WORRY XX AY SK ASS AX — . \ \ oo S\ . \\ \ \X \ \\ \ WY AK \\\ \ \ \ \ Ms \\ BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 1 SIYA’/KA SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 LETON SIOUX MUSIC BY f FRANCES DENSMORE (2x “ae \ CSF ra ba \ > re | ] ‘ Op : WASHINGTON GOVERNMENT PRINTING OFFICE 1918 LETTER OF TRANSMITTAL SMITHSONIAN INSTITUTION, BurEAvU oF AMERICAN ETHNOLOGY, Washington, D. C., June 8, 1916. Sir: I have the honor to submit herewith the manuscript of a memoir on Teton Sioux: Music, by Frances Densmore, and to recom- mend its publication as a bulletin of the Bureau of American Ethnology. Very respectfully, F. W. Hover, Ethnologist-in-Charge. Dr. CHARLES D. WaALcort, Secretary of the Smithsonian Institution. III FOREWORD Tue analytical study of Indian music which the writer commenced among the Chippewa has been continued among the Sioux. Those familiar with the two books already published ! will find no material change in method of treatment in the present volume. We have but passed from the land of pine forests and lakes to the broad plains where the buffalo came down from the north in the autumn and where war parties swept to and fro. The present volume contains tabulated analyses of 600 songs, comprising the Chippewa songs previously published as well as the songs of the Teton Sioux. By means of these tables the songs of the two tribes can be compared in melodic and rhythmic peculiari- ties. In Bulletin 53 the Chippewa songs were grouped according to their use, and descriptive, as well as tabulated, analyses disclosed resemblances between certain groups of songs having the same mental concept. In the present memoir the comparison is based, not on the use, but on the age, of the songs, this series being divided for analysis into two groups, one comprising songs believed to be more than 50 years old and the other comprising songs of more recent origin. This analysis shows that the restrictions of civili- zation have had a definite effect on the structure of Sioux melodies. In presenting Teton Sioux music the writer desires to acknowledge her appreciation of the valued assistance of her principal interpreter, Mr. Robert P. Higheagle, a member of the Sioux tribe and a gradu- ate of Hampton Normal and Agricultural Institute as well as of the business department of Carnegie College. Mr. Higheagle’s coopera- tion covered the entire period of collecting the Teton material and of preparing it for publication. To this work he brought a knowl- edge of Sioux life and character without which an interpretation of their deeper phases could not have been obtained. During Mr. Higheagle’s absence it became necessary to employ occasionally other interpreters, whose aid is acknowledged in connection with the material which they interpreted. The principal assisting interpreter was Mrs. James McLaughlin, whose courtesy is gratefully acknowl- edged, The writer desires also to express her appreciation of the assistance cordially extended by the members of the staff of the Bureau of American Ethnology and of the National Museum in their respective fields of research. FRANCES DENSMORE. 1Chippewa Music, Bulletin 45, and Chippewa Music—II, Bulletin 63, of the Bureau of American Eth- nology. V ithe balboa ee Oe she aes CONTENTS Page (SUES ES i Ce oy. eee i Rana) Oe wae xt Pea tranPensin OFaerD Of SeMAl MIN NOTes +2220. 2.o eo ssa se TESST SY 2 XI 2. arranged in order of catalogue mumbbers:.. 2/2222. S90) ..8 el. XIX MPMI CRGT HUME PIN ns Senet oc RA Ss -% 3 o.oo SB OE ERE, ty eae oo XXVI renee KOU AGA ae SNS eR 5 2,2 TER ats SO bie VEE MRMOHIC LEO 25 ets cult Sarees so eee Sh RSA ES BAUER NY 2 iy 1 me Neto Srolrx;:--.: 222252. s2eaee ee IE CE RARE eee SA Ne al wets t MeLnOO.Gr WOrDatd OF ANALYSIRe. 2-22... 2220222 2 SS ee ee he: 3% Tamulated analysis of.240 Sioux songs. ..--...2.-2-...'-0 dee 2 ee eee 12 PRRCRRECHALLLEY MERE cs. Sho ath o> es ass 2 Oils SEE pape Rate gts 12 Comparison between old and comparatively modern Sioux songs. ._..:... 22 Tabulated analysis of 600 Indian songs (Chippewa and Sioux)............. 26 Pee SIREN MICU YSIS Cres cee sane 3, RS PS andere EOS Be LY 26 EU nIC aM AhYRINY 535.2 oe fol au, YS Soe 2 occ) oes ls i 35 Analysis of Sioux and C eee BOURSES xe 2 Serie SAS 3 oe ah ee I 40 apne: Tepresentamons OF: plota’? 2-5: --2s)- 52-22 545- 602.22 MUS Ws 51 Comparison between analysis of Chippewa and Sioux songs..............-. 54 Test of pitch discrimination among Chippewa and Sioux..........--.-.-- 56 Music as a cultivated art among Chippewa and Sioux...-.........- Sete 58 MIRO DR ree Sih re Sanne ew a ho Pee ts SoS oe USSU NE EEN 63 The White Buffalo Cali pipe (Ptehin’éala Ganon’pa) ..............-..---. 63 Peeerei Weed STC OLOMNONY =... 5.58. dee te. we oweee as sae boe's MOROU! MART 68 The ceremony of Spirit- oepine (Waki’é ae Eee sr RS Te 3 te Pree HERE AIC OYE. + ey eens AU ee a oe kn oS eA TAD ep ate ek SUE 84 ie pan dance.of the Teton StOUxt .. 42... 542 o2bsneeds pot, BOE 87 Description’ of a: Teton Sioux/Sun dances. 1422228202222 2p o8 Le - 98 Sebastes = ths Pe 35. ee a Se eee Be ey ie Eee Pete ES SEE, Ee 152 op LED IES Oe ea ee ee ere em 4 ‘152 ieeaies Huetiol® GMNPaAnOnes. So. is teat sek sic 2 bo Ss hee gst eee eth 157 Peyote ean( i ool impersonation). ..~ =... 2092 2.21 Je kee ok 157 PeruaMitecOncerniti ammMatnes oo 2. oo... ions be eee bese bt 172 roums concermmy the Puiialo....... <0: 22.40 hri: Ses. eee 173 Preamis Concermine the Ole. 22. s5o2 bee Het: MAyeR a) toma oh 2 TG Draamre eoncerning tlie wolf: 0) ost 2.2 aad nor ie ee 179 Pret of the, crow-and owl... 228. 2. iets te Sob ee se eee or lee 184 Bones Concerninp aie heals. * 2-275 3.2 2 SPSS Ee ee 195 Piotsior songs (dreams about animals)......-./...-.252 2... cae 204 PEREMeee BLOUOS CUneny \e oh. hoe oo sek Soa s loli. cesses se lee eee Pio onsones (the-sicred. stones)... <.s2.22-2-2.5222-256 242246 SERN 244 imesaEEIC TAG PICK pn Pos os See ods eke teehee eee 244 Narrative of a vigil and prayer for the sick.....-...2..2.2-.522--2::- 20 Plots of songs used in treatment of the sick .............