se cee Se Sept oe turtle
TL Wa ta tence. x wesest ieee I am sitting with him

Analysis.—Five renditions of this song were recorded. In the
first and fourth renditions no words were used; in the second and
fifth the words occurred as transcribed, and in the third the words
were used in the seventh and eighth measures instead of at the open-
ing of the song. The first rendition begins on D flat instead of E
flat, a fact which suggests that D flat is felt to be the principal tone,
E flat being used as an approach to that tone. (See analysis of No
53.)

DENSMORE] CHIPPEWA MUSIC—II 268

No. 140. “Carried Around the Sky” (Catalogue No. 310)
Sung by Kr’mtwtn

Voice g—116
Drum s= 116
SS similar to No. 19 )

pig htt eg 2 tery

Ki-wi-ta - ci-yan gi -jig - ufg ki-wi - ta - ci-yan gi- jig-
ares lp ie e. e_ ttle tors aaa
7 eee Se ee fe
2b Eas eee as is
ufig ki-wi - ta - ci-yan gi -jig - uig ki-wi - ta - ci-
ont Own eS tt™~—“—sSCSN
7s Ms Brin ee
Sat a =e z Soe Se rtf sees a ao ol
aaa
yan gi- jig - ug ki-wi - ta - ci-yan gi -jig - ufg ki-wi -
aS EL Egy re Sa ead car Ie oe er eH)
5:42 are == p= = roe Peers ae 7K |
= —j— a o—e_e_|| 4 _e._e__e—_—__—__ ;
= —— a o—-e |e}
as - ci-yan gi- jig - ufg ki-wi - ta ~ ci-yan gi - jig-ufig
WORDS
icayaitta yactyan’ 22.2500 2S as the wind is carrying me
SEIU ena ha bse ewre seat around the sky

Analysis.—This is an example of a song showing an interval forma-
tion and containing what would be called in musical terms ‘the
tonic of the key” only in the middle part of the song. Chippewa
songs with this characteristic have been noted only among those col-
lected at Waba’ciiig; these are Nos. 135, 137, 139, 141, 142, 165. If
we depend on the musical ear in determining the key of a song, we
place this song in the key of G major, yet 85 per cent of the intervals
are minor. The song contains 13 intervals, of which 9 (70 per cent)
are minor thirds and 2 (15 per cent) are minor seconds, the other
intervals being a major third and a major second. (See Nos. 141,
151, 161, 163.) The rhythmic unit contains three measures and
occurs seven times, being accurately and continuously repeated. The
accidental tone (A sharp) was given with correct intonation. No
differences appear in the four renditions. of the song.

This and the two following songs are said to be sung after the
“doctor” has “swallowed” the bones and during the treatment of

1 One syllable of this word was omitted by the singer.

. 264 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

the sick person. After the second rendition of the song there is
recorded on the phonograph cylinder a sharp hissmg sound which the
doctor makes as he breathes, or ‘‘blows,’’ on the person receiving
treatment; after the third rendition there is recorded a shrill whistle,
which he is said to make as the bones issue from his mouth. It is
said that in the old days the “doctor” did not take the bones in
his hand before swallowing them, but drew them directly into his
mouth from a shallow dish of water. The writer has been informed
by more than one eyewitness that when the medicine-men were in
possession of their former powers the bones, many of which were
much larger than those used in recent years, were actually swallowed
by them.

No. 141. ‘“‘The Approach of the Thunderbirds”
(Catalogue No. 311)

Sung by Kr’miwtn
VoIcE J= 88
Drum aise 138
(Drum-rhythm similar to No. 2)

ay EE per

Ka - bi-de- bwe - we-da-mo-wad bi - né-si-wfg

— pitieeer = wie eae casa

over ee Pierie WE

WORDS
kabide’bwewe’damowad’.....- the sound approaches
ile SIV 8 ae Ss eee eee! the (thunder) birds draw near

Analysis.—This song contains a short rhythmic unit, which occurs
only twice. The song is major in tonality, but is characterized by
the frequent occurrence of the interval of the minor third, 67 per cent
of the intervals being minor thirds. (See Nos. 140, 151, 161, 163.)
Harmonic in structure, the melody contains only the tones of the
tonic triad and sixth. Attention is directed to the rapid drumbeat
in this and the following tw6 songs. The approach to the harmonic
tone by the tone above is discussed in the analysis of No. 53.

DENS MORE] CHIPPEWA MUSIC—II 265

No. 142. ‘““White-haired Raven”’ (Catalogue No. 312)
Sung by Ki’miwtn
VoIcE Bid 160
Drum de 120
(Drum-rhythm similar to No. 2)

~ @ @ ia, eee Pa

5H: ———— eee oe ae = c arp ae
eg +

Kwe wa-bi-kwe-ka-ga - gi kwe ba - ba-mac nin - de- go kwe

pet tf fi geen Set tate te ele

+ &
wa-bi-kwe-ka-ga - gi kwe ba - ba-mac nin - de - go kwe
SSS SSS SS SS Se pag
Ss ee ees en ere
aye ——_ ral sums coe EES
wa-bi-kwe -ka- ga - gi kwe ba - ba-mac nin - de - go kwe

S2 == oe el 2) peer = 5 ices

(es oS

ie Rare - gi kwe ba - ba-mac nin - de -go
WORDS
ADK WG KPA PAe Se oe oc ner ‘“white-haired raven
POE AMIO ae i oT eo Bee oe Se flying around the sky”
Tee GeO te Sew Pee I am called

Analysis—The four recorded renditions of this song are identical
in all respects except that in one instance D instead of B was sung
on the last count of the first measure. This is unimportant except
that it is the only variation. At the close of the second rendition
is recorded the peculiar whistle described in connection with the pre-
ceding song. There is no perceptible secondary accent in the meas-
ures marked, respectively, 7-4 and 5-4. The rhythmic unit com-
prises three measures and occurs four times. The measures in 3-4
time were sung with a slightly slower metric unit than those in 7—4
time. The melody is particularly striking and forceful.

266 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 53

No. 143. Dream Song (Catalogue No. 313)
Sung by Ki’miwtn
Voice si 144
Drum g—120
(Drum-rhythm similar to No. 2)

— PS jERt ips! ——— ===

OF Sa PRE oe a es

ae = tise cies SS

Analysis.—Four renditions of this song were recorded; the second
and third renditions were followed by the peculiar whistle and hiss
already described. The song contains the tones of the tonic triad
and sixth and is harmonic in structure. The rhythmic unit contains
four measures, its repetitions comprising the entire song.

The following is a song of the moccasin game. It is unusual to find
a moccasin game song which is said to have had its origin in a dream.
Long ago the players sought skill by means of fasts and dreams, but
at present the game is regarded less seriously. This song was recorded
by a member of a Canadian band of Chippewa, among whom the
moccasin game may have retained its original status (See p. 206).

No. 144. Dream Song (Catalogue No. 319)
Sung by Aw0N/AaKUM‘iGicKUN’
Voice g—72

Drum ¢— 104

(Drum-rhythm similar to No. 19)
@ @- -#- -@- #.

“4 da ‘es cual | | Pose dias =. 2. cs ae
sage ee
ERA Sat pater yl

DENSMORE] CHIPPEWA MUSIC—II 267

Analysis.—The entire trend of the melody is downward, along the
intervals of the tonic triad. The metric unit of the voice is slow and
that of the drum is rapid, a peculiarity found in most of the moccasin
game songs and suggesting the mingled control and excitement of the
game. A song closely resembling this but in a different rhythm was
recorded on the White Earth Reservation (compare No. 176).

The singers did not state on what occasions the remaining songs of
this group were sung, but it is probable that they were used in the
dances preparatory to war. The words are of interest, in many
instances suggesting the confidence which makes for leadership in
any undertaking and becomes the more inspiring when it is believed
to be of supernatural origin.

No. 145. “Into the Several Heavens” (Catalogue No. 288)

Sung by A’speE’aisia

Voice J 104
Drum e = 104
(Drum-rhythm similar to No. 19)

WORDS
fe i liege Ramee 2 5.09 Ey. the chief
er yieune ) 0: 2 sae into the heavens
engaba’binigo’. . ..+:./)3._J. will take me

Analysis.—This song contains a peculiarity which occurs frequently
in songs recorded at Waba’ciiig, namely, the approach to a harmonic
tone by means of the tone above it. For instance, this melody is
based on the triad of E flat major, yet the first tone is an accented C.
This is discussed in the analysis of No. 53 and is found also in Nos.
29, 45, 51, 53, 65, 137, 139. The sixth was sung slightly sharp when
reached by an ascending progression, this feature being uniform
throughout the two renditions of the song. Faulty intonation on the

268 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

interval of a second is noted in Nos. 54, 55, 61, 64, 100, 145, 166.
The closing tone was sung with good intonation, representing an

unusually low range of voice.
(Catalogue No. 290)

No. 146. ‘“‘Two Foxes Face Each Other’’

Sung by A’sIDE’auia

Voice g—112
Drum g—112
(Drum-rhythm similar to No. 2)
aie esp pele! il es ie
2 Se ee
igs pe ch er wie LR gent alate lak Phan whieh es:
eS

= = ws ae ae a Se ane or =
pa SBS SSS

Wé-on-da-sfi-ma-bi - wad wa-guc-ig mi-ma-dji-i-bi - yan

WORDS
wéonda/stima/biwad’.........----. they face each other
MOPUCRE acon pence, seh ate two foxes
mina Oya Wly all a) toc tee eee ac I will sit between them

Analysis —This song contains no rhythmic unit, though a dotted
eighth followed by a sixteenth note occurs with frequency. It
should be noted that the lower tone of the minor third was slightly
flatted on its first occurrence in each octave, though sung afterward
with correct intonation. (See Nos. 54, 129, 133, 164.) The tonic
chord forms the framework of the melody, with the second and sixth
as unaccented passing tones.

DENSMORE] CHIPPEWA MUSIC—II 269

No. 147. “One Bird” (Catalogue No. 291)

Sung by A/s1IpE’GuIG

“Vorcre g— 108
Drum ¢— 108
( Drum-rhythm similar to No. 2)

Ss ere
enaaee Pearce renee F —— == == aS a

WORDS
begig’ Seon 2 Shiai ono t saw. one
Jordatess tia yee Rk re rt ee ee Ele bird
niwi/djiwa’.............-.........- Iam going with him

Analysis.—The rhythmic unit of this song contains six measures
and occurs five times; its repetitions constitute the entire song.
The first section of the song is outlined by the interval of the
fourth, representing the descent from the tonic to the dominant;
the second section is based on the descending interval of the fifth
and contains the tones of the tonic triad; and the third contains the
descent in the lower octave from the tonic to the dominant. The
outline of the second and third sections is repeated, and the dominant
is the closing tone of the song. Thus the melody, in its broad outline,
is seen to have a definite relation to the tonic chord, yet within this
outline we find another characteristic. The tone D flat appears with
prominence, and in its connection with the tonic triad forms a group
of the minor triad and minor seventh, which has been noted in songs
of the Chippewa and also in the music of other primitive people.
(See footnote, p. 130, Bulletin 45.) This group is noted also in Nos.
133, 151, 152, 153, 154, and 163 of the present work.

270 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 148. ‘“‘The Sky Will Resound”’ (Catalogue No. 296)

Sung by Ki’mMriwtn
VOICE e = 100

Drum = 100
(Drum-rhythm similar to No. 19)

Ta- min -we - we gi - jig a tei - bi- no-wa -

i

SSS tier

ae ae - si - nan

SR eeee Esra? peaeriraS ares

WORDS
aaa Wer ites ot ec ae it will resound finely
A iD SS SRE AN. as the sky
tci’binonda/gosinan’....-.-.--- Sate when I come making a noise

Analysis.—This song is harmonic in structure and is based on the
chord of B flat major. The rhythmic unit is not strongly marked,
yet the song as a whole has a rhythmic effect which is particularly
pleasing. The metric unit was maintamed with absolute regularity
by the singer.

DENS MORE] CHIPPEWA MUSIC—II 271

No. 149. “‘One Wind” (Catalogue No. 298)
Sung by Ki’/miwtn
VoIcE é = 100
Drum — 104
(Drum-rhythm similar to No. 19)
fing

agg Eft Ete te te

aaa

Be-jig no-din nin-ga - na-

gi Be tae : £ frodes —?—_—__ #5
pay See pe

wen - dan
i ——— as 2—e._|}>—6 Z|
ait s Say 9 9 —) Doe ee -
225 AS er citer ares: Seale
WORDS
[2p a8 ate a mil a Alpe one
MOM si1 33 Sis PIO AO stokes wind
mineaMaWwendal-so.sees ects s oe oe I am master of it

Analysis.—Three renditions of this song were recorded. The time
was not steadily maintained, and it is noted that variations from
exact time occur in corresponding measures in the several renditions.
The song contains the tones of the fourth five-toned scale, is harmonic
in structure, and is based on the tonic triad, the second and sixth
appearing only as passing tones. No rhythmic unit ‘occurs in the

song, although the rhythm of the song as a whole is strongly marked.

272 BUREAU OF AMERICAN ETHNOLOGY [BULL. 52

No. 150. “‘An Overhanging Cloud” (Catalogue No. 299)
Sung by Kr’mrwtn
Voice ¢— 120
Drum f= 120
(Drum-rhythm similar to No. 19)

aN
oapgtiite teers t£Et te ogee
Q:#-35_5 = cn oe Pe eget = EB
Se, 2 =a Seeare=
eT ee ee Oe ————— ae
~ @ @ @ @ e. med aN
oe sr SS a a o-gs 8 DO
5: = ras aa = 3 a a a se
3 = eestor eee
Ka- bi -ba-bam-a - go - deg a- na-kwadtci-ba-ba-mi-no - ta-
———— + eae |.
= [3 Sac ae ee ee == je
+ a — ea :
gwin
WORDS
ka’bibabam/agodeg’........-.------ an overhanging
BiG irl; 2X6 ldap eel ercktes Ae Speen er cloud
tcibaba’minota’gwin........---..-- repeats my words with pleasing sound

Analysis.—This melody consists of two sections, the first comprising
six measures and the second comprising eight measures. The melody-
tones are those of the fourth five-toned scale, and the song is harmonic
in structure. The rhythm ts so decided that one looks for a rhythmic
unit or some regularity in the succession of double and triple measures,
but neither is present.

No. 151. ‘‘Heaps of Clouds” (Catalogue No. 314)
Sung by Ki’/mrwt0na/NAkwaD (‘RAIN CLOUD”’’)
Voricr g—112
Drum i 112
(Drum-rhythm similar to No. 19)

ae
1 Maris
Ce

Cy
Ka - bi-ba-bi-kwa-go-deg a-na - kwada

pa -i-na-bi- yan

DENSMORE] CHIPPEWA MUSIC—II 273

WORDS
ka’bibabi’kwagodeg’.....-.- - great heaps
amalkwwaders sso sosa sec eee of clouds
pnb gchar a in the direction I am looking

Analysis.—This song is said to have been composed by a woman.
(See Nos. 31, 39, 40, 112, 127, 177, 178.) The melody contains only
three descending progressions larger than a minor third; these are
major thirds, occurring between the lower tone of one minor third
(F—A flat) and the upper tone of another minor third (B flat—D flat).
The song is major in tonality, yet 13 of the intervals (36 per cent)
are intervals of the minor third, 9 descending and 4 ascending. (See
Nos. 140, 141, 161, 163.) The last four measures of the song consist
of the tones of the major triad on D flat, yet observation of the first
part of the song shows the prominence of the outline A flat-F—D
flat—B flat, which forms a minor triad with minor seventh added.
This is a chord of strong barbaric color, which has been found in the
music of many primitive peoples; it is noted in Bulletin 45 (footnote,
p- 130), also in Nos. 133, 147, 152, 153, 154, 163 of the present series.
In the song under analysis this chord resolves into the tonic chord
by the progression of B flat to A flat in the seventh measure from the
close. The song is harmonic in structure, the only tones accented
being the tones of the tonic triad. The melody tones are those of
the fourth five-toned scale. The intonation of the singer was most
nearly accurate on the tonic and fifth and most uncertain on the

third of the key.
No. 152. ‘“‘Around the Sky” (Catalogue No. 318)

Sung by Aw0Nn’AaKkUM‘iGicKtN’
VoIcE A= 80
Drum g— 104
( Druin-rhythm similar to No. 19 )

i
Se

ae
Ki-wi-ta- gi-jig e ka-bi-de -

bwe-wi-da - mon
67996°— Bull. 58—13——18

274 BUREAU OF AMERICAN ETHNOLOGY [BULL 53

WORDS
ko’ witaei jigs: <. esos ee around the sky
ka’bidebwe’widamon’....... I come to you with my sound

Analysis.—This is a particularly graceful melody and was sung
with regularity of rhythm and good intonation. The downward pro-
gressions K—C sharp—A—-F sharp form the minor triad with minor
seventh added, which resolves into the tonic chord by the tone E in
the eighth and eighteenth measures (compare Nos. 133, 147, 151, 152,
154, 163). At the opening of the seventh measure occurs a peculiar
division of the count, which is found also in Nos. 153, 157, 159, 161,
163.

No. 153. “The Thunderbirds” (Catalogue No, 322)
Sung by Awtn’AKUM‘iGicKUN’

VOICE e =e

Drum gee 144
(Drum-rhythm similar to No. 2)

WORDS

bine siyitol oe eee the (thunder) birds
nikoc kelsog?: .22:cses so:u3e03 startle me

DENSMORE] CHIPPEWA MUSIC—II 275

Analysis.—The first three measures of this song contain the down-
ward progression G—E—C—A, comprising the minor triad with minor
seventh added (see Nos. 133, 147, 151, 152), the tonic chord of C
major being established in the ninth measure. The remainder of
the song is based on the tonic triad, the sixth occurring only as a
passing tone. The rhythm is characterized by a peculiar division of
the first count of the measure. This occurs in the opening of the
rhythmic unit and has been noted also in Nos. 152, 157, 159, 161, 163.