-..-....--- 283 SUMAN CR INSERT NALLY O32 Soe ne ees 2b. oan doin, oon Fae oe SE ES 284 PuSmPMEEHAS otek ne eed OS Se 2 2 oe eS eet 285 Buffalo society.......- Meter hs ok tia. i) eae ai Oe epee oie 285 LUM oS eh een Aad Ie eas a nme YT ge Sages 293 Horse society... .-. eee tesa. S560. Oo”. ah oo oe ee ee Sane os 298 WLU 1/120 Sr Chak SR aa ees pee a are SO” eee eat i MIRIRE = Meee Sere oie we SS os oe Seer eS 2 e 314 VIII CONTENTS Societies (oko’laki¢iye)—Continued Military societies—Continued. Kanfi’yuha (Crow-owners) jas) << 's'a cr ae ke «creed see eles alain wine aoe Canjte’ finda (Strong: Heart esscto.. ots. 2 oe eee Badger SOGIOU Ya oinjo ns! caine die = ath = icles ae SE NEI cas ks Miwa/tiaind . ios. Seiden ne cacti & sna tie a) oe teeta ac tava ee White Horse Riders (Sunk’ska-akan/ yan ka) cate Nester 13. eee War songs (Ozu’ye olo’wan)....--.--- odie a eae tapers <= Dade fee eee Personal natrative by Red Fox 2s cece. 4..!\sceeeee sence as Personal narrative by Hagle:Shield 5-2... .45eeeeeem-. ose oee 4 -.- ee Songs accompanied by native drawings... 222s s+-2-a. 2522s eee Old. Butialo’s war.narrative:. 2.2225 225...'. > eee Se SER She ae toys ere Plots:ob songsof war. spuhte He oes 5 ee ate eee ee (tee eae ge eee eae Analysis ofwar Bones... 8 hoe Sn ee eee oe res ae eee Comparatively medernsongsienGe, 4.0875 sec eee eee ee ene Sa. Pee et Wanisongs's¢.2.6 2 fice eine aoe ae Be Picea ee tear overeat ore oe Eamets fhe Butialo hunt (Wana’sapi)!s 155.93 8. Sac So erie ie ee rea Gouncil‘and:ichief-songs<&/s2c.5, 45. scl- Soe oe ee ee eee eee Coumncillisoncs se eee sas Chi n8e 2 ee ae ee ee ChietisonGe.2oue comeeeeigeeeser Br oof ee te ae or ome Mea AL Ain c Plotsionichvetrones445see sees abe Se eh eyes Rie oh ae Songs connected with danees and samess: 4: = ts- cusses eee eee Se ad Dances: oan 2k irene sek ASS ASE SO SSE oe BORE MS Sees 8 We Se Sere The erase dances see aan ie fe or eee ee Ae hr pee a Shuffline-feet dancetien nt ot: + idess cli ee ee ae ee ee Night:dance:~ .2: ieee 2 ate so ase 28 aioe iy tate a SN eres ie ara Begging dance. 2.ceenes 5 05 ge ee eae ea eee dae ee oe Plots ‘oierass-dancejsonts= 26 mee passes ease >. oe eee eee ae GAMES! iss c ices nila aise piece Seles CR ite i eee Os See ee Babee Siete The moccasin game: (Han/pa/ape’ecunpl)as4_e8 & 2-422. oe ss eee The game of hidinpaisiielk. :)— ses. se es MPI eS 2 Miscellaneous songs. - - - --- ORR Sto 0 bp ote oo 2 eee Od Oe Children?sisongs 1... 2522 5A ee Se a, Nea erst Pe eta id Po vee ee Songs ‘connected with Jegends= = = 2 202 eae eee ie hs ee ae hegend of the maiden’s leap>..: ..2.52 120 = aaa eeeeise SG Soe aoe Ibécend. of Ghost Hall 23 oe 2 2 reese ee eee eee eee Sones Imvhonor oh-amerm cisvaciysy las ye eee eee eee een eee Love songs, (waotwestelol owen) es. = ere ee err Sioux songs Tecorded ait SiSselOn 1S el) 2) keene es ee ee eee lee Plots orsongsiotsadmess se. = eee ee ae pee ig eS oe Ionia lee ONS oaceae oe COST LS To cated Sanreie aes ee: eae eee tae Pea eee eienes Bibliography: ... 2.202). -< soa ya Skil oe es ee meee ei ee Index. .-:- sare Soran! Le dwigs te bs Agee SARS ees eee ee wate ie ret ee ILLUSTRATIONS PLATES Facing page . Part of Hunka ceremony (native drawing):.......2.:.----/022 222-22 2elk cas PMLIRU PER UMOR OOS tou TA >on On, & SAEs SND MEM Fo PoE Leed Jail . Outer wrapping for Spirit bundle and braided sweet grass.......-------.- . Implements used in handling coals in Spirit lodge. ..........------.----- pet One eae e ek Sen ee ee ua eed a ord a Nid sea oy PI UO Uae Rarer See se ee eee eee ac eta eo ee alte eros clonbueers sae. 2! nS ks! = 22, etree ee ae ogee. aiei dan y seeds ene tera R Well no's. 228. Shyer i a sacks Me al he Set ss LAs a harhicipantg an sim Cance S502 b Uke 3 tet Pott AL es Seda pier teICU NSC ATD Se Serer a). She OS el ae ehge sy el AT gee ld pe) EU tee piper... 08i. 25 ...2 856 2 eae PE och Se sen ee nS Sen Peete AGC OMA er Sarr? wets SY We hs 2 eT SPs SD Sor a Oe | fhe sundance (drawing) by) No Heart): - 24 2 s.cetloss itd AL ge Peetepondance (mative drawings) s2itisc 2.26... icc nace nee. Sean os 18. SONNE GT Cen iT hiLStlese we eel oes ipa vee eters ivr ot 8 EE a ads With So . Ceremonial grouping of articles in Sun dance...-.......----....---------- See mnbeler Meee inn aCe nt path Fo ea UR es he ge OU DE ICE s ee gese oae ne Ge Re rec CE ge Se RS TNE ee ee oe sr Le OTOD WHR oy Aa SE eee ee A RE Seed ATER ee ge ed STD SET APTN V6 2) i uae Rien aa Lee en | LEADS REDE SMa ESI ears Sele egies menial Soe MO ae UAE BEM) Sp ge Ee 26. Pueinoriament, worn by Hlk dreamer... 22. -2.sc -beed Syed Gos etase 28. MBscten) Stone owned by brave: Dutialo 0c. 2.2.0.2: Salah toh ee . Sacred stone owned by Chased-by-Bears. -...........-.-------222--5-25-5- 5 GOODE: SSE eg eee ares eee Ai Janiad SSSR ee Ae meet AGTH | W225i r= a a eRe, ee ene ee eS SORE C EF © meee, 3. Medicine bag with articles used by owner in treating the sick. ........-.-..- PeMedicmMe war al DAULer PAWS: ~ <2 ae ais hot ig) sl - oe SURRELe be tes SR Dee MediGinespac ohm nde: 222s sees ac 0. cite at aac,: SSR RBS See eS 36. . Splint and matted deer hair used in treating fractures. ..........-.-------- 38. Pbriumann decorated drumstick: 2)... oo see eee oe ecw ame ceases = . Eagle Shield. .... ahs ee ae EE ee OIE Bie aera elo SS » Necklace worm when treating the sick. 2. /..vei.e2tt. te Ste i a bas: 2. Fasting vigil (drawing by Old Buffalo); Old Buffalo. ......-.......-------- Bile nicoanee amelde wee ono... Shard os. vi Sap Seet aie ee Se Bar She Ptiawesicin Heekiacerand casGeti. Js .seitil lo. 22 so See eee. Petre RSULOnPeLeanL SOCLEhy TAUULE= 5 — metre ee Rats ys cere sete hrted ete ae hate ; Map pCarried iPyriuk GrewMEr::..oi< 2. ean cek te te keene te eee ise Beni puckearried by: Wolt dreamer. ..2- --. 20. 255s agente -e Dea i 8 Bilis aed OF Meticine and Spoon...-'.2.. 5.22. soo oe oss 2a sia Se ea Soe ae erm wari Wihinnesbawese toe 3 a Ne oe et ee ee ee Title 72 Te: 77 79 19 81 91 91 91 94 95 102 e bo bo bo bo bo x ILLUSTRATIONS Facing page PGR ETH) Baas sao aye uean oe ch ange caeeeperes IS ncn os cnchadosoonadeniss 325 AT wo Shields eretectse SySee oiietaee Steric a bao wins om 3 ne eh ee meer ce ee 333 AS Wear shield Wobivenrse)sincc tee ci clei =< J aac eae ne ane te ccreee 348 AO. Wain SII TEV GRSE)issi-, «(> aie a’siein a nfo s:S "S212 y= <= nee 348 5O.; Sioux gvaribonmet.. c.f na aac bse 2-2 tee eee. aren ee ee ee 348 51. Men in costume of scouts. - .--- Te ee ick a nals SN eM not 21 cee re 350 52> Scalp: Dance‘ormament made of hair. ~ -- ..'.. .2tenes-s- --s5- ee eee 360 53° Woman, with warinsionia:of a relative.,.........dscceee so. ..2-. ol eee 362 hd Mrs. Hattiesduawrence’ silent, Womameec: {soem einer ole or cle eee 365 55. Woman’s dress decorated with drawings. /......-..:.......:--.-.-.-.2.. 367 5G NediMox.5: i -tkk ial. a es Se: ee en eee cee eae Cees 375 57. One ButtalovOmeckesther: 3.5" Seer eo tc .co A eee ear ses ok ee eee 381 58. Meaddress of wolf hides -2 seule, beets Sc 2 eee Ok ES eine ree 381 AE UCR ea MO ans SOS emer ee Meret Sash Manan Si eco See gent A iA 387 60. The hunt (drawing by Jaw); Scenes from Jaw’s childhood (drawing by IMIS) hs NS Ss oe ates ceed Ge clei te Clee tA Ee 388 61. Warrior’s whistle, paint pouch, and oral. Be 2 ee eas Nd |. Oe 388 62. Incident in the life of Jaw (drawing by himself)....-...--.-- Cre eee 389 63. Incidents in the life of Jaw (drawing by himself). ...................-..- 393 64. Incidents in the life of Eagle Shield (drawings by Bameelnye . His first fight..0s Dancevol the-Kansityuha. 2.2. 5.52 secck a eee eee eee 393 65. Incidents in the life of Eagle Shield (drawings by himself). a. Eagle Shield kills a Crow Indian. 6b. Eagle Shield captures an Assiniboin WhO 452 Je oases he ood ao ces Sass Sed scoweode soeeseeu = sbaged st ee asec 394 66 Incidents in the life of Eagle Shield (drawings by himself). a. Eagle Shield captures horses. 6. Eagle Shield rescues a wounded friend.... 397 67 Implementsused-in skinning buffalo: 2023 26.2). Le Se ee 399 68. Incidents in the life of Eagle Shield (drawings by himself). a. Eagle Shield is pursued by Crow Indians. 6. Eagle Shield captures horses Dn CxOWRMEATOD to ce er ee Ge ln seas cts Nee eR Soe ae 8 = ete Ao el eee 400 60: Switt Doge de5..5 su fo GR cp ee tah need Deen ite Ut Tee 402 70. Incidents in the life of Swift Dog (drawing by himself).-...-. = 9] 5 Sere he 403 Wl Gray, Haws: CLs co epee eesti ee th Nae Se gihe Aire Me se) 442 72° Decoratea eounctl tenis Ake sic] = elon ees ees ROMO aia ee 448 TB. DOW TG TABS eae at te ee ieee tesa. 0a POP Te Ree PSY LR Tee 456 4 ed Wish cio sae eee eer oe fe OEE Shae Smad athe eee ae iracd Aa (diteme yg nbotead orl Ute, Aes Mea en ARTA Oe Grote oe ory eee ok Mn eens cicl le Late 458 76. Sioux dance eee Si Meh ieee Ae eps Be Rta iid aia eyaeta se ne ean PE 468 Tie Cir GRINS EY a .4 Sone Ow Benen Seca eG Iq as So Sse se = cel SSP Sh SG lS 471 78:Shuihing-feet' daneette sas et tts yaa oh ce ce ee aad uNtesi bins 477 79. Sticks used in begging......- Beate eat an re yates MOP ERE ARE ne 1d RSE ah se 481 80. Camip at Grand Rivers 2312 2. ce aoa = aie ee ee eee 481 SI) Givost dein Si Soe: Sie sett yartaeute nee Bee ey ee lene ele ert tam cotaiea eee 496 82. Dancers on Sisseton Reservation; Prairie on Sisseton Reservation... ..-. 512 TEXT FIGURES Pate. Weed Woo’: beeen nen. ohne eee Seve I eee So Amero ie ae 40 2 hiumndamental andsfirst Tour Overtones=_=ses-4" = see eeeeee een = eee eee 42 3. First note of song—its relation to keynote.......:...-..:----.--..-----.++ 42 4, Last note of song—its relation to keynote...........-...-+--+----.-.=---- 43 5. Last note of song—its relation to compass of song. ....-.-.--------------- 43 6. Number of tones comprising compass of song.......--.------.----/------- 44 iia. Numiber atiderrees of scale used unison tae ase ee see ae oe eee Ad ILLUSTRATIONS XI Page Fee EMU a Gots 2 5 eS ret erp ten Ae ae SS a's-0 3a La de 45 SSE DS SA RSS SS yh i es a 45 i WPownwara and upward propressions-. 2.02... 2252222222. hl es.---.- 46 11. Size of downward and upward progressions. .............-.-..-----.,--- 46 12. ‘Largest, smallest, and average intervals: .-...)....- 2.22.22 02 ees eee 47 ao.) fart Ormeasure on which song begins... 2... 2.2.22 8e ch 2.225 -. es eee 48 Seeare ante Ot SG ACUSULO! yo3 ose So ot eel ene ote 48 me manre Of time (measune longtas) 5.4.25. 0202 2Aa To fee elles. lak. 49 SORRELL, (CEU Sten ee eae ect ee oe. 5S eee See Pee ieee 49 epemeabe lite Ft bae Se ee lo, = ee og! See ee Oe Se ae a Se tle 50 18. Comparison of metric unit of voice and drum..........--..-.--.------. SG aah ih USER Peo ES 2 eee aes ae De eee eS a a 53 20. Drawing from picture calendar—the year of the first Alo’wanpi ceremony . 69 mieiaitins, Slick whistre. carried in: Sin dance: =. 52 0.'.. 2 2252625.-.- 2 -al2< toes 98 ae Deesrated ack worn im Sun dance... -...2 2022-2 S.-- sles eee eee tenn 126 meeed wihintie used im boys sun dance... 22. S528: P25. eee nee ones 150 2 Ep sh 2 Soe ee RU pipe ee it 2 rae. See ye Se eS ST 204 0 SS OTs Se a RR Ne ae es Se ee aE oe 245 26. Drawing on mirror used in treatment of the sick................-...-.....-. 248 21, Bear Claw used in treatment of the sick......-.-....2-.---22:---.<.0-!2- 253 SPER IMO IEE Et Pt foo Me OS Se So le Hak ek ote Va see Sasa Crees 283 29. Woman with banner of the Strong Heart society........-.-.:............ 321 my iste HORICLY, Whitule> 2S 25. 522 .. Slee ss ok oe eee fw 329 BREE RCGUenIOMmOGCHOUND DPAVENYy = 225-3 o2s5.62-225225-- 53 once e osc cen sa. oes 359 32. Apparatus for cooking meat without a kettle. ...........-.-2..2......0.- 399 33. Incident in the life of Old Buffalo (drawing by himself)... .............. 412 34. Incident in the life of Old Buffalo (drawing by himself)... -............. 416 SENET a ERTL ee seated hie RS sets 5) case oe os ea ees e255 ese eS 419 36. Drawing from picture calendar—the year of the last buffalo hunt......_... 