Dream Songs—Waba' cing Village, Red Lake Reservation

Metopic ANALYSIS

TONALITY

= Sper nies Serial Nos. of songs
LEN OSes oo oa ae ee 0 ee a ee 25 | 128, 129, 130, 131, 132, 133, 134, 136, 137,
138, 139, 140, 141, 142, 143, 144, 145, 146,
| 147, 148, 149, 150, 151, 152, 153
rine erate See) Sachs a. 2 a5 Shem wenuneeer oe 1 | 135
Sate tea att pene re ee on eae see tae octave Ae 26

" BEGINNINGS OF SONGS

epee Serial Nos. of songs
Oniphinteenth erp =ses sete pase say- es eae esate ees 1 | 145
(OF MGibc[11 2) Sa See 2 2 een) ee Oe ee 5 | 137, 139, 141, 147, 152
Onistpelitis sere och tee Poe pee Seer bos. Acoli ee ot 11 | 129, 130, 132, 188, 143, 144, 146, 148, 150,
151, 153
Cun STi ee eke Ee ee ie ee ee ENS See 4 | 133, 140, 142, 149
CRIS POTD ee ey 1S eyelets Se ok i} an en Seen ee fone a 3 | 128, 134, 136
OT third tek es ner eet cs Shoe devs suges=ER a ee ee 2 | 131, 135
WOU |. seg ietae Seiewag aon oss eee ae aan epee es 26

ENDINGS OF SONGS

Numbe :
Sito | Serial Nos. of songs
ORONO. a cclon cre os oa ais Haat sis eae ae Eee te 14 | 128, 129, 130, 132, 136, 138, 143, 144, 145,
146, 148, 150, 151, 153
CCUM NUTT Cs Th N&O eee RSE Ee are aa Pa Se 2 | 131, 134
COM VTOMICMONITO oie att oe occ Set echoes Sad eee s wows 10 | 138, 135, 137, 139, 140, 141, 142, 147, 149,
152

ED ITE a Sel oe en ee oe SOE 26

276

BUREAU OF AMERICAN ETHNOLOGY

[BULL. 53

Metopic ANALYsIs—continued

TONE MATERIAL —

yb oe Serial Nos. of songs
Pourth fiye-tonediseale: 2:35. 8. “225 Pe snr sere 15 | 128, 129, 130, 131, 132, 185, 140, 142, 146,
147, 148, 149, 150, 151, 153
Major tliat =n cen aces ces ace ean ene ae metas 1 | 144
Major triad ‘and sixthe 22-5. eee aac ncitene een esos 9 | 133, 134, 136, 137, 139, 141, 143, 145, 152
Minor triad; sixth and fourth..->-.=.-2-22-=.--3-2...-. 1 | 138 : :
Total... 55 ance eee ee eno toa ee bee eke eta 26
ACCIDENTALS
Aine aa Serial Nos. of songs
Songs containing ho accidentals. ......-.-.-.---------- 24 | 128, 129, 130, 131, 132, 133, 134, 135, 136,
137, 138, 139, 141, 143, 144, 145, 146, 147,
148, 149, 150, 151, 152, 153
Songs containing second raised a semitone.......-.---- 2 | 140, 142
"Wotals.-.- bene a-a oan alee ase a eee akan 26
STRUCTURE
Se 8 Serial Nos. of songs
Flan IOMle sect eo eee ee eee ee ce eee oe ee Ree 14 | 129, 133, 134, 138, 140, 141, 143, 144, 146,
148, 149, 150, 151, 152
IPUmelyaMMeLOdiG rae see ae seme = ae eee aa ene eee 4 | 132, 142, 135, 137
Melodic with harmonic framework. .-.--..-.-.---------- 8 | 128, 180, 131, 134, 135, 136, 137, 139
Rota es Soe Se 5ee SRE EEE ee ee ace oe eee 26
FIRST PROGRESSION
ae Serial Nos. of songs
DO WIL WaAlGie. ow2j-ss0e eae a See eee eee anne 21 | 128, 129, 130, 132, 134, 135, 136, 137, 139,
140, 141, 142, 143, 144, 145, 146, 148, 149,
150, 152, 153
Wipwardsessseecene nn cance eee eee alee 5 | 181, 133, 138, 147, 151
Total’... 4. Gao -Fee et en ee eae eee ee ae 26 |

_DENSMORE] - CHIPPEWA MUSIC—II | 277

RuytHmMic ANALYSIS

PART OF MEASURE ON WHICH SONG BEGINS

Number .
of songs Serial Nos. of songs
Gmraceented park S20) Assaesbk 2S 23 Fek se eee 17 | 128, 129, 130, 133, 135,136, 137, 189,:141,
144, 145, 146, 147, 148, 149, 150, 152
On unnceen ted parti 39 sth 2252-205... 3.2.--2.55- ee 9 | 181, 132, 134, 138, 140, 142, 148, 151, 153
OU See ae snes sae ae ce cee a este nee taten ce ss 26

RHYTHM OF FIRST MEASURE

Number 2
of songs Serial Nos. of songs
Songs beginning in 2-4 time .....................--.-- 13 | 129, 131, 132, 134, 135, 137, 138, 139, 140,
141, 147, 150, 152
SOnPs epinning in-S—-4. WMC. socesesccses ccs cccee see 10 | 128, 133, 136, 144, 145, 146, 148, 149, 151,
153
Songs besinning in 4-4 time. ...5. 2.22.02... .-0ecss--e- 1 | 143
Henes peeimming in 7—4 CMG 222 2. ooo. ae ee eas 1 | 142
SSonesiberinnine im S-8 time ..-- <2 <--..6see-s-.0---2- 1 | 130
HG telietag. oe er oe et ode Sees cede Sheea SoS st 26

cranes Serial Nos. of songs
Songs containing rhythmic unit................--.-.--- 9 | 131, 134, 135, 140, 141, 142, 143, 147, 153
Songs containing two rhythmic units................-. 1] 128 ;
Songs containing no rhythmic unit.........-.......-.-. 16 | 129, 130, 132, 133, 136, 137, 138, 139, 144,
145, 146, 148, 149, 150, 151, 152
SUC eee Bear ee oe eet See oP ee ee 26

COMPARISON OF METRIC UNIT OF VOICE AND DRUM

Number :
of songs Serial Nos. of songs
Metric unit of voice and drum the same............... 13 | 128, 129, 134, 135, 136, 137, 140, 145, 146,
: 147, 148, 130, 151 :
Metric unit of voice and drum different................ 13 | 130, 131, 132, 133, 138, 139, 141, 142, 143,
144, 149, 152, 153
“TRUCE Eo ee Sy a 26

278 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

RuytHmuic ANALYSIS—continued

CHANGE OF TIME

nee Serial Nos. of songs
Songs containing change of time....................... 26 | 128, 129, 130, 131, 132, 133, 134, 135, 136,
137, 138, 139, 140, 141, 142, 143, 144, 145,
146, 147, 148, 149, 150, 151, 152, 153
LCE RS as A i EAE lec ES 26

Miner’ Sones

This and the following song were said to form part of a ceremony
which is held soon after the death of a member of the Mide’wiwin
(Grand Medicine Society), and which has for one of its objects the
direction of the spirit on its journey. (See Bulletin 45, p. 54.)

No. 154. “The Noise of the Village’ (Catalogue No. 306)
Sung by Ki’mrw0n
VOICE a =— 56

Drum d ke
(Drum-rhythm similar to No. 2)

2 Ce oe. SL. Se Se. ear ee
oe

A. 2 TH = Ma. ni =} ba t= yw = ses yan € a- ni -
SS OOOO
——— Ss ===
=
aaa cicpoegr sat a-ni - na - ni - ba - yu
se - yan a Bas de-bwe_ - a- ni-
[0 a 9
ae ee
na - ni - ba - yu - se-yan e a - ni- na-ni- ba -yu- se - yan
WORDS
a’nina’/nibawiyan’...........- whenever I pause
de Bwewer sto. 2 fos eh gcse the noise

ONO MA. as waaay eee eee of the village

DENSMorE] CHIPPEWA MUSIC—II 279

Analysis —The tempo of this song is very slow, the metric unit
being a half note. The rhythmic unit occurs five times, as indicated.
The melody comprises the tones of the fourth five-toned scale, yet
the progressions are grouped about the minor triad with minor seventh
added. (Sée Nos. 133, 147, 151, 152, 153.) The several renditions
recorded show the rhythm unchanged but the intonation varying, a
glissando being frequently introduced.

No. 155. Mide’ Song (Catalogue No. 304)

Sung by Ki’mriwtn

VoIcE 2 =e
Drum g—112
(Drum-rhythm similar to No. 2)

@f#@-2# @ 2 #@ ff, @ re ,,

Sf ee

Analysis.—Three renditions of this song were recorded at Waba’cifig.
A few weeks later the phonograph record was played for a member of
the Mide’wiwin on the White Earth Reservation, who said that the
melody was correct, but that the words were not. As he was a
particularly good authority, the words are omitted in the transcrip-
tion. The melody is simple, containing only the tonic triad and
sixth and moving along harmonic lines. Attention is directed to the
slow metric unit of the voice and the rapid unit of the drum. The
rhythmic unit is unusually long and its repetitions embrace the
entire song.

280 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53.

No. 156. “Be Kindly” (Catalogue No. 307)
Sung by Ki ’m1wtn

Outline of melody-progressions

7 2 »
% 9 @ = Ld e 3 De ip
): — —~ ° e ©. |
WORDS
wewefMilesg 2: 0... .- mate be kindly
MIMAMI dO 22sec se hee ee my manido’
MMAN Sac aoe ee eA my Mide’ brother

Analysis.—This song is transcribed in outline, quarter notes with-
out stems being used to indicate the trend of the melody, but not
the length of the tones. The first interval of the descending fourth
is somewhat unusual. The flatted sixth, which was accurately sung,
gives an effect of sadness to the close of the song. The words are
broken by interpolated syllables and the rhythm contains little of
interest.

Love. Sones

No. 157. “I Have Lost My Sweetheart” (Catalogue No. 300)

Sung by Kr’mrwtn

Voicr d= 66
Recorded without drum
(1st) (1st) (1st) (1st)
ee (Po SO ee
a : : =
“bps Soiree ites kere
(2d) (2d) (2d)
-@. 4
ue eee eee eee a
é 2 eee =.
a =
Ke - 4 - bi- go ni-wa - ni - a nin -i - mu-ce
(3d) (2d) (8d)

hee ae

WORDS
keatbico s as: Seer e aee and still
Wa IS | ee eee ee I have lost
TUM ATCC oe ae ee gee my sweetheart

Analysis.—This song contains three rhythmic units, and its melodic
formation shows the triads of B minor and G major. The first sec-
tion comprises three phrases on the triad of B minor and one on the

DENS MORE] CHIPPEWA MUSIC—II 281

triad of G major, the first rhythmic unit being steadily maintained.
In the second section we note two phrases in B minor and one in G
major, the secondrhythmic unit being used ; this isfollowed by the third
section, on the chord of B minor without the third, the song closing
with two phrases in B minor, using the second and third rhythmic
units. The second rhythmic unit opens with a division of the count,
which occurs also in Nos. 151, 152, 159, 161, 163.

No. 158. “I Will Not Drink” (Catalogue No. 301)

Sung by Ki’miwtn
VoIcE — 66
Recorded without drum

52 ee eed See teers

Ka-win-ga - na-ge - ga-mi-na-kwe-si

WORDS
kawin‘ranace’*! 2-3 532. 2 ee I will not
ninga/minakwe’si......-2.-.-. drink at all

Analysis.—This song was given with much freedom of tempo. It
begins with an upward progression to an accidental, an opening which
is unusual. The song is minor in tonality, melodic in structure, and
contains all the tones of the octave except the second.

No. 159. Love Song (Catalogue No. 302)

Sung by Ki’mrwtn

Voice 63
Recorded without drum

282 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

Analysis —This song is unusually regular in form. It has 16
measures and 4 periods, the first, second, and last periods con-
taining the rhythmic unit. In the third period the phrases of the
rhythmic unit are found in a reversed order. The metric unit was
not steadily maintained, but the rhythmic unit shows no variation in
the five renditions of the song. The division of the last count of the
third measure is noted also in Nos. 152, 153, 157, 161, 163.

No. 160. Love Song (Catalogue No. 303)
Sung by Ki’mrwtn

VOICE A — 96
Recorded without drum

Analysis —This song consists of five sections, each of which con-
tains four measures. Each section is designated as a rhythmic unit
although the measure-divisions differ somewhat in the latter part of
the song. The accidentals were sung with correct intonation and the
effect of the song is pleading and plaintive.

Moccasin GAME SONGS
No. 161 (Catalogue No. 292)
Sung by A/’s1DE’arsiGa
Voice J= 63
Drum d= 112

(Drum-rhythm similar to No. 125)
#. @ @ @.

DENSMORE] CHIPPEWA MUSIC—II 283

Analysis —This song has the slow voice-rhythm which character-
izes the moccasin game songs and which is noted also in Nos. 30, 51, 52,
103. The melody comprises the tones of the fourth five-toned scale
and is harmonic in structure. Although the song is major in tonality
a large majority of the intervals are minor thirds. The song contains
24 melodic progressions, 17° (71 per cent) of which are minor thirds,
7 being ascending and 10 descending intervals (see Nos. 140, 141,
151, 163). There is no rhythmic unit, but the division of the first
count of the measure recurs with frequency (see Nos. 152, 153, 157,
159, 163).

No. 162. “The Sound of His Footsteps’? (Catalogue No. 293)

Sung by A’srpe’auia
VoIcE a 192

Drum e Ee 1i2
( Drum-rhythm similar to No. 125)

| te 2 rote ey

r

SEE Srape erie eee eee

Pe-dwe-we- cin ne-ta-mi-co - dfifi

WORDS
pe/dwewe’cin............--..--.--- the sound of his approaching footsteps
meta/micodOi’ . ..' ..+ epee? mee who always hits the mark

Analysis —The tempo of this song is so rapid that it was necessary
to reduce the speed of the phonograph in order to detect the metric
unit and indicate the note-values. The rhythm was given uniformly
in the two renditions of the song, showing that it was clear in the mind
of the singer. The fourth is the principal interval of progression
(see No. 22).

284 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 163. Moccasin Game Song (Catalogue No. 305)

Sung by Ki’miwtn

VoIcE rl = 96
Drum = 108
(Drum-rhythm similar to No. 125)

Analysis.—This song contains only the tones of the tonic triad and
sixth, the melody moving freely along harmonic lines. It has been
noted that in some songs containing these tones the sixth is used as
a passing tone, the melody being based on the tonic triad, while in
other instances the sequence of the tones is such as to produce the
minor triad with minor seventh as an integral part of the melodic
framework. This song belongs to the latter group, the sixth being
accented in the fourth measure and appearing again in the sixth
measure, after which it is used only as a passing tone. (See Nos. 133,
147, 151, 152, 153, 154.) The song is major in tonality, yet 12 of the
intervals (55 per cent) are intervals of .aminor third. (See Nos. 140,
141, 151, 161.) The song contains no rhythmic unit. The division
of the first count of the third measure is also noted in Nos. 152, 153,
157, 159, 161. Three renditions of the song were recorded, which
are identical in every respect. In this, as in most of the moccasin
game songs, the metric unit of the drum is faster than that of the
voice.

DANCE SonGs

The woman’s dance is a feature of every gathering of the Minnesota
Chippewa, but has never been introduced on the Lac du Flambeau
Reservation in Wisconsin. This dance is said to have been acquired
from the Sioux (see pp. 45, 46; also Bulletin 45, p. 192). The
dancers face the drum, moving clockwise, in a circle. In plate 45
are shown the Waba’cifig Chippewa in a woman’s dance. A shade
of branches has been erected over the drummers, but the women
wear their plaid woolen shawls. In this instance the men and women
are dancing by themselves. A more common arrangement, when
gifts are being freely exchanged, is for a man and a woman to dance
together, the men and women alternating around the circle.

DENS MORE] CHIPPEWA MUSIC—II 285

No. 164. Woman’s Dance Song (Catalogue No: 295)
Sung by A’s1pE’auia *
Voice ¢—108

Drum ¢— 108
(Drum-rhythm similar to No. 19 )

ee

Analysis.—This song is strongly rhythmic in character but contains
no rhythmic unit. It comprises the tones of the second five-toned
scale and is definitely minor in tonality. The accented tones in the
last seven measures correspond to the descending intervals of the
tonic chord. The faulty intonation in the first measure was corrected
in the second measure. (See Nos. 54, 129, 133, 146.)

No. 165. “He Killed a Man” (Catalogue No. 294)

Sung by A/s1pE’auie
VoIcE = 168
Drum ¢— 100
(Drum-rhythm similar to No. 2)

Ca - mau-ga-nic a gi - nic -i- wed i-

a —~» he = g = :
Si BS

na gi - nic- i - wed

WORDS
uM, RIN Ss =e haste AS eo a soldier
PinMeiIWwed. 22220. 6543s Joa She se killed a man in war

Analysis.—This very old song was sung by the women who went to
meet a war party on its return to the village (see p. 118). The same

286 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

song was recorded at White Earth (see Bulletin 45, p. 143), the two
records being identical except that the former record includes the shrill
falsetto cry given by the women. The structure of the melody is
interesting. In the first six measures the rhythmic unit is repeated
with regularity and the first note of that unit (which is also the first
note of the measure) follows the descending intervals of the fourth
five-toned scale. The remainder of the song is harmonic in outline,
comprising first the chord on the sixth and then the third D sharp-
F sharp, suggesting the chord of B major. Attention is directed to
the interesting rhythm of the part of the song containing the words.

No. 166. “I Carry It Away”’ (Catalogue No. 316)

Sung by GeGwe/ps1Br'TON (‘‘sITTING NEAR IT”’)

Voice g— 100
Drum ¢ — 100

(Drum-rhythm similar to No. 2)

Nin-da-ma-dji-don

tee Dhami Sine 37 2 gerne
bh game ae eae eeaae ase

WORDS

paar ne aa See I carry it away

Analysis.—This is a song of the ca’ wiino’ga (southern dance)
(see p. 129). The song was recorded on the White Earth Reservation
also and the records were found to be identical. The rhythmic unit
is not continuous but gives character to the song. The melody tones
are those of the fourth five-toned scale and the effect of the song is
that usually associated with this scale. Faulty intonation on the in-
terval of the second is noted also in Nos. 54, 55, 61, 64. 100, 145, 166.

DENSMoRE] CHIPPEWA MUSIC—II 287
No. 167. “The Entire World”’ (Catalogue No. 297)
Sung by Kr’miwtn |

Vorce ¢g— 100
Drum _ 100
(Drum-rhythm similar to No. 19)

5 ib ——
Dh: = = 3
E ves Sa eee SS ee = i =

Tei ee ssl ot [p< eo. Ze | ee 3-59.

2p eel
e.@ £ ete

Cn pesca | Petree eee,

~

ls - né - go-kwag a - ki ni-ma-

——— |

SSS Sa

wi - mi - gun

Se Pe

WORDS
Pe nepok Wat. o.<k JSP OOM es od. the entire
plas oe eee ok. Bang 2, Se. t world
IAC WAI. bocce lee weeps for me

Analysis.—This was said to be the music of a dance much older
than the ca’wino’ga. The three renditions of the song recorded are
identical except that the tone before the words is prolonged in the
first rendition. The song is characterized by a vigorous rhythm,
with a distinct unit which occurs three times in entirety and parts
of which are found throughout the song. The melody is minor in
tonality and contains only the tones of the tonic triad and sixth.

288

BUREAU OF AMERICAN ETHNOLOGY

[ BULL. 53

CoMBINED ANALYSES OF DREAM, Minn’, Love, Moccastn GAME, AND
Dance Sones—WaBa’cING VILLAGE, Rep Lake RESERVATION

Metopic ANALYSIS

TONALITY
Moccasin
Dream Mide’ Love Dance
songs songs songs once songs Total | Per cent.
Major At 225265 geen See e oege 25 3 3 2 34 85
MINOR 2): 4 262,453 ee eee AG PSe eae eek. 2 D tsseae sex 2 6 15
Rotalo <3. 208s se Mes ore. 26 3 4 3 4 40 fist Rees
BEGINNINGS OF SONGS
Moccasin
Dream Mide’ Love Dance
songs songs songs game songs Total | Per cent.
songs
On ‘thirteenth 220 = kee i A Eee Seen) CAA Roe oat 0 cata | ae Ae 1 2.8
Qnusiethic a5 alse BO pes fl cel eee eee. See aed ee ee 5 19.5
On. Well Jencictprtioecnice Qe est 11 ‘ 4 2 2 20 50
On-fiitheere®..22 see oe 4 DCC E <5 SO ol cevsciees 6 15
Guniitenth ccs koe eae oe S14 ees rae Lc Soke sos) eaenee ae ae aoe a 3 7.6
Or CHE ee onc asics See Soke wee Bx ts Scone |. te teats can Sa aee 1 3 7.6
On tome en se so oo Fe oa cts so ee se op Bk ert 1 1 2 6
|
Rotal 6. $2: 3.0.- 8: 26 3 | + 3 4 40\| Sesareee
ENDINGS OF SONGS
Dream | Mide’ Love | Moccasin} nance
3 game * Total | Per cent.
songs songs songs songs songs
OntOnic ic. s5-505 5-0-5558: sone 14 | 2 4 2 2 24 60
Onjfifth psisetcnagelscy. =] 2| icleboge ge ds i) ee Pe 4 10
CORBIN ne ee ee i Ui jel PY opie) Ree Paes 5 ENN 2 12 30
Potalisscwcerisssqss...s. ze! 26 | 3 4 3 4 40:55 SEeREEE
TONE MATERIAL
Moccasin
Dream Mide’ Love Dance
songs songs songs game songs Total Per cent.
songs
Second five-toned scale «25% eae S| oc antes Uleaemeeencsleoseeeenee 1 1 3.6
Fourth five-toned seale........- 15 2 1 2 2 22 55
Moajor triad 32 so. 52. sean cose Be lsc cuscexulekdad acu ds |Seatne eee eee 1 2.5
Major triad and sixth........... 9 i Se Ramee areas a ee see il 27.6
Minor triad arndysixth so 2. oa eee ae lok See fe Pee 1 2 6
Minor triad sixth and fourth... . Bil sccutecc ee LA Glaeo ce eee eerie 1 2.6
Minor triad'and fOurGh.. -26 Seen seo oe eee ee eee 1 Pere ene — ol (ee een 1 2.6
Octave complete except second..|....-.-..-|.--------- + Pees Se ee 1 2.5
Totals brow vere se ose 26 3 4 3 4 40 || -.o.4 tees

DENS MORE] CHIPPEWA MUSIC—II

Metopic ANALYsiIs—continued

289

ACCIDENTALS
Moceasin
Dream Mide’ Love Dance .
songs songs songs Donen songs Total | Per cent.
Songs containing no accidentals. 24 2 2 3 3 | 34 86
Songs containing sixth raised a |
BEnITOHOE ces S52 59: ess See. eee or tees jee =a Pee Sa 1 2.6
Songs containing second raised
MSCINITONE 22 ots ie ciep nes cps igh e ats ak oeiAl = see A en eee 1 | 3 7.6
Songs containing second raised
a semitone and sixth lowered |
SUISBUNITONE:. = 9652 amo Wats las ae: MORE eee 1 ja ee is eee aoe 1 2.6
Songs containing sixth lowered
PRSONIN ODE. aoe no a ewe dlaces ones LW S22 A Es oe 1 2.6
PTR Ss ok LEER 26 3 4 3 4) AD ite dace
STRUCTURE
Moccasin
Dream Mide’ Love Dance
songs songs songs ica songs Total | Per cent.
ies = i :
RTARIIOMIC eee tte acne noes 14 1 1 2| 2 20 50
Purely melodic...............-. 4 2 3 ty 2 12 30
Melodie with harmonic frame- | )
WOK iinet mas apne en ceases > 2 Sh | RSS SBP I 4 0 38 tip SESE sete A TSE 8 20
ESCA eee Bs Sets ake 26 3 4 3 4 te eee
FIRST PROGRESSION
Moccasin
Dream Mide’ Love Dance
songs songs songs pie songs Total | Per cent.
Downward ............2-2-20--- 21 3 3 3 | 2 32 80
WPWard sh o-6- 552.5225 3-2: sal! 1h eae A Us EPA Bane 2 8 20
See Te
SiN Aas Acton Soho one e rh lee 26 3 4 3 4 ct eee
RuytHuMic ANALYSIS
PART OF MEASURE ON WHICH SONG BEGINS
Moccasin
Dream Mide’ Love Dance
songs songs songs Cee songs Total | Per cent.
Beginning on accented part of
TRANG = 28 oe co eo. 17 1 3 3 3 27 67
Beginning on unaccented part
ONWiGASHTos.- foe 4s Se es | 9 2 A a ag 1 13 33
S17) eaten oe a ea 26 3 4 3 4 AO | ioSesseseh

67996°—Bull. 53—13——19

290 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
RuytTHMICc ANALYsIS—continued
RHYTHM OF FIRST MEASURE
Moccasin
Dream Mide’ Love Dance
songs songs songs Sic songs Total | Per cent.
Beginning in 2-4 time.......... 15 2 2 1 1 21 52.5
Beginning in 3-4 time.......... i Ss eee Ses 1 2 2 14 35
Beginning in 4-4 time.......... i Ne | Lhe ee eee ee eee aa pees AA arp | ee eee SS 2 1 2.5
‘Berinning:inh-4 time.) eases ee) eee ae see Ti | ee a ah 1 2 5
Beginning in 7-4 time.......... actors ete oak tll ae enton + eallbeina eee 1 2.5
Transcribed in Omtline .22. 5 <o< o|\secc0 sc0e 1 Il Pee Sl SE || cy a 1 2.6
Moth ot 3 ee se ees 26 3 4 3 4 40 ho nee
CHANGE OF TIME
Moccasin
Dream Mide’ Love Dance
songs songs songs nen songs Total | Per cent.
Songs containing change of time. 26 1 3 3 4 37 92.6
Songs containing no change of
PLO fy Jip Seen eee aopatoeesen etal bigeye a! 1 1 ae Se See 2 6
HTANSCTIPCU: 1 OULHNO>. ..2 cis sa5 |kesis cee oxo DP \eoaeae Secchi see bes ls ec emeiees i! 2.6
HOLA are ie eee 26 3 4 3 4 40) |) seeceae
RHYTHMIC UNIT
, Moccasin
Dream Mide Love Dance
songs songs songs eae songs Total | Per cent.
Songs containing rhythmic unit. 9 2 2 1 | 2 | 16 40
Songs containing two rhythmic |
WES So eek Se ein ee eee ae ee 1 a i Sie eh ek ly SRS A ip No deane areas if 2
Songs containing three rhyth-
BHI WPT See > fo tote cee aac awe alosea essed Taldce Segoe. eee 1 2
Songs containing no rhythmic |
MIDE See toast oan nn ccemen eee 2 OO eRe 1 2 | 2 21 638
Transcribed in outline..........|.......... Nas wee a tot ae Pee | aioe 1 2
i RRR CONT sae 26 3 | 4 3 4 Ag: |. core
COMPARISON OF METRIC UNIT OF, VOICE AND DRUM
Moccasin
Dream Mide’ Love Dance
songs songs songs eae songs Total | Per cent.
Metric unit of voice and drum
He SMD oe edie anes =o aes Rone s aoe Mate Deiat olga terest ae 3 16 40
Metric unit of voice and drum
Miferen hack < lwis ate Seeeeeh oe 13 pia) ie See erry 3 1 19 47.6
Transcribed inonutline>:.....55-5 teense 1 Ie Rae eee eres Scher sod 1 2.5
Reeorded without drum). .<n<2.-\\- «--- 2. see- ee oe De er aes ne Rene 4 10
TOLER. <3. ssseeccne obs 26 3 4 3 4 407| on cceenes

SONGS OF WHITE EARTH RESERVATION

This group contains songs of several classes, comprising all the
material in this work collected on White Earth Reservation, Minn.,
except songs connected with war (pp. 59-141).

No. 168. ‘“‘We Have Salt’’ (Catalogue No. 268)

Sung by Henry SELKIRK

Voice g—160
Drum g— 104
(Drum-rhythm similar to No. i ane

soe es “aaeadae aan

ma- no ki-ga-dan-a-wen- i-mi-go- min _ ji-wi-

VOICE 126

ta- gfin gi - da- ya- min a- ja - wa - kwa gi - da-
ees ene Sree sie:
— +
ya - min
WORDS

Ma wo sted). ISI ee a we let
kigadeiin’awen/imigo’min.-.....--- them despise us
i pnina eb aee Sa OD. ot AY hee salt
Sg Cc a re So we have
BW RWS oe in. Fae ee here, beyond the pee of timber
JL Op 07 hee ele i we live

In the early days the Minnesota Chippewa had no salt, and some
of the older Indians have not yet acquired a taste for it. In a treaty
known as the “Salt Treaty,” ! concluded at Leech Lake, August 21,
1847, with the Pillager Band of Chippewa, there was a stipulation
that the Indians should receive 5 barrels of salt annually for five
years.

‘A compilation of all the treaties between the United States and the Indian tribes now in force as laws,
Washington, 1873, p. 212.
291

292 BUREAU OF AMERICAN ETHNOLOGY , [Bon 58

Analysis.—Four renditions of this song were recorded. In all
these the drumbeat was steadily maintained but the voice tempo
changed as indicated. (See the following groups,. each comprising
two songs: Nos. 100, 101; 103, 104; 121, 122.) The melody contains
the tones of the major triad and sixth and would be classified as
harmonic in structure except for the accented F in the fourth measure
from the last. Meaningless syllables were used in the closing measures
of the song.

No. 169. “If I Were a Son-in-law”

(Catalogue No. 269)
Sung by Henry SELKIRK

VoIcE = 184
Drum ex 108
(Drum-rhythm similar to No. 19)

Ko. zi-gwa - ko-mi-nfig e nin-da - na- po -
——— Ie PP Ps
= Se SS
a5 SAR Re es
|e ve SF na-an - gfibi- yan e
ae ; = ene = Z
2 aese: = es: f :
WORDS
kozipwa’kotinGe”. so. 2202 ape dees June berries
ninda’nawapo’kiniig!.....-........ I would take to eat on my journey
CG CONPUTY 2g 5 AO 27 chau erm sap ea if I were a son-in-law

June berries, which are abundant in the Chippewa country, con-
stitute the simplest possible form of refreshment. ‘Take some June
berries with you,” is a common saying among the Chippewa. These
berries grow on tall bushes; they are small and red, have firm white
meat and very little juice, and are sweetish in taste.

Analysis —This song contains the major triad and fourth, tone
material found in only one other song of the series of 340. It is
rhythmic in character but contains no unit of rhythm. The voice
tempo is rapid and the song has a marked individuality.

1 One syllable of this word was omitted by the singer.

2 Two consecutive syllables of this word are accented. The Chippewa word meaning “‘son-in-law’’ is
nadng'ic. The word occurring in the song contains also the root %b, meaning “‘to sit,”” and would be lit-
erally translated, ‘‘if I were sitting asa son-in-law.’’ In the old days each member of a Chippewa family
had his or her seat in the wigwam, and the son-in-law, coming into the home of his wife, had a seat assigned
him, and was referred to as “‘sitting.”” This indicated that he had been received as a member of the
family.

DENSMoRE] CHIPPEWA MUSIC—II 293

No. 170. ‘“‘Work Steadily”’ (Catalogue No. 270)
Sung by MaINn’@ans

VOICE oi 60
Recorded without drum

os eee eee Sec

A-yafi-gwa-mi-sin tci- 4-no - ki- yfn
-p-
_@ ; — >
spgpctstt teat
i jeer: 6) 3
P a ———
ga - ma - ka-mi - go ni - au

WORDS
aganowa mista ee: * = ./. = oo sso. be very careful
ici aYa al ce hh he a he a ee to work steadily
parame! KAMIGO oes ses e252 2 <a \I am afraid they will take you away from
=) | ae eae mae ap ef ee aa me

Many of the Chippewa love songs can be sung by either a man or a
woman, but this is a woman’s song.

Analysis.—This song is slow in tempo and mournful in character.
The tonality is minor, and the melody contains all the tones of the
octave except the second. The subdominant is especially prominent
and the song has a pleading quality. This peculiarity is noted in
other love songs also (see Nos. 106, 109, 110). The time was not
rigidly maintained on the eighth notes, which occur on the unaccented
parts of the measure.

Pire Dance Sones

The pipe dance was said to be the principal ‘‘good time dance’’ of
the early Chippewa. It is very old and, like all other dances, is
believed to have come from the manido’. In this dance a man
carried a pipestem and his body was supposed to represent a pipe.
The dancer never rose erect, but took a crouching or squatting posture,
trying to assume the form of a pipe as nearly as possible. Many
contortions of the body were used, and the antics of the dancers were
considered very amusing. Only one man danced at a time. When
he had finished dancing he presented the pipestem to another, who
was obliged to accept it and dance; he transferred also the rattle
which he carried. This procedure was continued until all the men
had danced. Some were awkward, and their frantic efforts to

294 BUREAU OF AMERICAN ETHNOLOGY [RULL. 53

imitate a pipe produced great merriment. It was considered a test
of courage for a man to brave the ridicule of the assembly and seat
himself where he would be asked to dance the pipe dance. In the
early days the men who danced this wore no clothing except the
moccasins, which were necessary to protect the feet.

A characteristic of the music of this dance is that a sharp, short
beat of the drum is frequently given, followed by an instant of silence.
When this drumbeat is heard the dancer pauses in whatever attitude
he may chance to be and remains motionless until the drumbeat is
resumed. This is indicated in the transcription of the first pipe
dance song. The drumbeat is very rapid, and the dancer is expected
to keep in perfect time with it.

No. 171. ‘“‘O’gima”’ ! (Catalogue No. 408)
Sung by E/nrw6B’r
Voce ¢g—208

Drum = 138
(Drum-rhythm similar to No. baa dake Csr

SSeS

Ha ni wa ya hi ha ha ni wa ya hi ne
Sw ee men ait as Wes pe es ee!
p a : =
Wa - ba - ca o - gi- ma na, Wa - ba-
ca ma ya ho
WORDS
Walbsi@a Seesmee eee ecr coer mee seat Waba/ca, name of a Sioux chief
Prd ih ec): oes 2a See ae peer oe ee Meee chief

Analysis.—In the several renditions of this song E’niwtb’e intro-
duced the names of four chiefs, belonging to three different tribes:
Waba’ca, a Sioux; Na’égade’, a Winnebago; and Kaga’giwayan’
and Wasi’kwade’, A the Chinpewn: The mention of these names
does not signify that the chiefs were actually present at the dance,
but that the Chippewa remembered them on an occasion of pleasure.

1 This song is analyzed with Unclassified Lac du Flambeau Songs, p. 242.
2 Compare repetition of names in Song of the Peace Pact (No. 44).

DENS MORE] : CHIPPEWA MUSIC—II 295

The melody is simple in structure and contains only the tonic with
the third and fourth. This tone material (minor third and fourth) is
found in only two songs of the series of 340 (see No. 157 in Bulletin
45, and No. 11 of the present work). Attention is directed to the
rapid tempo of both voice and drum, also to the pauses following the
explosive tones.
No. 172. ‘‘Little Plover’’ (Catalogue No. 281)
Sung by Opsis’wE

VOICE oi 160

Drum g—96

(Drum-rhythm similar to No. 19)

Dji - tcis - ki- wen a gi - mu - sé kai yo we ni
i ae Sa te | oo Bg ee eee ORY |
- 5 - — s _——
— Se SS A eee
kan yo we ni kai yowe ni kai yo we ni
WORDS
GiteeIs eA WEN Se ono ne ee es a en little plover, it is said
HAIN ne ter ees ote nie Ss 2 oe has walked by

Analysis —The singer stated that in this dance the men frequently
imitated the motions of the plover, when singing this song.? The
melody, which is short, consists of two distinct parts, the first in
double, the second in triple, time; the former contains five measures
and the latter four measures. Each part of the song has its own
rhythm and tone material, the first containing the descending fifth
from the dominant to the tonic, and the second the descending fourth
from the tonic to the dominant to the lower octave. It is interesting
to note in connection with the statement of Gardiner (quoted on p. 7)
that the note of the plover is a descending minor third, that 38 per
cent of the intervals are descending minor thirds.