437 eee eEIOTN Ge Soto tese Nero Se ot So. Se bee no Syste koe be eae 461 Bes Grass dance. hoon 2s. oN Set gen oe SS lhe et RE 470 ire RRC ENeAe se ROLLE oe es LPs cas geass og eee 471 ae 1ote, Group fio. 2222o0 os Sr SREP tase Meade a Ss 2s Sa a ee 484 al leaplemenis used in the stick game. - . .2-.-.......-2-222.22 225-522-208: 489 PES MA MEMNET INT LO mete eS oe os tae Ass st bean eeie ss eee 496 OLD Docsrt a ee Poe Se. NOSE Len ees oes aes 519 z Sspaadlacy ~ Serial ~ Catalogue No. No. eect Walking kes sre Poe ae he Ais ee Oe 569 Sones or THE ALO’WANPI CEREMONY eee al preLengded search. - 2722p teed cto bck wy Suj ee eee as 649 3., Ceremonial song. .....-....-..--.-. SUE aE Se (oe SPSS aaa REREER FONE 648 Sones or THE SuN DANCE PP SOM IOLA CUrIMe fair Weather. =. .2.02--- 22250222 0- lode t sees ae 497 MNRAS GTININIE Sar IM on, a ena oe Sal S Ss he t's Aitm le telnla cae: 456 6. Song of the Braves’ dance (no words)...............-.------+------ 498 ame MIMEY CANES COUTACO 2 Foc. tse. So Sloe oe nmi oie bee tetereness 488 8. “The many lands you fell” IE ee ncig tem ns we ie RO es 450 9. Song of the departure of the young men (no words)........-.---..-- 480 10. Song of the return of the young men (no words)......--...-.-.----- 481 11. Song of cutting the satred PSE Stee ae SR ceo yes eS AN IS 451 £2. Sonr of victory over the sacted poless..40 226 bees hee eee 486 ie sone ol pamiine the-sacted pole-2..2..-.-2.-).-2---..j-2-s2os----.- . 452 14. Song after raising the sacred pole (a).........-.--- Ce Sennen | 628 ia. sone aiter raising the sacred pole (b).:.....-2...--..-2..4-2.-<-:5-: 629 16. Song after raising the sacred pole (c)........-----....--------+--+- 630 — four of preparmpe:-the sacred. place. ..- 22... 2). 222 en aeees! 500 feMonsoning! yisit tothe vapor lodge. =. .-5)..--2-. see. cus see fees 631 19. Opening song of the Sun dance (a) (no words) .......-..-.-.------- 453 20. Opening song of the Sun dance (6) (no words) .........------------ 479 MiemOrIpenine praverior the-Sumdance. . 2/25 ose tees e Pe bene 501 Doe Weaken ca Ke PUY NG. Ao 5080s och en tte son a Paes Swe Basen 688 PUMP OM IMIRGM CANON 0-12 292 28h aS Pees nok eo Selene oo hee oe 487 Lil nis Va cTe Sr ite Goal ap ee GA IR oy ea ee eee Bidar = eee =~ , 006 Ba Sole Coucermine The sul atid MOO. 2 2.5. 05%. 2h. sie sob en ees 504 NG EENW EW SEW AVA eng) ered aCe Wats ln a= ge eg ce 483 fee Oise oce pai nererants MG coe canes noe swe So - ae cnrew eee eseas 503 Pot eave ennn ete”: them 28 ie. tas oN Oy I eS whe 2 oe en we 8 484 Pe aterign ouen( a), GO) WOLGS)/s 2.6.02 c koe Sn «ede oe ns a veo eeas 499 aie wanemie agra ((6))\(00.WOrds)...-2:--., 2.22205 sta foc. ave n Se Le 505 SRE THITSNOOE IC): (TO“WOEUS). 222. 5. . 2. ole 2 opie «on awn ne See 482 See eanerie Ge (i) (1G WOLUS):. 002% os fae acc. e ede wd va ee- Se wee ees 485 epee Ine POLE We) IO WOON) ae ec See oj. PWS ecco eee eS ta 457 Sratoing sone (7) (monmwvords toss sass3.cg5) 6. Jens lester. le 458 30. Dancing song (g) (no words).............-...! Oi w's IC ee 459 SCS Mie 2 TAGUICTC 2 gM CRE Ee 6 ae ee ee eee Pie eee ee 502 LIST OF SONGS 1. ARRANGED IN ORDER OF SERIAL NUMBERS “SONGS USED IN CEREMONIES SONG OF THE COMING OF THE WHITE BurraLto MAIDEN XIV LIST OF SONGS SONGS OF THE HEYO’KA Serial ; Catalogue No. No. 37540; The horsemenwinethe Cloudye-inc sno. sck ae eee ee 492 38. ‘‘ Before the gathering of the clouds’’..... ..- eA Sco, oe oh ok 493 39. Song.im time.of danger’: 22. 34: S: Tie eee eee 496 40. Song concerning a dream of the thunderbirds.......-. Apt een ae $55 491 URE PAE ETI alc mee ak ae iace ice oc Rett ERO = 3 reece 494 42S Ina, sacred manner ret Unies eye se 22 a= Ora eee ore oe 495 43.7 ‘The thiundepbird nation’ 225 Sires ota oles eS Se 3 ae 571 SONGS OF PERSONAL DREAMS Sones RECEIVED FROM ANIMALS EMG OSSAL COs ING) so eke tee rye tae tie eae ea prraiey os 606 44. 45> Weapon-song (mo words).)5. 05. 5.2. cod Sees ae ot . ow aette 608 46. Song ot the-.elks:(no words) eo.\0 7 oot, Ss aie eeettet (coo ae 609 Sites Owls HGotnap crys feo ole. jt ee ae ee es aren tae 607 43 ponpof the youngawolvess: sta: : 525 Saeco oe 570 49° ‘Song’ of the oldrwolite 2. ses 45.2.5 4. ee eee eee 568 50. Song of the crow and owl.....-. 2's La vie Gi Se ei ae ae oe Ss 473 Si, - Where ‘the wands blowing )c-. 7 32 Shae eee re eae ee 474 Ode. Ltmade ay walk7e ele Sie 028 1s. SU oe ee eee eas cts ee 533 Ba pOne lob a Wolk. bo So8F wel ci Se iia eae teh 2 ee a am rage a Sore 650 452 Toward them: Twallle/73 95-5226, . 0: Seite peace eee merry) Sinn ct ech 639 55, ‘An eagle nation ia coming’’)-2 22.2. .25.400 98: SS ein ed shihaetlenee 472 5o;, A bisebtai deen: ao. ea ooc c's. eee bd STATS 564 57° SAN DORE BANGLE” occc2c acme cite os 0s See ee EE eS eat 581 DB: Ab theswind center Astana. =... 5x0 aeyseremees eae far 635 138. Song concerning war paint... - - RG fy oY ta 8 Ok i eee ee 465 149 > Dremblel.O'tribevol thevenemy ?!. 2.252 ae. seegee eee ee ek. ee 466 bape! Bebaldvmey; horsele’ - wise Bees aa te ene te alee SEs 468 1aiks Seems desires: 2. 5. lel Sears es. a oe eee ao ES Se 616 142). Sherearth onky endures’): 2.62). ae: Soe ee ee he 617 1 Fe EL A) U el ses 9 eNO 8 conc oa 621 44°C She'standstuere smiling’. 2.254)... on 5 ee ee 658 145% “Horses: arashrine ing 7 >. 2 fut 3 oe eee EAN ce ah Genk 529 146. ““Hetis tetumning 9.0 ee) ot See Se ee ee eee 689 147 Songe'concermimng, White Butterfly >: 522.2542. 7 -o e eee 686 148) “CHieiltes oventheree@s = .%: Ss esos eo e =o ee eee eeeeoee 687 149:--‘‘ Learn the songsoh victory... 22.8: alts ce 22 eee 2 685 150. Bone in hononorOnithanes 2322026 224) <2 ook eee 460 fol. “You nay coon theprarpath 15 ei. 0 oe ey ee ene ees = 531 (Duplicate of No. 151—‘‘ When you return’ %) eer ee le sae 1528)**T-look tor himan vain’ "23 eepeose eas ol Ai eee ey cine 530 153;-SHe isjagain.gone.on the warpath’: 0 .< 25.22 - sates - = = 2 3 591 154. ¥ou-should pive up-the warpath 22 ot: 2.22. jo22 see ee === = 576 Sones or PERSONAL NARRATIVES CONCERNING WAR 5p. Song of theiwarpath.o:ees. S2e3 See Oe Ce OS ee See 676 156,24 Magab be there ’.2 . .gecite SOLS Bo eee ye sera eee 623 157) oS Abpreirietire?? <2... >. 