The song contains only two upward progressions; two other songs
having similar characteristics are Nos. 6 and 38 in Bulletin 45. The
nine renditions of this song recorded show no variation.

1 The second syllable of this word was omitted by the singer.
2 See pp. 101, 201, 203.

296 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 173. ‘‘Why?’’ (Catalogue No. 282)
Sung by OpsiB’wE

VOICE = 192
Drum e = 96
(Drum-rhythm similar to No. 19)

agg pepe

We - go - nén nin - dan - gwe wen - dji- ni - mi-yfifig
ee FS ian see Pre a ae
:
ga wen -dji-ni-mi-yfifig ga wen - dji- ni - mi-ytig
WORDS
WES OMO Me. cad te Ie moe why
nitidsh cwe: 8: my (female) friend
wén/djini’miyfifig’. ......... do we dance?

Analysis.—Six renditions of this song were recorded. In a major-
ity of these the last tone of the transcription was omitted, the singer
returning to the first measure with no interruption of the time (see
No. 125). It will be noted that the next to the last measure of the
song is abrupt and unfinished, but the singer found no difficulty in
beginning the repetition of the song on the proper pitch. The song
is characterized by the emphatic syllable ga, given with a prolonged
tone on the descending intervals of the tonic triad.

DENSMORE] CHIPPEWA MUSIC—II 297

Mipr’ Sones
No. 174. Mide’ Burial Song (a) (Catalogue No. 283)

Sung by Na’wasI’BIGO’KWE
VoIcE e = 152
Recorded without drum

Ses 5p ete eg Eee

Gi-ga-ma - i gi-ga-ma - dja ya gi-ga-ma -

cee eae eeert = =

ya -ga-ma - dja gi-ga-ma - dja
-9- * * 2 2 >) ee
sig Spatatt tit Shee
a-ma - = ya gi-ga-ma - dja ya gi-ga-ma -

aaevrer

aus: =a ee

o - de - nafig gi-di-no - se sa gi-di-mno -
aug ferry fae
ya gi- dino - se gi-di-no - se
x 2 0 - +p fi -9- 2 a~ ee a
= PSS fee
(] ee ees aS eee er
gi-di-no - se . $a gi-di-no - se ya gi -di-no -
ESS Seer sqce= afl
gi-di-no - se gi-ga-ma ss -
WORDS
oi cami oe) 20... «ee you shall depart
GOO MAN oo hock! Ae te to the village
fa RO NTT OS EN me SEIN: Seana NE you take your steps

This and the song next following were recorded by a prominent
member of the Mide’wiwin on the White Earth Reservation ; they were

298 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

said to be used during the burial of a member of that society. There
is a peculiar gentleness in both these melodies. They are cheerful,
yet plaintive, and are worthy of attention as features of the cere-
monies connected with what is commonly designated ‘‘a heathen
burial.”

Analysis.—A persistent rhythmic unit characterizes this song. The
second measure of this unit is given in triple time and then in
double time. As in most Mide’ songs, the words are continuous, but
this song contains none of the ejaculations used in songs intended to
produce definite results by means of “ spirit power’’ (see Bulletin
45, p. 43). The melody is interesting, though simple in structure,
and is characterized by the interval of the fourth, as noted in many
songs which contain the idea of motion. (See No. 22.)

No. 175. Mide’ Burial Song (b) (Catalogue No. 284)

Sung by Na’wasi’BIGO’KWE

VoIcE aes 160
Recorded without drum
ee are ee ae Pe
aig ty oe
Né - ni - wa ‘ ni- ba-wi.- da ha Né - ni-wa
ape ae =e
Sag =e =f 3: el
ni-ba- wi - da ha Né-ni - wa ha ni-ba-wi-- da ha
ac) 2. te
seh Fae ate ;
‘ iS co E
Né - ni - wa ha ni-ba-wi- da Né-ni-wa _ ni-ba-wi - da
or, ae = ff ee
ha Né- ni - wa he gi-ga-wa-ban-dan ni - au e he
Vert beens f-
Le = ae qe eS
Né - ni- wa é -nén- da-man é hé Né -ni - wa ha

wag Sense

ni-ba-wi - ha Né -ni-wa ni-ba-wi - da

DENSMORE] CHIPPEWA MUSIC—II 299

WORDS
NGswarih 9a f 7. MES. 2 Néniwa’ (name of a man)
ni/bawitie’ a2). 20. Jerre. .--- let us stand
gi’gawa’/bandan’............ and you shall see
LIT oe, eae rs er ae eee ee my body
‘112 0) 1 ae as I desire

Analysis —This song is in the same key as the preceding and has
the same peculiar ending. The rhythmic unit shows a slight varia-
tion in the middle of the song, but clearly influences the entire rhythm.
The song contains only the tones of the minor triad and fourth.

Moccasin GAME SONG
No. 176 (Catalogue No. 285)

Sung by Witu1am PoTTrEeR

VOICE = 108
Drum c= 108
( Drum-rhythm similar to No. 125)

eae

cy ae : Hay ge

=) aaa a ff © +? 5 ».¢ >
tee

9-9-9

oe =

Analysis —This song is harmonic in structure, major in tonality,
and contains only the tones of the tonic triad and sixth. The rhythm
was steadily maintained throughout the six renditions. At Waba’-
clig a song rendered by a member of a Canadian band of Chippewa,
temporarily residing there, was recorded, which resembles this so
closely that it may be considered the same song, although it is in 3-4
instead of 2-4 time. (See No. 144.) That singer said it was a
dream song, by means of which success in the moccasin game was
secured. In his rendition the metric unit of the voice was slow and
that of the drum rapid. In the rendition by the White Earth singer,
a man accustomed to the ways of civilization, voice and drum were
in the same tempo. The comparison is of interest, as the singers
were widely separated in locality and in general development.

Love Sones

The two songs next following were sung by Mrs. Julia Warren
Spears, sister of Hon. William Warren, author of the History of the
Ojibway, and sister of Mrs. Mary Warren English (see p. v).
Both Mrs. Spears and her sister are women of marked ability; they

800 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

are lineal descendants of Richard Warren who came over in the
Mayflower. Mrs. Spears is mother of Mrs. Charles Mee, who has
greatly assisted the writer in securing material on the White Earth
Reservation.

The following description of the songs was given by the singer,
Mrs. Spears, who also translated the words:

When I was a girl 15 years old, living on Madeline Island in Lake Superior, I had a
friend and playmate, a very pretty Indian maiden. She was the daughter of a chief,
an only child, and she was always singing these songs. I learned them from her
and have never forgotten them. The first is sung when the maiden sees the young
Indian brave for the first time and they fallin love with each other. In her happiness
she sings that song. The other is when her lover leaves her to travel a long distance,
and being very lonely she sings the sad little song.

Mrs. Spears learned these songs more than 60 years before they
were recorded by the phonograph. The writer heard them sung by
Mrs. Spears at intervals during a period of several years and the rendi-
tions never varied in any respect.

(Catalogue No. 286)
No. 177. ‘‘I Have Found My Lover”’

Sung by Mrs. JuLt1a WARREN SPEARS

VoIcE ae = 108
Recorded without drum

a - nin nin - i-mu - cén sa nid nin-di-nén - dim

WORDS

TO EW erate * Bee Se gO) elk Oh

nin dinen Guise e er Nea oe I am thinking

TEA es oP att ee OE fe ere Oh

min’“dinen/ditimk 9.203. ¥42 We I am thinking

me‘kawila/min se tee. cb hee eee es I have found

nin MCh! ea ee ea eS my lover

LOD Ee At Ne ta Ew ao EIS Se a Oh

MINZGINENAwIM sae ects see ees Ue ee I think it is so

Analysis.—This song is purely melodic in structure, the melody
moving freely along the tones of the tonic triad. Other songs com-
posed or sung by women are Nos. 31, 39, 40, 112, 127, 151,178. The
rhythm of the first stx measures is somewhat changed in the second
section of the song. The range of the melody is of interest in con-

1 A woman’s exclamation of surprise.

DENS MoRE] CHIPPEWA MUSIC—II 301

nection with the fact that it was sung correctly and with pleasing
tone by a woman more than 70 years of age.

No. 178. “‘He Is Going Away ’”’ (Catalogue No. 287)
Sung by Mrs. Jutra WARREN SPEARS
VoIcE s= 54
ded without drum
Recorded withou
er
; =r
ar cea ie Eee Se 5s ee ae
Wa - sa-we - ka-mi - kafig wa = i1- ja - ci nin .- 1-

mu-ce wa-i - ba wa - i- ba wi -ta-gwic-in - sa
WORDS
wa/sawe’kami’kafig............ eee 4 to a very distant land
NEE AM ete ath see = ee SLD epee he is going
Min site COMA |. Rs BEML my lover
Waeiies Fier? Se. ey bes. 2 et 00K
Whhaewie insane se 2s s Pts es ens he will come again

Analysis.—In structure this song differs widely from the one next
preceding. Instead of beginning on the twelfth and ending on the
tonic, it begins on the dominant above the tonic and ends on the
dominant below the tonic; it is melodic instead of harmonic; it begins
in double, instead of in triple, time; and instead of the simple tones
of the tonic triad we find a tone-material which has been but rarely
noted. The melody contains only the first, second, fifth, and sixth
tones of the major key. This tone-material is found in only five other
songs of the entire series (see No. 53). Other songs said to have
been composed or sung by women are Nos. 31, 39, 40, 112, 127, 151,
sy irs

302 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

SONGS FOR THE ENTERTAINMENT OF CHILDREN
No. 179. Song of the Game of Silence

(Catalogue No. 448)
Sung by Jonn W. Cari

VoICcE = 192
Recorded without drum

A - go-djina-go- djin e-kwa-teg ko-koc-ne-wa-ba-mfi na -

ppisniiit tea

bo-zi -de me-ma-gi-ci - - si-wa - he we-mi- ti -

Ya 3

wa - pi- ni-ni- di-wig-e he dfi-ni e he dfii-ni e

‘ ~~ Jeli) + ° if
= Pieiaeeers!
he dfi-ni e he he da-gi - tci-gam-e - we-na he da-gi-

teci-gam-i - we-na ic-kwe-a-cin-ge he en- di-ji - dji-tci-
e & « -
Se
22
gwa - kwen-dji - ge - yan e he bi - ji- we - kfi-wi- 4

bi - ji- we -kfi-wi-& na-ma - ha - na-na-ga - na na - ma -

ha - na-na - ga - na kwa-kwac-kwan-da-mo kwa-kwac-kwan-da-mo sép

DENSMORE] CHIPPEWA MUSIC—II 303

WORDS
ago ajith nail ipet Ue sid). 23 it is hanging
pl wales iso. 4: bata Saas fycies in the edge of the sunshine
kokoc’newa’/bamt’........-....... itis a pig, I see
WE RIE a imo 3 'n SoS. aan taae cin, pot eta with its double (cloven) hoofs
mema/gidisi/adisiwage’1........... it is a very fat pig
we’mitigo’jiwige’...........---.-.... The people who live in a hollow tree 2
ma/miga/diwlige’....-..-..:----+-- are fighting
ma/miskwéwa/’pina’ Banet Sf they are fighting bloodily
dini’.. — Sin. dt nobt 3, RE IS Teh
da/pitcieany’ ewena’. Sasaee Est aSS rn serpy he will carry a pack toward the great water
(The rabbit speaks)
rll a feet iy ee ee at the end of the point of land
en/dijidji’ wet wre Or . I eat the bark off the tree
bijiwe’kiwiii’. ates SA. - Isee the track of a lynx
armayeadlasinele? rite afl aie Seta, aw I don’t care, I can get away from him
kwa’kwackwandamo’.............. it is a jumping trail (referring to a rabbit
trail by which the singer will travel to
safety)

sép! (an interjection without mean-
ing)

This song was recorded by Mr. John W. Carl(see pp. 83, 130), a
graduate of Haskell Institute. Mr. Carl’s mother, a Chippewa, sang
two of the Mide’ songs contained in Bulletin 45 (serial Nos. 78, 79).
Until he was 10 years of age Mr. Carl lived the typical life of a Chip-
pewa child in a tribalcamp. He stated that he had a distinct recol-
lection of this game.

The “game of silence,” which consisted in keeping still as long as
possible, was played by the children at the suggestion of the older
members of the family. It is said to have been called frequently
into requisition when the adults wished to discuss matters of impor-
tance. A pile of presents was placed in the center of the wigwam—
beaded moccasins, belts, and arrows of attractive design. These
were to be the reward of keeping perfectly still for an indefinite
period of time. The game was usually played in the evening, and
if the children fell asleep before the spell was broken it was cus-
tomary to renew the contest as soon as morning came and the family
were waking. The child who first spoke or laughed was regarded as
ingloriously defeated, while he who held out the longest received the
spoils.

When the game was started this song was sung by some one with
an active imagination. The indicated words are not arbitrary.
Still more startling situations might be invented and the narrative
continued still longer. The words of the song as rendered are in four
distinct sections with no apparent connection between them. To the

1This word and the next to the last word are slightly changed to conform to the music.

2-This term probably refers to the French, who lived in log cabins.
4 This refers to a familiar folk-tale in which the rabbit defied the lynx.

304 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

child mind is first presented the vision of a pig—a very fat pig—
hanging in a tree. Next is shown the Frenchmen in gory conflict,
followed instantly by the rich man, who carries a pack toward the
great water. Where can he be going and why does he travel alone?
But with another lightning transition we are on familiar ground.
The rabbit is speaking. We all know how he jeered the lynx from his
place of safety on the point of land, extending far into the water.
He nibbled the bark off the tree and said he was not afraid, because
he knew of a rabbit track that led from that tree right away through
the brush. It was a jumping trail. We know that kind of trail.
Sép! The singer has stopped. What child laughed? The story
ended so suddenly! It was a very funny story. We watch the fire
with blinking eyes. ‘‘A pig in a tree.’’ Yes, yes! It is warm in
the wigwam. The little dogs snuggle cosily. ‘‘The fighting French-
men.’’ Wesaw a Frenchman once. It is fair to yawn if you do not
make any noise. Let us have part of that blanket. There is a bow
that goes with the red arrows in the pile of presents. Perhaps we
will get it. But we wish—wish—we might have—really seen—the
very fat pig—in—the—tree.

Curled in the blanket with their little dogs the Indian children are
asleep.

Analysis.—The tonic triad forms the framework of this melody,
part of which is above the tonic and part belowit. All the tones of
the octave except the seventh occur in the melody. The rhythm is
lively and well-sustained though the song contains no rhythmic unit.

The next song accompanies one of the folk-tales (a’dizo’ke) told
to the children. The Chippewa have other folk-tales which belong
more especially to the older people; these are the stories of We’nabo’jo
(see Bulletin 45, pp. 92, 206). There are also stories of giants, or
cannibals, called win’digo. All these stories are of indefinite length,
it even being said that the fullnarration of the doings of We’nabo’jo
requires an entire winter, the story being begun each evening where
it was left the previous evening. In contrast to these are stories
similar to the one under consideration, which are brief and concise.
On the Red Lake Reservation the writer was told stories which were
said to be native but which were in reality a Chippewa version. of
such well-known Hans Andersen stories as ‘Little Claus and Big
Claus.’”’ The story of Cinderella also was related with slight adapta-
tion. It is probable that these stories were introduced many years
ago by the wives of traders who came from Canada. It is said that
many of these were women of culture and that they often told stories
to the Indian children. These stories were found on no other reser-
vation. Several of the stories told to children have been given to the
writer on three reservations in Minnesota and also on the Lac du
Flambeau Reservation in Wisconsin, the versions differing in detail

DENS MORE] CHIPPEWA MUSIC—II 305

but retaining the same outline. Many of these stories contain one
or more songs, which are always said to be sung by the characters of
the story. These songs are therefore a form of musical expression
ascribed to animals, the actors in the stories almost without exception
being animals indigenous to the region. Among the most persistent
stories is that of the Coon and the Crawfish, which follows:

There was once a coon who lived in the country of the crawfish and made them a
great deal of trouble. At last the crawfish started to make war on the coon. They
said they were going tokillhim. An old female crawfish warned them against this and
said that the coon was so cunning he would surely kill them. She showed them her
fingers, which the coon had bitten, and said that he had destroyed whole villages of
crawfish. But they would not listen toher. They still said they were going to make
war on the coon, so the old ‘‘ woman’’ went into the water and stood there to see what
would happen.

The coon was lying beside the road when the crawfish came along, singing their war
song. He seemed to be asleep. Gathering around him and still singing their song,
the crawfish pinched him with their claws; sometimes he winced as they did so,
pleasing the crawfish very much. But the song wasinterrupted. The coon suddenly
jumped up, crying, ‘‘Why are you disturbing my nap?” Then he ate all the craw-
fish—every one of them.

The old ‘‘woman’”’ standing up to her neck in the water saw it all; she was
safe and the coon could not get her. She laughed to see that what she said had come
true.

The song as recorded contains the words ‘“‘e’sib@n is dead.’? In
that version of the story the coon is represented as feigning death.
Another singer sang the song using the words ‘‘e’stban cringes,’’ in
which version the coon pretended to be asleep.

No. 180. Song of the Crawfish (Catalogue No. 449)
Sung by Opjib’we

VoICcE , — 108
¢ Recorded without drum

-———_--——

2 © 2 # # - My ; ae

Be = st = ban, 71 bo

sixth tones of the minor key (see No. 53). The interval of the fourth
is prominent in the formation of the melody; this has been noted also
in other songs concerning animals (see No. 22).

67996°—Bull. 53—13——20

306 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
Songs— White Earth Reservation

This group contains 2 social songs (Nos. 168, 169); 3 love songs
(Nos. 170, 177, 178); 2 pipe dance songs (Nos. 172, 173); 2 Mide’
songs (Nos. 174, 175); 1 moccasin game song (No. 176); and 5 songs
for the entertainment of children (Nos. 51, 52, 53, 179, 180).