02. do ae Se ee Seen eee 624 158: SSongsecoucerning Sitting Crow: 26232 Meee sos eee 625 2). Atepotted Horse: ?: ¢22..0.o3 22 RG ee Se ae ea eee ole 626 LIST OF SONGS Serial Catalogue No. No. (DO os SUT AC Ah ge cis ee ee a ae Se SOR eee 627 te AE SS rll He a i 651 Sanne ipentetent. Ate eo en ne ee ee oe 652 0 SOO ee en 653 ES AG eae a 507 Tn ee rOROCOUIEIR ES =. SENS. Ws Oe Secor 2 . oe NS TEE ae 508 Beereare ap Levent ani bringin 24° + Socsoeets 2. 28/2 ees ogee... 510 167. ‘“‘They deserted their leader”’..........------- fe a ee 520 ea We OF Wicme wall pa Milled (oer. - = 1. techs LS Sak oe 521 Rumer: f stitere ten eecertmernatee eS ee een 522 1 Seige LAS Carey 722 Tied Soe Ie)? nee oe ee 583 0 pete 2 OSOS PERS 2S gg Oo Se en eee ee ne pe 584 172. ‘‘When I came you cried”’........-.- ok lt A Ak a 585 er ereem the enemy” 5... > + Ebi telysrele ss . anise Jimetee ues! 586 (Baplieate of No:173).-.2 2.2.20: face: eae A eh: Suerte we teeter oaks moe Mesine ater your horses’. . 2:2) fetes ed). ea Se vl eee we 587 gS USTs 1 a gS | ee es de Sd 588 Me. pemineenek bring: you 2 horas?’ 20.5 « Aisnee ie). - 42h Sh bake 589 177. Song of self-reliance. _--........--.-.. WSUS. a, tes. sa! 636 ioe. aor ihe fox”. = = te. See Ee Se See ae 637 MME EMME GORE 8 2. 2 an See ea ee tells: Deore Se 638 SONGS OF THE BUFFALO HUNT 180. Song of the buffalo hunt. (No words) (a) ...._-....--.-.---:--.- 475 181. Song of the buffalo hunt. (No words) (b)..-.-...-.-.....-.....-- 476 182. Song of the buffalo hunt. (No words) (c)-.............--......-- 545 183. Song to secure buffalo in time of famine..............-.....------ 469 COUNCIL SONGS ae ok Seen nic dead Chicks | _.3t 24? 2 PSR 8 yo. ls wee 669 UE ENS ter es Cot Soe Se ee oe ne oc eck 455 mM AIO ALG = 2 SS Se oe ee Soe ne Bee hess 614 Pet ee et RISER AE IO PLCC I =. acaic.cc ns nee oo Se aS + we eZ 615 CHIEF SONGS ; Pe We neMOL Or two beats. 22022... 2 202 i. thos Se 2-2 See 454 fee. pour a honor af Gabriel Renville (a): --.....-2.-.-.---2---2-- 2 665 190. Song in honor of Gabriel Renville (b).-.........---.--------+---- 666 ee erm ae IE Gt JOLIN Grass. (222505822 2 2 Sis ct ssec52-s- 643 ereme HNOMGE OU ted Pistia. >> 22 2s s.- 2 - oe =e 673 Seer E LY ENC) 2 Se Se ek ee oe se 612 Dope (202 SS eS 1 0) ee a a 613 DANCE SONGS SonGs or THE GRASS DANCE ee eee nemmrtine {hem 8. 2525 esse 22 lL fal eS 593 Uo Aa PEE Se ES Te (7) a ee re 596 fai pone on. the grass dance. (No words)-(6) .. =. ------22-..----+-=- 594 198. Song of the grass dance. (No words) (c)......2.---------2------- 595 199. ‘Soug ef the grass dance. -(No words) (d)--.-..--...--------~---- 597 2a. Sour er the prass dante. ~ (Ne words) (¢) - -.--2-.-22.2-2-- +0: - 5. 526 2 4840°—Bull 61—18 XVII Page 386 390 391 392 394 395 396 398 400 402 403 404 406 407 408 409 410 411 413 414 417 440 441 442 445 448 449 450 451 453 454 455 456 457 459 460 473 474 475 476 47 47 “Io XVIII LIST OF SONGS SONGS OF THE SHUFFLING-FEET DANCE Serial Catalogue No. No. 201. Song of the shuffling-feet dance (a)......-...--.------- eh ares 600 202. Song of the shuffling-feet dance (No words) (b) ..-...-.---.----.- 592 Sona or THE NicHt DANCE 203: Song of the night dance:(No words): . 2’. ..-.- 23.5222 225525 cee 601 Sones or THE Beaeina Dance 204. Begging song of the old women (no words) ....- LG Dee ee S - 682 205. Begping GONg 0. 2. !s0 sc cons qa emceeaiee ss os aeicee taser 2s Cees = 619 GAME SONGS Sones oF THE Moccasin GAME 206. Song of the moccasin game. (No words) (a).....--..-....-.----- 551 207. Song of the moccasin game. (No words) (6) .-..........-.:.---- 552 208. Song of the moccasin game. (No words) (c)..-.---.-..----...-- 560 209. Song of the moccasin game. (No words) (d).--........-..------ 559 210. Song of the moccasin game. (No words) (e).....-..-----:------- 561 211. Song of the moccasin game. (No words) (f)....------.-.------ 525 Soncs or THE HiprING-sTIcK GAME 212. Game; sonee(MomwOrds) St Wks sya cara rs eee ee oe ee ee 598 213. Song when a game is almost won (no words).....------..--------- 599 QUA. (ORC, OL WACtONY or s,2.5 tiger a hs oe ore eee ee ee ae eee 618 CHILDREN’S SONGS 215. Song_of little girls’ play (a): ..- 5 -s 722... Ree Sie Ae ies 3 680 216. wensat liters’ mba 220. cad icine = Sas cen gen ene ae 681 Palnd + AAD, 52 a oe ot eters tee ee o are er ee ee es eee 679 SONGS CONNECTED WITH LEGENDS 218 Sone. of theamaiden’s leaps: .. So sso 5-\-e sep aoa eee once ces 620 PUG. Sone oh a OHoOst. ces ees ansehen sone ane eens cee hae ae 542 SONGS IN HONOR OF AN INDIVIDUAL 22). * The tpoor ‘aresmanty = 2.26 -o!2 ee ee ee ae ee eee 640 221. “expected toeive something. 22 225 opp eee Bare eae en ee 641 222." Two White 4Butialors 2288 See sen ae ae eer ee eer eee eee 642 223.. ‘Take fresh eounage ? 2. 2 sc oi oct oes ee ee 478 224: “The White-Eorse Ridersisaid this. = 22 3. - oe sees See 477 225. won WlutesButtalovdtake:counages = oe eee eae ee eee 671 226. "°° The: tribe you help )iwicset See eae ae ee ee a ae ee 672 221. Whenever the tribeltassem bl estace= ase aera eee are 684 228. They depend irpon*you.’>. - ese ene ee see ose ee 683 229.-< donated athorse 3: 2a. Sa ase ae eae ae ee aerate ye 579 230. ““Hence:they:come””: ares Sa Meee ee Snare eee a ce So aoa cee 578 23): “A short. time i sae5. oo noe Se ar eee 558 LOVE SONGS 232. “Come? ss soactee Be Sein sia a ee eet = ea eae 659 233. Love song. _»CNo words): (@)= oo =seeeepese ee eesece-<-454 - eee 590 Zo%. Love song.. (No words) (b)e2a8bes ape se ces oo a ee 661 Page 478 479 480 482 483 486 486 487 487 488 488 490 490 491 492 493 493 495 497 498 499 500 501 502 503 504 505 506 507 508 509 510 dll dll LIST OF SONGS XIX SONGS RECORDED AT SISSETON, S. DAK. Serial Catalogue No. No. Page Pee PM Mavic ION WOON ING. Le sib oreo. = ok xe nc fnass------ 645 513 ieee tye een Nelpine sa oe Ak Se. keine. clee vel ee eee eee 644 514 237. Song of the Ticketless society (no words)....................--..- 678 515. Peeeome tncermine Pierce HAC! Joos. acces eo ee sina n on vs Siete so 662 516 239. Song concerning a message from Washington..................-.