Me.Lopic ANALYSIS

TONALITY
|
prams | Serial Nos. of songs

|
1 | eg i et eel Al ae ay oie A Re 9 | 53, 168, 169, 172, 173, 176, 177, 178, 179
Min gr a ateet seat. Jab 2 ae os Soe ees TER Bee sete. dees | 6 | 51, 52, 170, 174, 175, 180

Total 25S. dues s0 2. ee eee eo See 15
|

BEGINNINGS OF SONGS

{

N :
Dre Serial Nos. of songs
Gis RS ZEIT At patie ter te Nac aage Dp Bee yin ante FE ake ooh Be 3 | 168, 166, 17
UTE TA Pg As a ME Oe ee ge 4 | 172, 174, 178, 179
Onicle venti > 9-4. Se eee ye ae a ee Pot
Oni tentheer eee cance Soke 4 Sakae ee oak we tee 152
Guihind? 2F4 a6 heh). Sst RRS ek. Gt A 1 | 173
On octaves: cyyes. = ft fbOo.- Act eee BEES. eee 2 | 169, 170
CFNIEBCOGHE So stane 2 cee tena te et ee ee ees 1 | 180
On tone: 28 tee eee Bes. toe mesh. ora ° 2 | 53, 175
olay 27 Meee teehee > St OP as are ee ere Ries ot re 15
ENDINGS OF SONGS
Number | : :
of songs Serial Nos. of songs
Gutenicnee —-- SESE OC TS GODT Dear carorr a sice 10 | 51, 52, 53, 168, 169, 170, 172, 173, 176, 177
COE SUICTETEGE ee oe Stl ee een 5 | 174, 175, 178, 179, 180
ROE Ss sete ea So SORE a ee ee are 15

DENSMORE] - CHIPPEWA MUSIC—II 307

Metopic ANALYSIS—continued

TONE MATERIAL

lesa Serial Nos. of songs
WOR ENVE“CODEM Siaklee <b) ot reek nse ee cen once oe | 2 | 51, 52
LES PO 5 ee ee Sn eae Oe ae 1 LTT
Majortrad and seventhte..-- <- 22-0022 2+ sede. e tee: Tras
Majorjiniadsand'simth, J. sses.24- ip) ae ieece cbs .- - 3 | 168, 172; 176
Miaiontrad ang fourthaw - oo. oce Sake bcs see aes 1 | 169
Minor tring Bnd IOuri N= 2.5.65 6. one ween Soc acien sok nt 1 | 175
Octave complete exceptseventh. 7-52. 2S 1 | 179
Octave complete except seventh and sixth........-... 1 | 174
Octave complete except second....-.....222254-....- 1 | 170
First, second, fourth, and fifth tones.................-. 1 | 53
First, second, fifth, and sixth tones.............--...-- 2 | 178, 180
TAG URS Re Re ope Be 15
ACCIDENTALS
N
eave Serial Nos. of songs
Songs containing no accidentals. ...........--..-.----- | 15 | 51, 52, 53, 168, 169, 170, 172, 173, 174, 175,
| 176,177,178, 179, 180
ARG ET Oe Ae ESCs OSE eC) 7 aR ae et a 15
— — — — == —_ <= ——
STRUCTURE
gditn Serial Nos. of songs
TEI OTTEG TA (cece ee eae ee A NEL ee Se Sa | 3 | 172, 176, 177
TETRA Ry LET (C7 Ce, ene oe eer ee AS ae ea 10 | 51, 52, 53, 170, 173, 174, 175, 178, 179, 180
Melodic with harmonic framework. .........-....----- 2 | 168, 169
WOT cen ee ves = cones op Seta eosin ee 15
FIRST PROGRESSION
: ; | :
Number | :
| of songs | Serial Nos. of songs
> ;
Downward....-. eo Mee 3s BE: - Ene ee 10 | 51, 52, 170, 172, 173, 174, 176, 177, 179, 180
Upward ese n= eee oe Sane SES eee 5 | 53, 168, 169, 175, 178
LOGAN ees Pe ene aS aa eee ee eee 15

3808 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

RuytHMic ANALYSIS

PART OF MEASURE ON WHICH SONG BEGINS

Number
of songs

Oniaccented part? 222 ee .ct5 See ee eee ee eae | 11

otal; f.<i:.5¢ soe naeeee eee ee 15

Serial Nos. of songs

51, 53, 168, 172, 173, 174, 175, 176, 177,
178, 180
52, 169, 170, 179

RHYTHM OF FIRST MEASURE

Number |

Serial Nos. of songs

of songs
ad Tae ast

pongs beginning in 2-4 time. - =. ..3.5.9--85-20sss=-45 fee 1l
Songs beginning in 3—4 time ..2- -<224 -ayesce asec ees 4 |
SSS

Ota ee tae cae ease noe nee ceeieen eee ae Pot ee

51, 52, 168, 172, 173, 174, 175, 176, 178, 179,
180
53, 169, 170, 177

CHANGE OF TIME

one Serial Nos. of songs
Songs containing change of time........-.....--.----.-. 14 | 51,52, 53, 168, 169, 170,172, 173, 174, 175,
177, 178, 179, 180
Songs containing no change of time....-.....-..-.-....- 1 | 176
BBO oe Soe ah oe ea ec id oS ce oor. ee ee es 15

RHYTHMIC UNIT

Serial Nos. of songs

168, 172, 173, 174, 175, 180
51, 52, 53, 169, 170, 176, 177, 178, 179

Number

of songs

Songs containing rhythmic unit... soe 2 cess. s eee 6
Songs containing no rhythmic unit..................-- 9
Motel sess ssc hed ho Meet SA eee is 15

COMPARISON OF METRIC UNIT OF VOICE AND DRUM

Serial Nos. of songs

Number

of songs

Metric unit of voice and drum the same.............-- 2
Metric unit of voice and drum different. -...........-..-

. Recorded withoutdrumi-.. 44- -2-.6cn set ee acer eee 9

51, 176
168, 169, 172, 173
53, 169, 170, 174, 175, 177, 178, 179, 180

RHYTHMIC UNITS OF CHIPPEWA SONGS

The purpose of the following section is to place the rhythmic units
of the several classes of songs in convenient form for observation.
The analyses on pages 51-58 note some melodic and rhythmic resem-
blances between song-groups which have an underlying idea in com-
mon. The study of resemblances can be carried still further by com-
paring the rhythmic units of songs of related groups.

Ruytumic Units or Miper’ Sones!

No. 1 (Bull. 45) (Catalogue No. 189)
= SSS Ss S23 ages
No. 2 (Bull. 45) (Catalogue No. 238)
ee

ee v fas
No. 3 (Bull. 45) (Catalogue No. 239)

[ -6- al

se ry

#84 :
No. 5 (Bull. 45) (Catalogue No. 240)

oe 1
ae
No. 6 (Bull. 45) (Catalogue No. 241)
a ee aid
f+ @ @- @ @ — —_
rT - oe e--9 6 -
ee = e212
Bee, == =—— sae —
No. 7 (Bull. 45) (Catalogue No. 54)
i - Ea seaweed

Pa ~. @ @ @ @ » ee
eee oe

1See pp. 34, 51.

309

310 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 8 (Bull. 45) (Catalogue No. 55)
| 9-2 -9- -»- ; l
No. 10: (Bull. 45) (Catalogue No. 237)
oop pl |
No. 11 (Bull. 45) (Catalogue No. 61)
-—
o- 9 9-9-8 5- 53 2» 6 »
ee
Bea ewe:
No. 12 (Bull. 45) (Catalogue No. 62)
[~s2s 3 - +88, > |
: e_@
ay eae eae aie
ae a eS
No. 13 (Bull. 45) (Catalogue No. 63)
‘ | £- e_ fe: aaa = ee _~ -£ a4
nea —— zm ==, ——
No. 14 (Pal 45) (Catalogue No. =
I a
Ses 2. @ ig 6 -@
SS =e

No. 15 (Bull. 45) (Catalogue No. 66)

[.- » »- » a
oy oe terres : ee ae ==
i

Sree ce

No. 17 (Bull. 45) ese No. 123)
[ -9- e SS es eae
ria | ies 2 Pree =
22 Sa eer ee
a
No. 39 (Bull. 45) (Catalogue No. 30)
-_ + +. - |

2 ——— = aa ==: =

DENSMORE ] CHIPPEWA MUSIC—II

No. 61 (Bull. 45)

[+ Pye eae om sn

311

(Catalogue No. 69)

Stee

Sag

3
==83 Sas

No. 62 (Bull. 45)

No. 64 (Bull. 45)

ple

(Catalogue No. 70)

(Catalogue No. 254)

(Catalogue No. 67)

= oS a Se Ss eee ae eo ee
SEs eee ee

No. 65 (Bull. 45)

(Catalogue No. 56)

oiuat;,,

_lere # 0. @

ago ee

eR

No. 68 (Bull. 45)

(Catalogue No. 59)

No. 69 (Bull. 45)

(Catalogue No. 60)

ay pee

No. 70 (Bull. 45)

lee pee

(Catalogue No. 64)

= ae: |

Seg yg fe

b=? p52

312

BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
No. 71 (Bull. 45) (Catalogue No. 73)
| @@ @..@ o-
eb
2
No. 76 (Bull. 45) (Catalogue No. 53)
——
Aas
3
Pode Saat re
No. 77 (Bull. 45) (Catalogue No. 78)
= | : 2
=P oe
No. 78 (Bull. 45) (Catalogue No. 79)
RS aS ae nee a ax SY ee ri; |

==

No. 79 (Bull. 45) (Catalogue No. 71)
bis. ol
No. 80 (Bull. 45) (Catalogue No. 14)

oe gh

No. 81 (Bull. 45) (Catalogue No. 191)

| Ba OS ey wie oe
2. 2 @ epee

No. 82 (Bull. 45) (Catalogue No. 192)
(elsie esp pip - |
DH SS

No. 83 (Bull. 45) (Catalogue No. 193)

| ee a

DENS MORE] CHIPPEWA MUSIC—II

No. 84 (Bull. 45) (Catalogue No.

ae eeeeai ee

No. 85 (Bull. 45) (Catalogue No.
3
She,
No. 86 (Bull. 45) (Catalogue No.
nga 9-9 9-9-8 oe.
—_—

SV

No. 87 (Bull. 45) (Catalogue No.

2° eon
ea Saee Ea ares

No. 88 (Bull. 45) (Catalogue No.

petra

No. 89 (Bull. 45) (Catalogue No.

No. 90 (Bull. 45) (Catalogue No.

Se er |
oy eee

No. 91 (Bull. 45) (Catalogue No.

No..92 (Bull. 45) (Catalogue No.

——_———

318

194)

195)

197)

199)

200)

236)

248)

253)

255)

314 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53

No. 93 (Bull. 45) (Catalogue No. 256)
Sipe 5
No. 154 (Bull. 53) (Catalogue No. 306)

No. 174 (Bull. 53) (Catalogue No. 283)
(epe pf. |
arr
No. 175 (Bull. 53) (Catalogue No. 284)

outer Seetrec

Raytumic Unttrs or DREAM Sones!

No. 109 (Bull. 45) (Catalogue No. 245)

No. 110 (Bull. 45) (Catalogue No. 246)
glee NEE,
Le + _@
page
No. 111 (Bull. 45) (Catalogue No. 213)
ES ae

1 See pp. 37, 52.

DENSMORE] CHIPPEWA MUSIC—II 315

No. 112 (Bull. 45) (Catalogue No. 206)
ors. |
No. 115 (Bull. 45) (Catalogue No. 209)

No. 116 (Bull. 45) (Catalogue No. 210)
9- -9- -»- ae i
FAP SORE ==
No. 118 (Bull. 45) (Catalogue No. 212)

= os.
a

3
Sa
No. 121 (Bull. 45) (Catalogue No. 261)
| roe
No. 94 (Bull. 53) (Catalogue No. 394)

No. 95 (Bull. 53) (Catalogue No. 398)

316 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 98 (Bull. 53) ' (Catalogue No. 434)
ogee el
pi
No. 99 (Bull. 53) (Catalogue No. 399)
|. 2 2 2° 1
No. 101 (Bull. 53) (Catalogue No. 422)
fs
|» » » Die. |
Sr
No. 102 (Bull. 53) (Catalogue No. 395)
(. 2 2 2. 3 -2- -9--9--9- |
SS
No. 103 (Bull. 53) (Catalogue No. 396)
9: Hs = 9-9-9 92. Ze
No. 104 (Bull. 53) (Catalogue No. 397)
Ste |
rr uty a
ED ——_ = 4
No. 128 (Bull. 53) (Catalogue No. 289)

(1)
yt se. # Os fais cai 2 Perm Es
Oe ae ee

(2)

ba a SS a a

No. 131 (Bull. 53) (Catalogue No. 324)

DENSMORE] CHIPPEWA MUSIC—II Sti lyf
No. 134 (Bull. 53) (Catalogue No. 320)

ane

No. 135 (Bull. 53) (Catalogue No. 323)

a

Bees See

No. 140 (Bull. 53)

(Catalogue No. 310)

No. 141 (Bull. 53) (Catalogue No. 311)

=

comp iiteteret pet

No. 142 (Bull. 53) (Catalogue No. 312)

[eee epee West har. A
= =e = = ea ey = Beats = ei 5 aaa as me
SSeS 2) a2 ae

No. 143 (Bull. 53) (Catalogue No. 313)

oe

=

No. 147 (Bull. 53) (Catalogue No. 291)

Li
-9-.9-9- 9 -5- -9- -9- ——
5 tg ee

u es

(Catalogue No. 322)

No. 153 (Bull. 53)

318 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53
Ruytumic Units oF War Sones!

No. 125 (Bull. 45) (Catalogue No. 215)
| -9- |

No. 127 (Bull. 45) (Catalogue No. 230)

No. 128 (Bull. 45) (Catalogue No. 271)

No. 129 (Bull. 45) (Catalogue No. 276)
“ bee pee toe
Ca
No. 130 (Bull. 45) (Catalogue No. 277)
[Oo ee |

No. 131 (Bull. 45) (Catalogue No. 114)

pagel Lote

No. 1382 (Bull. 45) (Catalogue No. 116)

opto

No. 155 (Bull. 45) (Catalogue No. 140)

us = = aoe

1 See pp. 40, 53.

DENSMORE] CHIPPEWA MUSIC—II 319

No. 161 (Bull. 45) (Catalogue No. 167)

(Catalogue No. 392)

No. 4 (Bull. 53) (Catalogue No. 387)
leew
3
eee
No. 5 (Bull. 53) (Catalogue No. 391)

No. 8 (Bull. 53) (Catalogue No. 338)

—

320 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 11 (Bull. 53) (Catalogue No. 358)

No. 12 (Bull. 53) (Catalogue No. 359)
—————

—2- -@ -9-

Ere ty ees eee

No. 18 (Bull. 53) (Catalogue No. 13)

No. 15 (Bull. 53) (Catalogue No. 360)
[-9- 2 -9- -9- ri an
pap =
=e

No. 16 (Bull. 53) (Catalogue No. 361)

le (68 Hot aw —~_!
3 & -» # -» e_@ ug) 2% .- 2 2 oo
Sy see

No. 17 (Bull. 53) (Catalogue No. 362)

Q)
Se CRSP RE as. (2)

-@-° -9-

5 Shee - ie tie PPS.
a —. r Fg m
a= 2S SSS= aaa

No. 18 (Bull. 53) (Catalogue No. 343)

No. 20 (Bull. 53) (Catalogue No. 332)

ae

DENSMORE] CHIPPEWA MUSIC—II 321

No. 21 (Bull. 53) (Catalogue No. 370)

No. 22 (Bull. 53) (Catalogue No. 372)
Set [ ~- # fe ee ey
2 (ae zal c SS
lie See eee See ei
No. 23 (Bull. 53) _ (Catalogue No. 382)

Sipe fzae a Spee = —— =

i =
No. 24 (Bull. 53) (Catalogue No. 373)
zl
Fae SEE =- —_— =
gies et oe ==—- o Ss-H PEE 2 3
No. 25 (Bull. 53) (Catalogue No. 374)

No. 26 (Bull. 53) (Catalogue No. 375)

— ~—

2a S= 5 z
_ 2 Soe eee eee ae
No. 27 (Bull. 53) (Catalogue No. 376)
tats =o
rae ha Se ee === S== a SSee =
No. 28 (Bull. 53) (Catalogue 8 No. 369)
oS eee Gee 2 = tg _ (Le
sfog ee

No. 29 (Bull. 53) (Catalogue No. 341)

67996°—Bull. 53—13——21

ove BUREAU OF AMERICAN ETHNOLOGY [BULL, 53

No. 30 (Bull. 53) (Catalogue No. 329)
: a Gas Gell a ce
= pp Co ee ae Re Tee -3—-—
Cae =
-6-. -6- -@-
No. 32 (Bull. 53) (Catalogue No. 385)
re eS
i Zz = Ea AB -9-
Spat =
2 ee = = E 3 2 aie i
No. 33 (Bull. 53) (Catalogue No. 335)
r- ~ 2» 2» &
pa ee Se
No. 34 (Bull. 53) (Catalogue No. 336)
~o *. - e
-o- +~ Soe te
op Ee eee ES
No. 35 (Bull. 53) (Gubwieene No. 342)

No. 37 (Bull. 53) (Catalogue No. 389)
Toe =

No. 38 (Bull. 53) (Catalogue No. 366)

DENS MORE | CHIPPEWA MUSIC—II 323

No. 39 (Bull. 53) (Catalogue No. 348)
i22 -9-
Ga a =
a aes = 2
No. 40 (Bull. 53) (Catalogue No. 365)
= nee = — ——— Seal
Sree eee = eae
No. 42 (Bull. 53) (Catalogue No. 330)
Se Fe a ee
Se ee ee
No. 44 (Bull. 53) (Catalogue No. 352)
De —_— on =——
on == SS aeee = = s==—
No. 45 (Bull. 53) (Catalogue No. 390)
pa et 2
f=
No. 46 (Bull. 53) . (Catalogue No. 354)
ge
No. 47 (Bull. 53) (Catalogue No. 355)
(ap es = ~ —~_|
-0-* -9- -- ee Fe |
20 See eae oer oe eee
BE ; E =
@) Ff =

No. 63 (Bull. 53) (Catalogue No. 423)

324 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 64 (Bull. 53) (Catalogue No. 424)

— BS
oa) ———

No. 65 (Bufl. 53) (Catalogue No. 425)
es a ae e = lo
safe === EF ae SS
A he 1a
No. 66 (Bull. 53) (Catalogue No. 432)
[ =a |
4 o——_s—_—
——
D752 a |
No. 80 (Bull. 53) (Catalogue No. 437)
Se are * pp.
a = * 9 | 2 _ p99
a ee
No. 81 (Bull. 53) (Catalogue No. 393)

No. 83 (Bull. 53) (Catalogue No. 406)

gp te ree ee

No. 85 (Bull. 53) (Catalogue No. 415)
fae.

ji eet

EE ere
No. 86 (Bull. 53) (Catalogue No. 419)

ae ae ee oe
te tt
SS SSS eae

No. 88 (Bull. 53) (Catalogue No, 411)

DENSMORE] CHIPPEWA MUSIC—ITI 325
No. 89 (Bull. 53) (Catalogue No. 412)

spe
2525s 2S eee

No. 90 (Bull. 53)

(Catalogue No. 416)
Sa ae
SE —————

No. 91 (Bull. 53) (Catalogue No. 417)

32 ee
a ———=—

No. 92 (Bull. 53) (Catalogue No. 418)

@

er a eae ee a
<n ee =

ore

Ruytumic Units or Love Sones!

No. 184 (Bull. 45)

—————

No. 135 (Bull. 45)

(Catalogue No. 99)

(Catalogue No. 101)

(Catalogue No. 104)

(Catalogue No. 107)

1 See pp. 41, 53.

326 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 139 (Bull. 45) "(Catalogue No. 110)

No. 140 (Bull. 45) (Catalogue No. 262)

F: 2 2° 9 oe ste % 5

No. 163 (Bull. 45) (Catalogue No. 161)

rae Pe Pee
ong ee

No. 164 (Bull. 45) (Catalogue No. 155)
peice a
> Dyed =
ES ————
No. 105 (Bull. 53) (Catalogue No. 400)
Lae fee she ppp eu
: E a a oe Se Se
Ee Be ———
No. 106 (Bull. 53) (Catalogue No. 401)
SS eee
= =
No. 108 (Bull. 53) (Catalogue No. 481)
ie Feat any
es ote ee
Cees 2 2 Sms
=e commen p coe es Se
No. 109 (Bull. 53) (Catalogue No. 442)

eee ee ee ee

DENSMORE] _ CHIPPEWA MUSIC—II 827

No. 110 (Bull. 53) (Catalogue No. 443)
Sea
eS = ua,
=== =
No. 112 (Bull. 53) (Catalogue No. 445)
% [ = eae aes =
5 i ASS Se ee ee — a
2 =j = — ——— =
eee eee
No. 157 (Bull. 53) (Catalogue No. 300)
( pola lust) 204. ae
—
= a Es
ees =e —— saa pg = see 2
No. 159 (Bull. 53) (Catalogue No. 302)
a eee —— Cd] =
No. 160 (Bull. 53) (Catalogue No. 303)

| yee

SS
—~

Ruytumic Units or Moccasin GAME Songs !
No. 142 (Bull. 45) (Catalogue No. 112)

a ae ae |

—

2 a ares eee
No. 172 (Bull. 45) (Catalogue No. 171)
Pree |

== = :
= Se

—

No. 174 (Bull. 45) (Catalogue No. 150)

_t Pe

1 See pp. 44, 54. ~

328 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 125 (Bull. 53) (Catalogue No.

=

a re-t E es = |
aS ——@.____@—
eL eeae nee

No. 126 (Bull. 53) (Catalogue No.

No. 162 (Bull. 53) (Catalogue No.

Ruyuytumic Unirs or Woman’s DANCE Sones!

No. 177 (Bull. 45) (Catalogue No.

No. 180 (Bull. 45) (Catalogue No.

hi 23% of!

Gane

No. 181 (Bull. 45) (Catalogue No.

ray ft Es =a ae

No. 184 (Bull. 45) (Catalogue No.

rans
i

1 See pp. 45, 55.

410)

293)

132)

141)

153)

177)

DENSMORE ] CHIPPEWA MUSIC—II 329

Ruytumic Units or Beagrna Dance Soncs!

No. 115 (Bull. 53) (Catalogue No. 438)

=2223

ES
No. 116 (Bull. 53) (Catalogue No. 439)
ee oe 2 Flag? Poor -@-* -9- -#-. |
py eS =
No. 118 (Bull. 53) (Catalogue No. 441)
meagre
=e
a
. 25-4
Ruytumic Units or Pree Dance Sonas?
No. 171 (Bull. 53) (Catalogue No. 408)
ee ae ane
eet
== =F —
No. 173 (Bull. 53) (Catalogue No. 282)

zt 2 @ |

ret re —

elie

Ruytumic Units or Sonas ConNECTED WITH GIFTs ?

No. 152 (Bull. 45) (Catalogue No. 92)

ma

[ =F
== = ett

No. 153 (Bull. 45) (Catalogue No. 93)

Ue engl
rae Pa SS

See pp. 47, 56. 2 See pp. 48, 56. 3 See pp. 49, 57.

830 BUREAU OF AMERICAN BTHNOLOGY [BULL. 53

No. 189 (Bull. 45) (Catalogue No. 168)
a o- |
972--— = =
=
No. 123 (Bull. 53) (Catalogue No. 435)
B} : == eee — a
Dhpo— ae es Z aes
2 aS a ee Sees ee a
No. 124 (Bull. 53) (Catalogue No. 436)
ligne 2 oe. (ee C8) - -9 nee -- -»-|
oe ee eee ee
By Seeeeer es Seer
— <= = ee SSS —"

Ruytrumic Units oF SONGS FOR THE ENTERTAINMENT OF CHILDREN 2

No. 197 (Bull. 45) (Catalogue No. 272)
[ eer |
é e @ e— b b - e (4 ae
= $$ =
Taree | =e
No. 127 (Bull. 53) (Catalogue No. 447)
i 2 eee.
oo x
Soiree 2 sess
cet o[# SS
No. 180 (Pon 53) (Catalogue No. 449)

5 patent 8 = apt = 2

Ruytumic Units or UNCLASSIFIED SONGS?
No. 146 (Bull. 45) (Catalogue No. 105)
ay" -—- “O38 = eo =

1See pp. 49, 57. 2S5ee p. 50.

DENSMORE] CHIPPEWA MUSIC—II

No. 147 (Bull. 45) (Catalogue No.
eile
eee
No. 192 (Bull. 45) (Catalogue No.
[-o-. =
as a
ae Tae
No. 194 (Bull. 45) (Catalogue No.
[ co
j-@+ @ @ o @
SS —f-f |
4 =
No. 195 (Bull. 45) (Catalogue No.
EE a
No. 67 (Bull. 53) (Catalogue No.
ie Oe S|
foe age 2 ote
cia: eee eee
No. 68 (Bull. 53) (Catalogue No.
oe I
7) se eee ae Se ae
ee =
No. 119 (Bull. 53) (Catalogue No.

331

109)

160)

163)

164)

429)

404)

r= cow a = eee = : a

No. 120 (Bull. 53) (Catalogue No.

Ue |

ae

405)

332 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53

No. 121 (Bull. 53) (Catalogue No. 413)

Les eR ae Beri,
oS a Se
eee <i e
No. 122 (Bull. 53) (Catalogue No. 414)

No. 165 (Bull. 53) (Catalogue No. 294)

2.
cr A ra = oo a
4 — E |
No. 166 (Bull. 53) (Catalogue No. 316)
eae
Besiees Eee
No. 167 (Bull. 53) (Catalogue No. 297)
in =a

No. 168 (Bull. 53) (Catalogue No. 268)

AUTHORITIES CITED

Barrp, S. F., Brewer, T. M., anp'Rmeway, R. North American birds. Boston,
1874.

Baker, THEODOR. Uber die Musik der nordamerikanischen Wilden. Leipzig, 1882.

BaraGa, FreDERIC. Dictionary of the Otchipwe language, pt. 1m. Montreal, 1880.

Barrett, 8. A. Dream dance of the Chippewa and Menominee Indians of northern
Wisconsin; in Bull. Pub. Mus. Milwaukee, vol.1, art. 4. Milwaukee, 1911.

Boas, Franz. Chinook songs; in Jour. Amer. Folk-Lore, vol. 1. Boston and New
York, 1888.

Brewer, T.M. See Barrp, BREWER, AND RIDGWAY.

Brower, J. V., AND BusHNELL, D.I., jr. Mille Lac. St. Paul, 1900.

- BusHnet., D.I., jr. See BRowER AND BUSHNELL.

CuurcH, GEorGE Earu. Aborigines of South America. London, 1912.

Crinean, A. T. Description of Iroquois music; in Archeological Report, App. Rep.
Min. Education Ontario. Toronto, 1898.

Cuttin, Stewart. Indian games; in 24th Rep. Bur. Amer. Ethn. Washington, 1907.

Day, CHartes R. Chapter on musical instruments, in Mockler-Ferryman, Up the
Niger. London, 1892.

Dorsey, J. OWEN. Siouan sociology; in 15th Rep. Bur. Amer. Ethn. Washing-
ton, 1897.

Euis, AtEx. J. See HetmuHourz.

FintmorE, JOHN Comrort. Primitive scales and rhythms; in Mem. Int. Cong.
Anthr. Chicago, 1894. See FLercHEer.

FietcHer, Axice ©., aided by Francis La FrescuHe. A study of Omaha Indian
music. With a report on the structural peculiarities of the music by JoHN
Comrort Firtmore, A. M. Arch. and Ethn. Papers Peabody Mus., Har-
vard Univ., vol. 1, No. 5. Cambridge, 1893.

Fotwett, W. W. Minnesota, the North Star State. Boston, 1908.

GARDINER, WiLLtIAM. The music of nature. Boston, 1838.

GILMAN, BENJAMIN Ives. Hopisongs. Boston, 1908.

Gram, WitLtiAM. See STONE.

HANDBOOK OF AMERICAN INDIANS NORTH OF Mexico. Bull. 30, pts. 1 and 2, Bur.
Amer. Ethn. Washington, 1907 (pt. 1); 1910 (pt. 2).

Hetmuo.irz, H.L. F. The sensations of tone (translated by Alex. J. Ellis). London,
1885.

Hewirr, J. N. B. Orenda and a definition of religion; in Amer. Anthr., N. s., vol.
tv, No. 1, 1902.

HorrMan, Water JAMES, M.D. The Menomini Indians; in 14th Rep. Bur. Amer.
Ethn. Washington, 1896.

. The Midé’wiwin or ‘‘Grand Medicine Society” of the Ojibwa; in 7th Rep.
Bur. Amer. Ethn. Washington, 1891.

Hornsostet, Ertcn M. von. Uber die Musik der Kubu; aus dem Phonogramm-
archiv der psychologischen Instituts der Universitat Berlin. Frankfurt am Main,
1908.

HropuéKa, ALES. Physiological and medical observations among the Indians of
southwestern United States and northern Mexico. Bull. 34, Bur. Amer. Ethn.
Washington, 1908.

3384 AUTHORITIES CITED

INDIAN TREATIES. A ¢ompilation of all the treaties between the United States and
the Indian tribes now in force aslaws. Washington, 1873.

INDIAN TREATIES AND LAWS AND REGULATIONS relating to Indian affairs, compiled
and published under orders of the Department of War. Washington, 1826.

Jackson, W. H. Descriptive catalogue of the photographs of the United States
Geological Survey of the Territories for the years 1869 to 1873, inclusive. Wash-
ington, 1874.

Keatine, Wm. H. Narrative of an expedition’ to the source of St. Peter’s River,
vols. 11. Philadelphia, 1824.

LacomBg, ALBERT. Dictionnaire de la langue des Cris. Montreal, 1874.

La FLescHe, Francis. See FLETCHER.

MarspeEN, Witu1aM. The history of Sumatra. London, 1811.

Mockier-FERRYMAN. See Day.

Myers, Cuaruss 8., M. A., M.D. In Reps. Camb. Anthr. Exped. Torres Straits,
vol. 1v. Cambridge, 1912.

The ethnological study of music; in Anthropological essays presented to
Edward Burnett Tylor, etc. Oxford, 1907.

Ramsey, Gov. ALEXANDER; in U.S. Ind. Affs. Rep. for 1850.

RicHet, Cu. (Ep1ToR). Dictionnaire de physiologie. Paris, 1895-1909.

Ripeway, R. See Barrp, BREWER, AND Ripeway.

Riees, 8. R. Grammar and dictionary of the Dakota language; in Smithson. Contrs.,
vol. tv. Washington, 1852.

Royce, ©.C. Indian land cessions; in 18th Rep. Bur. Amer. Ethn., pt. 2. Washing-
ton, 1899.

Scnooxtcrart, Henry R. Oneo’ta, or characteristics of the Red Race of America.
New York, 1845.

Speck, F.G. Ceremonial songs of the Creek and Yuchi Indians. Anthr. Pub. Mus.
Univ. Penn., vol. 1, No. 2, 1911.

Srone, WITMER, AND GRAM, WILLIAM. American animals. New York, 1902.

Torrance, G. W. Music of the Australian aborigines; in Jour. Anthr. Inst. Great
Britain and Ireland. London, 1887.

WarRREN, Witu1aM W. History of the Ojibways. St. Paul, 1885.

Wrap, CHARLES Kasson. Contribution to the history of musical scales; in Rep.
U. 8. Nat. Mus. 1900. Washington, 1902.

ZOLLNER, HetnricH. LEiniges tiber sudanesische Musik; in Musikalicehog Wochen-
blatt. Leipzig, 1885.

INDEX

[NoTE.—In instances in which only a few songs of a certain kind are found in Bulletin 45, or in which
these are of special importance, the numbers of such songs are given below, each preceded by an (*).

For a list of the songs contained in this volume, see pages xI-xIx, and of the authorities cited, pages

333-334.)

Page |
AGCEN®DS, Character Ols- oc. «cece senses = 15
ACCIDENTALS—

containing sixth lowered a semitone,
songs Nos. 7, 8, 19, 22, 41, 101, 156, 160.

OCCUTTONCE OL tsetse toe See ninats sei 6
GAPSTD UAT AALS Ison s ea See osiera <eetyaie aig) ='== 23
A’SIDE’GIsIG, reference to...-.-------------+- 252
A’KIWEN’zI—
OW TNE WHTE DACP Osea se ie cee cnn mn camane nie 86
POIELCHICO bye a seins =a aces ereie' = Ala falas aces = = 60
ANIMALS—
as features of dreams........... 199, 201, 202, 203
form of bear assumed by manido’..------ 207
songs connected with..........----- 16, 100, 101
songs Nos. *1, 8, 23, *34, #41, *58, *60,
*66, *67, *68, *69, $2, *85, *88, *89, 94,
95, 96, *96, 97, 98, 99, *109, 114, 115,
*119, 123, 124, 139, 146, 179, 180, *196,
*197,
ASAD ARSONGS Of tletaees« =<. == <0 steele aloe 7
ASSINIBOIN—
begging dance songs derived from......-- 228
Oen GN GOH}. AA ytd Cees aes eae Be: 205
AUSTRALIAN ABORIGINES, songs of...-----.-- 7
Aw0tn’AKUM‘iGick0N’, sketch of....--..--.- 252
BaD RIVER CHIPPEWA—
(Wik) pantera ay ir beh 6 Woe empty a ara 144
PICTOU CU DO ee ee etree e atne Se Siete se ole wins 143

BAKER, DR. THEODOR, analysis of Indian
Polat ssl oy ape ae ee ee eee eee Seo eee ee 5

IBANNIER, USO10 WANIaTG 2.2. io. ce cmrmercers oe - 91. 107
BARAGA, on term manido’....--...-.-.------ 143
BARRETT, S. A., cited as an authority... ....- 142
BARTH AND ROGER, on rhythm of adult heart 10
BEAU, on rhythm of adult heart............. 10
BEAULIEU, REV. C. H.—
acknowledgment to... 2.222.002 2ecece0 Vv
reference 10.22 assaceisiw: Jee see oee 42
BEE MARTEN. See Kingbird.
BEGGING DANCE SONGS—
Gescriphionben vee: Beak Ss ce 47-48
Lac du Flambeau Reservation......... 228-233
resemblances to other song groups. ...... 56
Thy ome Units)... Sees iae er «cee Seeks 329

BEGINNINGS OF SONGS—
beginning and ending on same tone—
Ob fiffitzs22. 26. ---- ss Sone) Non liz.
on tonic. .songs Nos. 53, 125, 127, *132,
¥*142, *149, *150, *170, *174, #197.

Page
BEGINNINGS OF son@s—Continued.
beginning major, ending minor....songs
: Nos. 67, *189.

beginning minor, ending major.....song
No. *192.
by; parts/olumeustres:.2:262..5..2.2..2208! 28
with upward progressions of an octave...
-------songs Nos. 9,31, 53, 125, *170, *174.
BELLABELLA SONG, reference to.........-.--- 12
BICA"GANAB Story-Onees? eee, ee 131
Br sikENS—
in Drum-presentation Ceremony........ 166,
168, 170,171
TelerenGentiGuase tes ics £3.) eee BA) 145
BIMIDJic’AMAG BAND of Chippewa, reference
UD geste ase cE ACS ey a 222
BYNIcons’; reference to. .:--2:¢.02 2200222. 127
BIRDS— .
connected with medicine poles......... 249-250
INUIbATeGna danecesens se seedecuee one 295
songs connected with.............-. Pb (sal

songs Nos. *3, 6, 20, 28, 85, 87, *88, 54,
*96, *119, *121, *128, *135, 141, 142,
147, 153.
BYTAWAGI'NGO’KWE. See Gauthier.
BOAs, FRANZ, cited as authority on Kwakiutl

Boy, CHIPPEWA WARRIOR. Sce Gwi'wizins.