-.. 646 517 (es, Oe GREG LEE en 2S 3 a et ee en ch 647 518 2. ARRANGED IN ORDER OF CATALOGUE NUMBERS la Title of song Name of singer 2 Page No. 450 | ‘‘The many lands you fear”........... Siya’ka ....... 8 109 451 | Song of cutting the sacred pole. .......|..... 0 ee 11 113 452 | Song of painting the sacred pole........|..... douesss sass 13 117 453 | Opening song of the Sun dance (a)...-..|..... Goa. "eater 19 128 454 | Song in honor of Two Bears............|..... AGE. 2 se 188 453 OLD) G1 Aaa aed aa an eer 185 449 Pape ieaW ace COMING...) 6 23.555c..2. 5022/5228. Dia ee 5 105 SS aQLE Phi cai dedi ot) (2) es dose ese 33 146 i a Liat ji ag eile ts tea lin Aah i Rt ae Bea DO sae ne ee 34 147 5D eee CAA Te Sena aetna eee ager Yee) (eee 0 Co amare 35 148 460°) Seng in‘honor of Oni’han -...-....-...|.-... doe Ae: 150 369 Sees Spill Was COMIG: fe. 32206. 2 5522. lo... donee. 74 232 foe ee Patner. Mug tO MAG =).25. 5 Sec acs ated. 2 ;c Koya pe et a 73 230 463 | ‘‘From whence the winds blow”’.......|..... doe ert ses. 75 233 464 | ‘Something I foretold”... .... sci, aioe oe Or tia. Se 76 234 465 | Song concerning war paint. ......--.-..|..... dareter ern. 138 353 466 | ‘“‘Tremble! O tribe of the enemy”... .|..... dosscu> x24 139 304 SMe UTOORIOL WEED? oo... 2es ec ee ee ene ss|<~ 228 Opes toe 1 We 304 doo eenoid ny horsel” 2. 7... ....<..e.| C5. - 3 0) pea ole 140 355 469 | Song to secure buffalo in time of famine.)...-. i oe 183 445 470") “Chasing, they walked’’: .........-...|.---- dGs7 27> a2 303 471 | ‘“‘Something sacred I wear”’............]....- Owe aren ae 105 295 472 | ‘An eagle nation is coming”........../..... Cc Kn apap 55 193 473 | Song of the crow.and owl..............]..--. i Ka ee Come 50 186 474 | ‘Where the wind is blowing”.........]..... On ae 51 187 475 | Song of the buffalo hunt (a)............].....- dest <2 =." 180 440 Pe aes 2. (Uae de A cs RS seen ae ee ae dome sees 181 441 477 | ‘“‘The White Horse Riders said this”. ..)...-- dass see. 2 224 502 aon!) - ake sresh courage’ --. 222. ..-...--:|--.<- dow. 335%. % 223 501 479 | Opening song of the Sun dance (b)--.... Lone Man..... 20 129 480 ! Song of the departure of the young men !..... GOs ons'= os 9 110 xx LIST OF SONGS 2. ARRANGED IN OrpDER oF CATALOGUE NuUMBERS—Continued Cata- logue No. Title of song Name of singer 481 482 483 484 485 486 487 | 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 Song of the return of the young men. . . Dancing sone" (0) = sys eset ra ‘“‘Wakan’tanka hears me’’.......----- cTUhaverconguered: then: see -=seeos- | q Dancine sone (d). 2.) ee ee ee 2 eee Song of victory over the sacred pole. - - - Sone.of Jamentation=—. | s2ocaaasae ae “With dauntless courage” .......-..-- ‘Tsing for the animals”? . 2022s. son. o= COMiy IN OVSO sees akan Se ce arene se eee Song concerning a dream of the thun- derbirds “The horsemen in the cloud”’.......-- ‘Before the gathering of the clouds” J) Maa bi na a ca CMR Toe ne ‘‘In a sacred manner I return”’.....--- Sone in tume of dancers ys -cce. aeae Song for securing fair weather. .......-. Song of the Braves’ dance.......-..-.- Waneine sane (Gy) cas see ae re oes Song of preparing the sacred place... - Opening. prayer of the Sun dance... .-- Songatisunrise. =20 - fe eee ea ee ee | ‘Black face-paint he grants me”... .-. Song concerning the sun and moon. . - . Dancine sone(b)-2 =.=... eee INGOnSONg ss. 5-46 52 - 2a eee Bven. the eagle dies”? 3. =) sane eee TN too kiCOUbage ys s5,. sei See eee Song of the Strong Heart society (a)... - “Captives I am bringing”’ ‘ “Beholdrallithesethunes*=2 05> 2 eae esee We. wall eat": 3. o28 2S ee “These arerc00d ”? 2. 2 = aa eee “You will walk”... -« eee “T am. sitting. 2... 222.5 eee Song preceding treatment of fractures. - An. appeal to the bear. - 2-2 = =. =... Song of thé Dear). tee eee Serial N e o> bt wo bw bv er Fe Oo oN Page LIST OF SONGS XXI 2. ARRANGED IN ORDER OF CATALOGUE NuMBERS—Continued Cata- logue No. 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 “D37 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 | Serial Title of song Name of singer i. Page Pa ear Gold. mies aie ns, 8 Eagle Shield. - . 89 265 ‘They deserted their leader”’..........!..... das gc p 3: 167 398 ~Oneor them walljpe Jalled?? 72:0. 2: 225. det st seo. 168 400 ‘“‘T intend to take his horses”’..........!..... ae 169 | 402 PeAmvenilmeswh seale’ 3.522 oo... Two Shields. ... 130 340 ORE ee NR i es ll at dite 3552: 133 345 Song oi the moccasin game (f).....-.-...|.-... Dae yes « 211 488 Song of the grass dance (e).............|.-.-. dons. cp 200 477 SUELO SOMO ss 2B a np oes 3] Lee OG ty 128 338 - hose are not my. interest” »~ ...2...22-)-~ «<2 cee oe 125 334 patorses Tram bringing”)... 2. fs5}b Wena horse netehs” 9222/2222 52. L/..-.- CG Seated Hvec|~mlorses are coming”! = 522950... 2 su]. = 2 Colo paging Maan 606 | “‘A buffalo said tome”...-........-. tie Lada DONS as: Soe Ly EAD ig SBI 3 1 ae eel ae nn baa ce aden beats BOS WVOAPOM SODP. Wo fines ssc eee tes ees fes ees does scene = BuGm mGnie OL the OKs. 25 2.2 Jae ee tle. S- dofeesese ele") Behold the dawn)”. 222.5..22..222/-222. dg: foes ee Pi eI GUC Ss. vacates ccl seen e Used-as-a-Shield Gl2’ |; Sonp of Sitting Bull'(a)/ 22.2.2... 5.-.-].-5.- (ake fa mapee ante GL, | cers. AU eres teteansct< Stee sexe hele csc ra ofan Meath aie Git - awInn fo GO MDY Pary, 22.525 2- Sls. ve oko rae Bh 615 | ** His customs I adopted” .....-......./..... doy tess UGS) Mey Scr shut hg 1 il is i ae CL pe tae blr | the earth only endures” >... ...25..|...'.< iO Ree Sols Satay GLEECUOLY Sc tence aoc so 2 ~~ as fon adic Gras en tr BI PE CRRA GONY 5. cents os dd od aso sae « <'| node doweescce. 620 | Song of the maiden’s leap.............]....- so ade re Bele ee POM Ren Stites is fee Kose mee ces J sa[Gedn dessis=: = Besse. 22. Goi) Sone oltnecampae see eee 658 | ‘“‘She stands there smiling”...........- 609.) SGomel =. oe sa. oC ees see 660 csolmn the:morthgass- eee eee ae 661.) Shove 'sone(b) 52. ysee! gam eee ee 662 | Song concerning Fierce Face........--- 663 | ‘‘Northward they are walking”’...