PRE AnH, CONMOL Ole- seencce eee ose ee 15
BO’/GONEGI’Jic. See Hole-in-the-day.
BUMTERNEY., TelereNCh tOs.-222-cee-- sees eee 179
Ca’GOBENS, reference to -.........522.-2---2- 127
CaRL, JOHN W.—
incident related by 202! W922. 32.95..6.0. 130-131
PEICUGNCUS LO ae 5 ac lo'ajaie oto waists foie cele weet 83, 303
Ca’WUNO’GA DANCE, description of.........- 129
See also Southern dance songs.
CHIPPEWA AND SI0UX MUSIC, rhythmic cor-
respondence of....- . Ba ara sears tela. = aide eto 11
CHIPPEWA LANGUAGE, words incorporated
fl) oe eee ae ee ee 76, 186, 190, 230
CHIPPEWA SONGS—
analysis of 340 songs—
PTOUP analysis.<5.2ohs9.5> Js ves seebe 18-33
tabular analysis: ¥ 228s e269. soe ees . 34-58
connection between idea and musical
FOU ssc cee cerca + Aree ccme inns ee 50
PeMeral NAMING oes omnes aeean oe ee 17
manner ‘of rendition... samen Saye yse et 13-15

336

CHIPPEWA SONGS—Continued. Page
Mineral. * 4s 5 oe Sh oe eee 2-13
mostly major in tonality.....--.-.----..- 17
TIEN 22 2o oe ee eee cen aa tees eee 15-17

CHIPPEWA; lise Of term. U5: Ssc0 22s ee ee = 59

CHIPPEWA, Warfare with Sioux .. 60-61, 70-71, 72-73
See also Warfare.
CHURCH, GEORGE EARL, on use of rattle

among Pampas Indians. -.....-.------------ 94
CLOUDS—
songs connected with. -..-.-------------- 16

songs Nos. 42, *131, 150, 151.
COMPASS OF SONG, number of tones compos-

DUG ee 28 ci! Sb: Cat- eta tee Sea ee eee 21
COON AND CRAWFISH, Story of..-.----------- 305
COSTUME, WOMAN’S, description of... ----- 223-224
CRAWFISH. See Coon and Crawfish.

CREEK MUSIC, work on.-----.--------------- 9
CRINGAN, A. T., on rate of movement in melo-

dy and accompaniment. ....-------------- 206
Cross LAKE SE®TLEMENT, MINN. See Wa-

ba/elig.

CULIN, STEWART, on Indian games. .-..-.-.--- 207
Dakota, reference to ......-------+-----=-- 7

DANCING at Waba/elfig village. ... 251-252, 284-290
Day, CHARLES R., on songs of the Asaba-.-- 7

Dr’x0m, references to: -.------------------ 121, 122

DIVISION OF A COUNT—

in Chippewa songs... .-- Nos. *6, 21,*108,
#110, 117,119, 131, 152, 153, 157, 159,
161, 163.
in Sioux songs. - ---.--.------- Nos. 54, 62.
DIVORCE, CEREMONY OF—
sl eemaintiiees venga eee at Mrorece agente 162-163
reference tO... --- === <== -2-+en-s= tonne - 149
DJINGWA’/KUMIGO’/KWE, reference to. ..------ 122
Dai’sta/SINO/KWE, reference to.-.------------ 184
DoG FEAST—
desériptionyoln n= 50: ++ - 35-2 ge 68, 91
feature of Drum-presentation Ceremony.- 150,
173-180
DORSEY, JAMES OWEN, on the Dakota... --- 7
DREAM DANCE. See Drum-presentation Cere-
mony.
DREAMS, connection with songs. ...--------- 16
DREAM SONGS—
@S War SONGS... ... 22.2. 2-2-- 2-2-5 <5 202 40
close relationships of..--.---------------- 34
description. .....- ee ee AL 37-39
Lac du Flambeau Reservation. - --.----- 198-
203, 244-247
reference 102. wanes = deer eee ee a 10
resemblances to other song groups. ------ 52
Thyfhutie: WnitS:. -24:6e. 2 eseee 425. <a 314-317
Waba’cifig village, Red Lake Reserva-
hon ssesesen: Slee -. ee Acee 252-278, 288-290
DRuM—
as an accompaniment.......-.------.-.- 15
for moccasin game songs..-.--..--------- 44
independent of voice. -.-.--..-------------- 12-13
in use at Waba’cing village.............- 252
metnicitunit. 1ié2. sold. see eet eee 32,33
OUP s Sen econ eae eeanae Sear e eee 143-144
TYG Joieteenis=ee eee eee ee ee eee ee 10, 29, 41
used.in War Songs... << SesLeee ee asses 40

See also Drum-presentation Ceremony.

INDEX

_ DRUM-PRESENTATION CEREMONY— Page
ANALYSIS Of SOMPSeksscsem ares eae 181-183
Ceremony: ofiDiyorce. 22... .-ceecn ee 162-163
departure of Menominee..............-.- 180
Gogfeast 35 sob s.% Le es Steet 150, 173-180
GrUM pPartYooewsre- «so =h2sn<-b eee 147-148
drams presented UHC... .-5,--.4-.0 << -- ae 144-147
AGMINUTOHPIONS ce soe cecokas-acekoe oe 142-144
journey of Menominee................- 163-165
presentation of the drum.............- 168-173
reception of Menominee... ............- 164-168
Restoring the Mourners............--.- 153-162
songs on first day of dancing. ........... 150

EJACULATIONS, characteristic of certain songs 103
ENGLISH, Mrs. MARY WARREN—

acknowledgment to. ... ......------sssease Vv
OBUSe.0L SCalpSUe = .2 250 se. eee Soe 126
reference tO.2. oc. cs senntmeesseeee uae eee 299
E/Ntw0B’/E—
ACCOUNT O25... ae ca ccesicb see eee 184
in Ceremony of Restoring the Mourners.. 153
on origin of gambling................-- 206-207
OH SIOUX CHSbOMas See eee ee eee 228
references tOo. 82 -e2s..cee eee 204, 205, 223, 294
ENTERTAINMENT OF CHILDREN, songs for the—
Géscriphions. 2-2... ones cee ae ee 49-50
Lac du Flambeau Reservation. .......-. 241
resemblances to other song groups ...--.. 57-58
Thy thai Units: 4-5. osc ee eee 330
White Earth Reservation............- 302-305
FAST, BOY’S, songs concerning.........-.. 204-206
FASTING essential to certain musical compo-
SITIONS SCE ee ee eee 37
FIFTH OF THE SCALE—
absentiirom = 55.35 05: songs Nos. 51, 52.
occtirrence Of... 20). <b... see eee 5
FILLMORE, JOHN COMFORT—
cited as authority on Omaha music....-- 9
on Bellabella Indian song. ........--.--- 12
on construction of Indian songs. ....-.-.-.- ll
FIRST NOTE OF SONG, relation to keynote... 18-19
-PLAG; USGI WAlTare sc... soot e ase eee 91,107
FLETCHER, ALICE C., cited as authority on
Omaha, MUSIC: <.. 2c cde we eee see 9
ELUTE, description Ole «2 .22<-e-s see 42
FOLK-TALES, reference to. . <2... --2-o5--=se— 304-305
FORM OF SONG, connection with motive of
SONG 2) 2~ ccmaat esa tases Seneca eee 34
FouRTH—
OCCUTTONCS Of fa. ces ase nn oe eee 5

prominence in.songs Nos. 106, 109, 110, 170

GaAGaA’GINS, references to......------------- 123,127
GAGA’Giwicwon’ ,reference to-........------ 91
GAMBLING, account of.........--.---.----- 206-213
GAME OF SILENCE, description of-.-.-...---- 303-304

GAMES OF WAR, children’s, description of.. 137-141
GARDINER, WILLIAM, on call of plover and

beetle: -<.. Snes eee JASE jo RESIS 7
GAUTHIER, MRS. BENJAMIN—
on women’s Gress... 22520002. 2: Sees 223
sketch oft: ) Gs See MI ee Se 222
Ga’ WITAYAc’; death of..........2-25--6.225-= 80
GEGWE’DJIBI'TON, reference to.....-.-------- 252
GE/MIWONAC’, reference to.....-.------------ 74
GIFT OF PONY, songs concerning.....-...-..- * 237-239

INDEX . 837

GIFTS, songs connected with— Page | KEY— Page
Gescriptiones sss Saves ee ee 49 MGRIINE OR TATMN 22.6) od athlon as 2-3
resemblances to other song groups. .-.--- 57 tabular analysis.).... 0.22. ..05)s2ess20- 26-27
THythmiciinites. 122 Jas.dss<m ee oe 329-330 | KEYNOTE, determination of................. 3-4
GILFILLAN, REv. J. A.— Ki’Mrw0n, reference to.................2..-. 252
acknowledgment to.........-..-.-------- vy | Ki’Mrw0Nana’Kwap, reference to........... 252

on name Meja/kigi’jig...............-..-.- 83 | KINGBIRD, reference to.->..........-...-..:- 77-78
Riousternvianiiol2 eat ioecabee Sass 143 | K1/OSE’WINI/NI, on moccasin game.......... 211

GILMAN, BENJAMIN IVES, cited as an author-

iby On, Elopimusic’. see ssa. Seiat. eee 9
Ginic’TANO, reference to.........--.----.----- 222
GOKAY, FRANK, as an interpreter.......-.- 143, 165
GRADATION OF TONE, discussion of......-..-- 14-15
Gram. Sce Stone and Gram.

GRAND MEDICINE SONGS. See Mide’ songs.

GWI' WIZANS, reference to.....-..------------ 187
HAND GAME, description of.........-.----- 206, 207
HARMONIC IN STRUCTURE, applicable to few

SOUR? o\5.-j>0i1ce a eicisys Saeels a sieiseiee aise ce 6

HARMONIC TONE, approach to by tone above

songs Nos. 29, 45, 51, 53, 65, 137, 139, 141.
HARMONIC UPPER PARTIAL TONES, reference
OMe ae Sao ca eens riss s apela ye acess 4
HEAD FLIER, reference EO bya sa oe) Sae cise wins lje 165
HELMHOLTZ—
Cifed/ as am althonty = <2 ejacs= 9 552 -\2-10% 231
on overtones and pentatonic scales....... 4-5
on scales in European notation.........- 14
HewiIrt, J. N. B., cited as an authority...... 63
HOFFMAN, WALTER JAMES, M. D., cited as an
MELHONUGY = oe ee ee re eho tnct emesis 66, 142

HOLE-IN-THE-DAY—
MELCTOUCES (OL - os .ccsncasceceweces
AONPICOMpPOSeGiby ki scote ssc ecee ae sence.
INOPISMUSIG;WOrk OMe... 2-25 ces cee cee ree
HORNBOSTEL, DR. ERICH M. VON, on rhythm
OMVOLCE ANGIALUMS += fasseczteadeeee sees ese
FLORSE RA MSAIORG esa: 2. Seb eck. ~ ieee oe eee
HEDUCKA, Dr. ALES, acknowledgmerits to..

INTERVAL-FORMATION in various song groups.
INTERVALS—
average—
MUChippews SOWES- <= 0.6.2. scs os
in songs connected with gifts........
average number of semitones in.........
in downward and upward progression. . .
in melody-formation, feeling for.........
of the fifth....... mogedeaabae song No. 86.
of the fourth—
in songs concerning animals. .Nos. *3,
#21, 23, 28, 64, 82, 85, 95, 96,
97, 103, 104, 147, 180, *196.
in songs of motion. .Nos. *6, *9, *10, 22,
32, 34, 39, *63, #86, *91, 105, 106, 109,
#109,110,111, 121, *132, 162, 170,174.
INTONATIONS, FAULTY—
eorrection of. 2. -225- ===... = songs Nos. 54,
129, 133, 146, 164.
on interval of asecond..songs Nos. 54, 55,
61, 64, 100, 145, 166.

JACKSON, W. H., cited as an authority......

KAGA’GIWAYAN’, Chippewa chief, reference

KEATING, WILLIAM H., cited as an authority.

67996°—Bull. 53—13——22

123

186
19,37

7-8

61

294
59

Ki’Tcl6DJA’NIMWEWEGI'Jic, medicine _ pole

OL eared eye Seek Maate de FNS ws era fatchss 2k 249-250
KWAKIUTL MUSIC, work on...............-. 9
Lac DU FLAMBEAU CHIPPEWA—

Ceremony of Restoring the Mourners.... 153
On/OnIEIM Oh GrumMe 252.0 eS Ss ee a 144
references to........ MS oeee See a 142, 143
LAC DU FLAMBEAU RESERVATION, WIS.—
GESCIN HOM aera ctenale Sele aps mace mmsinrciniere 184
TOUS era tee oe cine Brats ciaye areata wise cat 304
songs of—
AMAL SINS eee a enn o ER cots 3 oe 242-247
begging dance songs... ..........<- 228-233
dream SOUPSer case nate ck oeencaas 198-215
interval-formation................-.- 7-8
MO MCISOM PSE eter cee aoe eres ty 216-228
moccasin game songs.............. 239-241
song for entertainment of children... 241
songs concerning gift of pony...... 237-239
southern dance songs.............. 234-237
WAT SORES sons ce Quce eeisisece a = 185-198
symbols of songs never sung........... 247-250

See also Lac du Flambeau Chippewa.
LA FLESCHE, FRANCIS, cited as an authority

on Omaha music. ...... Sed ee ee nee 9
WAHOUSSE, TElYCNnCE ILO! |. Seon fee hk os eyeien 10
La POINTE AGENCY, WIS., reference to...... 184
LAST NOTE OF SONG, relation to—

COMPASS ORSON) o2 aceed eee mcs Seen h = 20
KOVROUGratre eae een tes ee at aoe. oe 19
LEECH LAKE RESERVATION, dog feast on.. 173-180
ITT CARP, deathror eee ote es a 113
DETTE: (CORN ;LCIeTCNCENLOn. oc. “== 5 ance n- 113
LITTLE CROW, references t0O.:.........5.... 123, 127
LITTLE EAGLE, reference to.................- 91
LITTER Six, TElCRENCe LOs = sarees eec ns saeciss 127
LOVE SONGS—
ACCIGENLAIS AM: men sen Seer ene ee eee 6
GUSEMD TION a 22 ois haem 16, 17, 41-43
Lac du Flambeau Reservation ...._. 216-228,
244-247
resemblances to other song groups....._. 53-54
Ey GMI CHUL = er soon eee see aaa 325-327
Waba’cifig village............. 280-282, 288-290
White Earth Reservation............. 299-301
WOLUS Olsen eee den sees sae ccna ee otee 2
Ma’psial’stGc—
on Chippewa war charm...............- 77
on training of young warriors............ 84-86
reference toscesssl- ele. Me 2 II ee 60
MAIN’GANS—
on herb bi’jikiwftek’.... 0. .02.222...5. 63-64, 65
Telerenee tas. aay east eed one 2 60
MANDA’MINES, reference to...............--- 113
MANIDO’/—
ca’wino’ga taught by..............----- 129
connection with origin of drum.......... 144
143

explanation of term............... eae Sige

inlove SON gS: eS e52es 2 exp ces tet . 43

338 . INDEX

Manipo’—Continued. Page | MINOR THIRD—Continued. Page
gambling taught: byios. 2S se eee 207 prominence in songs of major tonality...
in connection with Drum-presentation songs Nos. 140, 141, 151, 161, 163.

Ceremony .. 52.230, Ae eee ee 166 | MINOR THIRD AND FOURTH, only tones in
in form of thunderbirds..........-.... a nlUS songs Nos. 11, *157, 171.
MA’NitoWic’ BAND of Chippewa, reference to. 222 | MINOR TRIAD AND MINOR SEVENTH, in songs
_MAPLE SUGAR, reference to......../..-..-. 231-232 Nos. 133, 147, 151, 152, 153, 154, 163.

MARSDEN, WILLIAM, on Sumatran music. ... 7 | MIssIsstppI BAND of Chippewa, references to.. 89, 91

MEANINGLESS SYLLABLES, use of.......-...-. 13 | MoccasIN GAME, description of....... 207, 210-213

MEASURE-LENGTHS, determined by accents. . 15 | MOccASIN GAME SONGS—

MEC’ KAWIGA’BAU— description... 22.25. <+ 7-29 e eee ae, 17, 44-45
on Drum-presentation Ceremony........ 146 Lac du Flambeau Reservation......... 239-241
FEISTONCES FOS, pene eee See 148, 173, 179, 184 proportion minor in tonality.........-.. 17

MEDICINE— resemblances to other song groups...---- 54-55
Manido/ animales: wr ss-Bsess~ veces wae 143 rhythmic units... .... eves Aa 327-328
principalvands 322 sees a oes oe ~. 63-67 Waba/ciiig village............- 282-284, 288-290
songs connected*with: 22.25, %+-:,22. = 15,35 White Earth Reservation.....-......... 299

songs Nos. 6, 21, 22, 23, 24, 25, 26, MO/KADJIWENS’, reference to..........-..--- 73
27, 28, 32,36, 141, 142, 143, MooNneEY, JAMES, acknowledgment to.......- 37
use in warfare.......- 91, 98, 99, 102-103, 107,112 | Motion, characteristic of certain songs.-...-. 100

MEDICINE-MEN, treatment of sick DY.2es-.5 263-264 MOTIVE OF SONG, connection with form of

MEDICINE POLES, description of............ 247-250 SONG tt ek ate se ee 34

ME/DWEYA’SON— MuRRay ISLAND, songs of...-..........-.-.. 5, 20
drum presented: Dye. -n 022552 ok sees 146 | Myxrrs, DR. C. S.—
medicine poles connected with. Sneek 249 on rhythm of voice and drum...-....... 13

MEE, MRs. CHARLES, acknowledgment to... 300 on songs of Murray Islanders............ 5,20

MEJA’KIGI/JtG— on words of primitive songs...-.-.....-.- 2
personal reminiscences of...............- 83-84
Telerenee tO Le ~ oe. ORD RRS 60 || NA’GANAC’, references\t0. 92ers te 165, 167

MELODIC RESEMBLANCES between song groups 50-58 | NAME’BINEs’, death of.........-...---.-.--. 113

MEMEN’GWA, reference to..........- ch BRT 179 | Na’6GADE’, Winnebago chief, reference to... 294

MENOMINEF; references to................. 142,143 | NARCOTIC STIMULANTS, influence on musical
See also Drum-presentation Ceremony. composition . .......- ein 0s rise ria 37

METRIC UNIT— NA’WAJI BIGO’/KWE—
in songs of controlled excitement ....._.. 12 on certain medicinal herb...........----. 65-66

songs Nos. 30, 51, 52, 103, 161. on Chippewa belief in spirits..........-.- 143
of drum, tabular analysis................ 33 on origin of ca’wino’ga....-....------.-- 129
of voice, tabular analysis............- 30-31, 33 reference tO... -..--------+-+2--+-+--~--== 60

MipE’— NIski’GwONn—

GQESEN POU a eee ote eee eee 142 on‘incident of warpath.....-..-....---=+ 112
manido’ connected with ................ 143 references £0. - 2-- 2 aece =m --- 60, 78-79

MipE’ soncs— No DEN; referenebitoc2 3a. os eee s aoe renee 75
description weet tet ee cect eee ener ee 16,34-36 | ocrave—
ejaculations M..------------------------ 103 complete except seventh and fourth,
meaningless syllables.................... 13 songs so classified...........---+.+---+- 5-6
reference to....--.-..---------2--2--220 10 diatonic, occurrence of..........------ va Se 5
reference to water..............-........ 17 | Opya’NIMWEWE'GINIGONS’. Sce White
ar Sedat to other song groups....... ae Tonk

ae Sa RE Rea OSS TES OpifB/wE—

dg gyttiive lap eure ete ane E soe tae. |. Maneottat of. ssucnete a 59-60, 62, 112, 121,123
ee and sickness elements In-.2- 22... ot incidents of warpath narrated by...... 116, 124
Wineiateions. egal catia ee on’ Battle of Shakopee..........-.-..0.2. 79-80
Wiite Rart-Resetswuane a fay te On Children a SB SE OLY Miz ee ri2 7 >»
wale Tinga pee iran a te ated * ; on, making of peace. <2. a. = see ee 126, 127
Mtpw/wiar'sla, reference to........-.--..--. ag > CRE SORE ia oe “ae are
lag Cia eae asa ane ica ain Ie Es SONPS JD RONOT Of eee ie .-- 121,122

Mipr/wiwin— ae
GHTOMIONICS \. 5 sweecene a aso oe aot 184 ee Songs OF he of ese ieee eens i
conditions at Waba’cifig................ 251 —— WCDI g FOGTARCE 0-5 ea nacra FS
aeniotsss ke ae cea a OmBWaAyY, derivation of name.......--------- =.

Mr’atstws’, reference to......2-<s-:.24.24e0. 91 O.pys, HENRY, on ube Kinebindee se nee 77-78

RENO HATS: E OMAHA MUSIC, work on......-.---...-----25 9

E : ‘ OmisKWA’WEGI! JiGO’KWE, reference to....--- 110
average interval in Chippewa songs...... 8 -

: * 5 OVERTONES, meaning of term............... 4
descending, in moccasin game songs..... 44
frequency Of, «<0. 2... -sediteeceks oui 6-7 | PEACE PACT, songs of the.......-.-...s.00+ ’ 126-130
in'dream sOngay en se=ictes se Hoscebeaves 39 | PERIODS, song in four......... songs Nos, 1,

8,12, 13, 30, 39, 40, 81,105.

INDEX 339
Page Page
PHONOGRAPHIC RECORDING, accuracy in..... 8 | RayYTHMIC UNIT—Continued.
PHRASES, order of changed in repetition of in groups of Chippewa songs—Continued.
HOMES. Deiwcc came aisle atte ete songs Nos. 90,105. Wal SONPSES. eens. 2 UES eee 318-325
PIPE— Wwoman’s dance songs................ 328
in connection with peace pact........-- 127,128 SNS TEr OFUSOe Sex, ead sat ES 10-11
Pama eH ION ee ee ee 143 occurrence in Chippewa songs........... ll
in songs Nos. *6, 11, *20, 45, 50,171, 172,178. samein Sioux songs Nos. 73, 77.
mses byeWalleagdere* . oct ee cae oe 94 three units in song No. 157.

use in Drum-presentation Ceremony... 146,
; 147, 166, 168-169

PIPE DANCE, description of........-..--.-. 293-294
PIPE DANCE SONGS— '

USC MOM aati. vee see acc = 48

resemblances to other song groups. --.-.- 56

THyAhinIemMmitse. 2 ofs5-. ces. ce ten ene 329

White Earth Reservation..........-..- 293-296
PLATE GAME, description of.-........--.--- 206, 207
PRAIRIE DU CHIEN, TREATY OF.....--.------ 61
PRIMITIVE MUSIC—

interval of minor third in...............- 7

PAN LINS Ola. Mae one ae ke oa Hanae 13
PROGRESSIONS—

downward and upward.................. 24-25

upward—

none in song No. 6.

of an octave, in songs Nos. 9, 31, 53,
_ 125, *170, *174.

one in song No. *109.

two in songs Nos. *6, *38, 172.

RAMSEY, GOV. ALEXANDER, cited as an

PARDOTUG ra ttarsrcis eee oo Eee eR RR Bee 59
RATTLE—
as an accompaniment................-..- 15
MOTENONCE LO tine ose eects ors na ee te ist 34
useion! warpath: .......2. see. ten 94
RED LAKE RESERVATION, Stories from...... 304
RESTORING THE MOURNERS, description of
CEREMONY: Ses S05 5 sos OR 149, 153-162
IsHsns, occurrence. ofye2 2-2) . eee 15

songs Nos. *3, *6, *7, *69, *78, *83, 86,
*129, *137, *148, *152,*164, 171.

RHYTHM—
MATIN sy <rora'n oe ESO Oe - Ree oee eee 10,29, 41
Giiirst meastire 9.2. “CF22ee. ala. MES 9,28
more uniform than melody .............. 1-2
RHYTHMIC RESEMBLANCES between song
ROUT Shore eepe -oebnr Cocce eroeet Eee bee orauts= 50-58
RHYTHMIC UNIT—
as basis for rhythm of song in separated
phrases or with change of accent ......
songs Nos. 90, 94, 96, 103, 108, 109, 115, 123.
continuous except at close of song. songs
Nos. 4,5, 19, 33, 34.
Gefinition yx ....c.s.an. lh SES 10,31
in groups of Chippewa songs—
begging dance songs................- 329
ream Songssveyss 2S eee oe tee 314-317
FOVOISODES .:. cmee wae seen eee 325-327
Midelsongs . Scaeeecotke wou: 309-314
moccasin game songs.............- 327-328
pipe dance songs :,., APs Hw ee 329
songs connected with gifts......... 329-330
songs for entertainment of children.. 330
tabularanalysises ier sae 30

unclassified SONgS:. 2.2 5...---2.- <5 330-332

two units in songs Nos. 17; 47, 73, 74, 121,
128.
RICHET, Cue, reference to. 2/22: 3.2522. 3 10
Rock Sioux. See Assiniboin.
RoGER. See Barth and Roger.

RosE, Dr. J. N., on certain medicinal herbs.. 64
““SaLtT TREATY,” reference to..............-- 291
ScaALE—
diatonic minor, lacking fourth and
SOVGNHED: Shreran etree S songs Nos. 83,
125, *178, *184.
five-toned—
extentiofuse it. .c. 2.0.22 sce =)0 4-5
Vii AUR Redes Reese songs Nos. 51,52.
BUSES eee cre aawa tec song No. 116,
fourth.......... songs Nos. 3,6,8, 16,

18, 19, 21, 22, 23, 26, 31, 40, 41, 42,
45, 47, 63, 66, 68, 80, 81, 86, 87, 98,
101, 117, 127, 128, 129, 130, 131, 132,
135, 140, 142, 146, 147, 148, 149, 150,
151, 152, 154, 159, 162, 163, 165, 166.
least frequent in love songs.......... 43
SRCOINE oe as see sacre aot seneetieeger = 44
songs Nos. 1, 17, 24, 30, 34, 44, 82,
89, 92,97, 108, 109, 122, 164.
SCALP DANCE. See Victory dance.

ScaLPING—
customs connected with.............---- 62
in connection with women.............- 110
ScALPS—
IM ViICtOry; GAMCOS.- em ocen anaes wo ek es ajc 118, 121
GROHUINGTIy Olen meet eine stare sere ele sosets 126
SCHOOLCRAFT, H. R., cited as to plate game.. 207
SECOND OF THE SCALE, occurrence of.......-.- 5
SEMITONES, average number in each interval. 26
SEVENTH OF THE SCALE, occurrence of........ a
SHAKOPEE, BATTLE OF ..:.-.-...---- 61, 76-77, 79-80
SHELL, emblem of Mide’wiwin ..........-.-- 17
SIGNS used in transcription of songs....- XIX-XX, 14
SINGERS MAMOGS Olt octane =o )s.540 Sac -'afm cians XI
Sloux—
authors of ‘drum religion’’........ 142, 143, 144
custom with regard to children........-. 228
dog feast received from--.-......-.---- bet Sele:
lack of horses AMONG. = 222s <5 aes eee 186
VIDESLO USEC DY sae oo ee oe cee oe 13
warfare with Chippewa...-... 60-61, 70-71, 72-75
See also Assiniboin, Dakota, Warfare.
SIoUX SONGS—
containing same rhythmic unit........-.-
songs Nos. 73,77.
division of a count ...... songs Nos. 54, 62.
two rhythmic units ....songs Nos. 73,74.
SIXTH—
lowered a\semitoue...--2.+...2-.--%0 es
songs Nos. 7, 8, 19, 22,41, 191, 156, 160.
OGCINTONGS Olecican ens ascehaadcesecere cscs 5,6

340 INDEX
Page | VoIcE— Page
Sky, songs connected with the.............. 16 independent of drum .............--.-..- 12-13
songs Nos. 7, 25, *46, *64, *83, #97, *115, NietriqiuMitles- Al Pees eee 30-31, 33
*116, *117, 140, 145, 148, *148, 152, *162, woman's, Tegisteriof - = =2);.2225..<s. teas 103
#193, *194.
SONG GROUPS, resemblances between. .....-- 50-58 | WABA’CA, Sioux chief, reference to........... 294 .
Boas: dist OF Str: Ee a eh cee xi-x1x | WABA’CING VILLAGE, Red Lake Reservation—
SOUTHERN DANCE soNnGs, Lac du Flambeau Conditions at..~.-.-.-+-+++-++ee0eeee es 251-252
Reservation.) 2S set eae adieuiee 234-237 songs of—

See also Ca’wino’ga. dance songs.........-..----------- 284-290
Sprars, Mrs. JULIA WARREN, sketch of... 299-300 dream songs............-.. 252-278, 288-290
SPECK, FRANK G., as authority on Creek and interval-formation in....-.-...---.-- 78

AY ich InSite he.) spose tet) eee 9 love songs....----.----..-- 280-282, 288-290
SToNE, WITMER, AND WILLIAM GRAM, cited Mide’ songs....-.---------- 278-280, 288-290

as ats anthonityies £ Sie’ e sass exes Ab drat - 63 moccasin game songs. ...-- 282-284, 288-290
STRUCTURE OF SONGS, tabular analysis..---. 24 | Wa’BaAcOns’, reference to...........-------+- 127
SUDANESE MUSIC, work on........-..------- 9g | Wa’BEsIc’, reference to....-...--..---------- 127
SUN DANCE, reference to.........--.2---++--- 205 | WAR CHARM, description of...........-- 77-78, 107
SUPERNATURAL POWER— WAR DECORATIONS, description of....-....-- 62-63

as an element in Mide’ songs...-..-.-.---- 17,35 WaR DRUM, description of.........-------.- 62

in connection with Chippewa songs.. 15-16,37 | WARFARE between Chippewa and Sioux—
SYNGOPATIONS 20 t te eo baie ACCOUNT Of. oo fen eene = eee ee 79-80

songs Nos. 47, 88, *123, *147, #152. incidents of...... 85-86, 113, 123, 124, 131, 132, 133

Care Of wounded: 2c 0. sane es e 106-107

TEMPO— children’s games of war...........--... 137-141
chatige Off s2-s-5-222-6-)e ees -eraaagans 29 dream Sones Used ities -<eee- ee 252-253

of drum in relation to voice......-.. songs om tbe warpath..55.%.ist.2-2ssee oes 94-117
Nos. *5, 100-101, 103-104, 121-122, 168. organization of war party.........------- 87-94

THIRD OF THE SCALE— POACO Pacts: 22. - ose. eee ee 126-130
absent from songs Nos. 28, *45, *49, 53, *60, return of victorious war party...------ 118-126
*91, 112, 118, 121, 178, 180. WARREN, RICHARD, reference to......-.--.-. 300

OCCUETEHCO IO Serie ete ne erie 5 | WaRREN, WILLIAM W.—

THUNDERBIRDS, references to........------ 198, 248 cited as an authority.............------ 59, 108
Time. See Tempo. TeIErENCS tO... 2... secen- eee ee 299
TONALITY— WARRIORS, training of. .2- 5.5.22 psssee ee 84-86
major— WaR SONGS—

in various groups of songs.....-.----. 35 close relationships of............--.------ . 34
minor third prominent......-- songs connected with organization of war party. 87-94
Nos. 140, 141,151,161, 163. description: sais 8-4 Me ee ee 17, 40-41

meaning Of TOLWN Se an oc <n wins we = sem oi 3 expressing derision..... songs Nos. 14, 38.
minor— Lac du Flambeau Reservation. . 185-198, 244-247

beginning with a major third.. songs
Nos. 1, 9, 34, 83, 94, 120.

in woman’s dance songs.....-.------ 46
semitone between 7 and 8...... songs
Nos. 36, *79, 100,119.
songs containing large proportion of
major thirds.. songs Nos. 29, 83, 99.
whole tone between 7 and 8... songs
Nos. 9,*19, 50, 85, 100,
119, 124, *126, *150.

tabnlanansalysis); =)... 32-2 <s25-ea05sscone 18
TONE MATERIAL, tabular analysis of.....-.-. 21-23
TONIC, more prominent in middle than at end

OlS@HE: Oo see cose seen ene eee songs

Nos. 135, 137, 139, 140, 141, 142, 165.
TORRANCE, Rey. G. W., on songs of Austra-

Liaw a POLES. has = pate on wt ini a cies 7
UNCLASSIFIED SONGS, group Of........------- 50
VIBRATO Mse7O0- taeet- So ceseeancor es arene 13
VICTORY DANCE—

descriptions. 2.02.2 ss istee ee eee se 121
Grum-rhy thm 2-2 oc pc.ce cameos ancaee cee 41
Beal ps:in. os s.o. Se: aoa aa see 118

VOCABEES US Of. (925222 2. care eee 13

reference tole. 22052222 Jaca oe eee fe 10
resemblances to other song groups ....-.- 53
rhythmic units... =82->9- cer.) eee 318-325
songs concerning women..........--.-- 130-134
songs of the warpath... ....--222..2.2222 94-117

songs on return of victorious war party. 118-126
White Earth Reservation, analysis of.. 134-137

WordsiOf...222 5. Resees-4542ssee4eeeee 2
WaAs!I/KWADE’, Chippewa chief, reference to.. 294
WATER, songs connected with.....-..------- 16,17

songs Nos. 9, *27, *28, *29, *30, ¥31, *32,
*33, 43, *54, 101.

WAVERING TONE, use 0f..... 22. .22.c252--025 13
WEAD, CHARLES KAsson—-
acknowledgment to.........---.--------- 19
work by Cited zauio: aes Hee ae eee 42
WEASEL, reference t0--225-<~2-csia. ten-eeee == 63
WHITE EARTH RESERVATION—
ahalysis.of SONgS-...-.----seseeeeee eae 306-308
TOWO/SONGS ss ees ccnccl-s > 255 eee ee 299-301
Mide’ Songs... -. Shee eae as-Ge == eee 297-299
miscellaneous songs.........--.-------- 291-293
moccasin game song. ...........----:---- 299
pipe dance songs sister see 222 Sees 293-296
songs for entertainment of children. ..-. 302-305

INDEX 341
WHITE FEATHER— Page | WoMEN— Page
in Ceremony of Restoring the Mourners.. 154- members of drum party............----- 147
5 155, 157 part in warfare......... 93, 110, 113, 118, 128, 131
in Drum-presentation Ceremony....... 165-166 songscomposed or sung by. .songs Nos. 31,
WALL POWERS!) -cccesceee songs Nos. 83, 114. 39, 40, 112, 127, 151, 177, 178.
WIND, songs connected with the............. 16 SiwleOharesseoee: salcne ee sete eeu eee 223-224
songs Nos. 19, *112, #113, 149. war songs concerning.............-.-.- 130-134
WIs’KiINO— WORDS INCORPORATED into Chippewa..-... 76,
dcumupresented tor. <=.) s 2s ss = 145 186, 190, 230
in Drum-presentation Ceremony... ... 166, 167, | WorRDS oF SONGS changed to “‘fit’”’ music... 90, 109,
168, 170, 171 111, 113, 131, 133
Menominee received by.......--..----- 165-168
on driamirelimionyj.a.25.\-5.ese ose cuits TAS Viv GRr MUSIC! WOK OMe. cin -2- 2-2 eee ne coe oe 9
WoOMAN’S DANCE, description............... 38, 284
WOMAN’S DANCE SONGS— ZOLLNER, HEINRICH, as authority on Sudan-
GEsCription=: a. as eee an ates oases oe oee 45-46 OSC MMMASIC Hate iain, ate ~icleals Sawin esis naeena'2 Blat= 9
resemblances to other song groups..-..... 55 | Zon’GaxO0m’Ic, reference to......----.--...- 12
MN YLANG UNITES oases asin = orn o setele = water $ 328

O

,*
oye
he
ra
ys ;
Five
)
4
ve
ry.
- .
.

Aah 242

ve

=¥ 5 te

ed, Sree ty

i) Qe 4

47, -
d a o
a My te
wh ie
7 Ot. ee
w=,
any Poel ae
i a + -+ 2: ee
’ ~ Dee
——
‘
: -
Je
‘
2 ’
Aaay
ae bk es
abel
5 ie

oe * ee.
oat 7 hoa
oi
MePa. t4
‘
. iu : :
‘ '
e
j
’

° ; LU he
+ a een Y

%

yim

has ri
ry

oye
eet

i
x Me
ie

SA 4
Gani

my)
Sit |

16

a . Fits’
ie
y aan

‘e
aN

CaN