-...-- Le ae Me A argOP Ieee eee Asc oe Anes t 665 | Songin honor of Gabriel Renville (a). .- G66 eke 0 (0). tN hee es eee ete 667 | SDheseare my spies "Sees ee ee | 668 | ‘‘I am required to roam’”’............. | 669 | ‘‘I sing of the dead chiefs”.......-..-- 670 |. “Those hills Ipodsupoend = 2s 2-- o5-ls | Name of singer Bear Eagle --. .. eae! (ola peieperys ear Many Wounds. a ea Continued core Page 78 237 136 351 137: 352 177 413 178 414 179 417 54 191 220 498 221 499 222 500 191 456 236 514 235 513 239 517 240 518 3 7 2 73 53 190 161 390 162 391 163 392° 91 272 92 273 126 336 135 349 144 361 232 510 97 288 234 511 238 516 95 286 96 287 189 454 190 455 69 226 70 227 184 448 132 342 LIST OF SONGS XXV 2. ARRANGED IN ORDER OF CATALOGUE NUMBERS—Continued Cata- | logue No. | | Title of song Name of singer zee Page ““Two White Buffalo, take courage”’...| Haka/la....... 225 503 “Hehe tribe mon mele. 225 at. |- os GOs see - 226 504 Song in honor of Red Fish. ....-..-..- Red Fish. ...... 192 457 Dour OMmmininr ier ee 4 oo. os kes Ss Bear-with- 90 268 White-Paw. ‘The sacred stones come to see you”’...| Chased-by- 60 212 Bears. Neue of the warpath... i255. 3.:2-2.--- HeGwOR: 2.77. 155 378 Song of the Fox society (a) ............ Bear Soldier. - . 114 316 Song of the Ticketless society ...2....-.- Gekpa’......-.. 237 515 AUIS Sone 2 ae eee Yellow Hair... 217 493 Song of little girls’ play (a)............|...-. Ors < nant 215 492 Bee PRUNE See ee ee ot Oe. a 8 216 493 Begging song of the old women........|..--- 0,0 en eR 204 | 482 ‘““They depend upon you”. .......--.-- Silent Woman. . 228 506 ‘““Whenever the tribe assembles’”’. .....|.-.-- ho ea eS aon | 505 ““Learn the songs of victory”’....-......].-.-- dor asosese2 149 | 368 Song concerning White Butterfly... ..- Mrs. Lawrence. . 147 365 Peele lies Over Mere. 2 og See = oe [ses dosse es 148 366 -Wakan‘tanka! pliy.me”. ~, 0.25.22 White Robe.-.-. 22, 135 FAPOUS TOCUTAIIE 6 ect 36 gael S23. 22 Earth-Medi- 146 364 cine Woman. Number of songs bo Je) i) i=) e oo = (o/) e I — — _ — en =) i) mH KHER rE wonrinwnwwenwnnwnrrhriPhPht nr wo © NAMES OF SINGERS STANDING Rock RESERVATION MEN English name Sioux name Meal Wack. fee ote aes ee Mwiorshieldstece sass ereee ome Mame rss see ae see Gray Hawks: o2ccsecesse a Havle: Shield. 22m ee eck Chargime/Mhundents: 252-2 ee- Used-as-a-Shield.:............| Braver bmialoneceeee eee eee IRedS Bird ees meee oer Shooters J. face so oes ese aanee WARD DOC sameness m-th eto Kalls-at-Night? =. 203.503. Yoac. Ones Meatherrssraess sees Ried Weaselaecerceciascle en oc Besteaglers.saentor sss acu s Old Braille sees here aisyci a cra SNOOUMMIPStsne. eee eee Weasel earic so. .22 2). ane One Bufialoo. Ss. 238.72 | Hees Dog Waele see ccc d ota eindne Gray Whirlwind = +: i225 22.3243 Many Wounds: -. 6. 4ss.23s05 Youngest Child 2.5. sasesces. Red Bishan: Aee Nero eee er Chased-by-Bears .....-......- Bear Soldiers: > ay. - sss oeseee Bear-with-White-Paw.........- Siya/ka? Waha/¢éuynka-non’pa Tgna/la-wiéa’ Cetan’-hota Wanbli/-waha/éunka Wakin’yan-wata’kpe Waha/éanka-ya’pi Tatan’ka-ohi’tika Zintka/la-lu’ta? Oku’te Sun’ ka-lu’zahayn Hanhe’-pikte Wi’yaka-wanZi’la Ttun’kasan-lu’ta Mato’-wanbli’ Tatank/-ehan/ni Toke’ya-wiéa’o Cehu’pa Itun’-kasan-mato’ Tatan’ka-wanZzi’la Sun’ka-way bli’ Wamni’yomni-ho’ta Wopo’-tapi Haka/la Hogan/’-luta Toka/la-lu’ta Mato’-kuwa?# Mato’-aki/éita® Mato’nape’ska 1 Died in March, 1913. 2 Died in November, 1911. 3 Kills-at-Night sang also two additional songs with his wife, Wita’hu. 4 Died in February, 1915. 5 Died in March, 1915, xXxXVI SPECIAL SIGNS XXVII WOMEN Number . F of songs English name Sioux name Za xvellow EHair:--0) eee 2 eee Pahi’wiy oF | oLlentt) Womans! oes set Ini/laén/win Z| Mrs, Tawrences cee 2. Cankw/lawin 2. | Woman's Weck*:.-2e_.2 628-20 Witavhu 1) }) Wihite Robes c- a seee ices ee Tasi/naska/win 1 | Earth-Medicine Woman....... Maka/-pezu’tawin SISSETON RESERVATION (MEN) : adc fn 2 4°) Holy-Bace Bear. ....22.- <<... Mato’-ite’-wakay a | eer OlOM See oo ae esis Malipi’ya-to 2 | Gate: Oonjuror. =<. . 922.5%... -. Wakan’-cika’na 2 | Moses Renville................ UP SL a rs See Cekpa/ 1 Sang with her husband, Kills-at-Night. Total number of songs, 240. Total number of singers, 40. SPECIAL Stans UsEp IN TRANSCRIPTIONS OF SONGS -— 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 diatonic pitch. — placed above a note indicates that the tone is sung slightly less than a semitone lower than the diatonic pitch. (- placed above a note indicates that the tone is prolonged slightly beyond the note value. -) placed above a note indicates that the tone is given less than the note value. 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 mentioned in the analysis. XXVUT PHONETIC KEY PHONETIC KEY? VOWELS The vowels are five in number. Each has but one sound except when followed by the nasal 7, which somewhat modifies it. a has the sound of English a in father. e has the sound of English e in they, or of a in face. i has the sound of 7 in marine, or of e in me. o has the sound of English o in go, note. u has the sound of win rule, or of 00 in food. CoNSONANTS The consonants are 23 in number. b has its common English sound. é is an aspirate with the sound of English ch, as in chin. é is an emphatic é. It is formed by pronouncing é with a strong pressure of the organs, followed by a sudden expulsion of the breath. d has the common English sound. ¢ has the sound of g hard, as in go. & represents a deep sonant guttural resembling the Arabic ghain. h has the sound of / in English. i represents a strong surd guttural resembling the Arabic kha. k has the same sound as in English. k is an emphatic letter, bearing the same relation to k that é does to ¢. Formerly represented by q. | has the common sound of this letter in English. It is peculiar to the Titonwan dialect. m has the same sound as in English. n has the common sound of n in English. y denotes a nasal sound similar to the French m in bon, or the English n in drink. p has the sound of English ». with slightly greater volume and stress. s has the surd sound of English s, as in say. § is an aspirated s, having the sound of English sh, as in shine. ‘tis the same as in English with slightly greater volume. w has the power of English w, as in walk. y has the sound of English y, as in yet. z has the sound of the common English 2, as in zebra. Z is an aspirated z, having the sound of the French j, or the English sin pleasure. Formerly represented by j. 1 From Riggs, S. R., Grammar and Dictionary of the Dakota Language (Smithsonian Contr. to Knowl- edge, 1V, pp. 3-4, Washington, 1852). See also ‘‘Siouan Dakota (Teton and Santee Dialects) with re- marks on the Ponca and Winnebago,” by Franz Boas and John R. Swanton, in Handbook of American Indian Languages, Bull. 40, Bur. Amer. Ethn., pt. 1, pp. 875-965. TETON SIOUX MUSIC By FRANCES DENSMORE INTRODUCTION Tur TETON Sioux A majority of the songs in this memoir were recorded among Indians belonging to the Teton division of the Dakota (Sioux) tribe, living on the Standing Rock Reservation in North and South Dakota. Songs were recorded also among the Sisseton and Wahpeton Sioux living at Sisseton, S. Dak.; 12 of these are included in this volume under the following numbers: 95, 96, 97, 189, 190, 234, 235, 236, 237, 238, 239, 240. Field work was begun in July, 1911, and continued until 1914, Mr. Robert P. Higheagle acting as principal interpreter at Standing Rock and revising the material collected at Sisseton, where a competent interpreter could not be secured. The words of the songs recorded at Standing Rock, with few exceptions, are in the Teton dialect, while those recorded among the Sisseton and Wah- peton Sioux are in the Santee dialect. Before entering on a consideration of this material, the terms applied to the tribe and its various divisions will be briefly noted. “Dakota” is the word used by these Indians in speaking of them- selves; this word means ‘‘leagued” or ‘‘allied”’ and is used also as an adjective, meaning “friendly.” The latter part of the word, meaning “friend,” is pronounced kola by the Teton and koda by the Santee. The word “Sioux’’ was applied to the Dakota by Indians outside the tribe and by white men and has come to be the commonly accepted designation, even being extended to include cognate tribes known coliectively as the “Siouan family.” According to J. N. B. Hewitt the word ‘Sioux’ is a French-Canadian abbreviation of the Chippewa diminutive form Nadowe-is-iw-tig (nadowe, ‘an adder,’ ‘an enemy’; is, diminutive; iw-tig, ‘they are’; hence, “they are the lesser enemies’’). The Chippewa used this term to distinguishthe Huron and Dakota from the Iroquois proper, whom they designated Nadowe’wok, ‘the adders’ or ‘the enemies’.?_ A similar interpretation is given by Warren, the native historian of the Chippewa tribe.* 1 Riggs, Stephen R., Grammar and Dictionary of the Dakota Language, in Smithson. Contr., IV, pp- xv, 48, Washington, 1852. 2See Handbook of American Indians (Bull. 30, Bur. Amer. Ethn.), pt.1, p. 376, 1907. 3 Warren, William W., History of the Ojibways, in Coll. Minn. Hist. Soc., vol. 5, p. 72, 1885 2 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Riggs states’ that the Dakota ‘‘sometimes speak of themselves as the ‘Oéeti Sakowin,’ Seven Council fires”? ? This term referred to the seven principal divisions, which comprised the tribe or nation. Each of these was divided into numerous bands. The largest of these divisions was known as the Ti’tonwan, contracted to the word Teton. This division is said to have constituted more than half of the entire tribe and to have exceeded the others in wealth and physical develop- ment. They seem always to have lived west of the Missouri River. The four divisions of the tribe which lived east of the Missouri are now known collectively as the Santee. Riggs says: ‘‘These Missis- sippt and Minnesota Dakotas are called by those on the Missouri, Isanties, from ‘isanati’ or ‘isanyati’; which name seems to have been given them from the fact that they once lived at Isantamde, Knife Lake, one of those included under the denomination of Mille Lacs.” * According to Riggs, these four divisions were the ‘‘Mdewa- kantonwans, Wahpekutes, Wahpetoynwans, and Sisitonwans.” Prior to the Indian outbreak in 1862 the home of these bands was in Minnesota. The two remaining divisions of the tribe are ‘‘the Ihanktonwanna and the Ihantonwaps,’’ the former living along the James River and in the vicinity of Devils Lake, and the latter west of the Missouri. Riggs states that ‘‘these two bands have usually been designated by travelers under the name of ‘Yanctons.’” In the Dakota language, as spoken by these three large divisions of the tribe, there exist some differences, principally in the use of certain consonants. These differences are fully set forth by Riggs.t A sim- ple illustration of one of these variations: occurs in the tribal name, which is pronounced Dakota by the Santee and by the Yankton group, and Lakota by the Teton. Although the present memoir concerns chiefly the Teton group, the tribal name will be used in its commonly accepted form, Dakota. The words of the songs recorded by Teton are, however, given in the Teton dialect, while the Santee forms are used in the songs recorded by Santee. The earliest definite reference to this people in history is found in the Jesuit Relations for 1640, in which they are called ‘ Nadvesiv” (Nadowessioux). In the next century Col. George Croghan com- piled ‘A List of the Different Nations and Tribes of Indians in the Northern District of North America, with the Number of Their Fighting Men.” In this list the name appears as La Sui, and in a footnote the author says: ‘‘These are a nation of Indians settled southwest of Lake Superior (called by the French La Sue), who, by the best account that I could ever get from the French and Indians, 1JIn Grammar and Dictionary of the Dakota Language, op. cit., p. Xv. 2See Dorsey, James Owen, Siouan Sociology, in Fifteenth Rep. Bur. Ethn.,- pp. 215-222; articles Dakota and Siour, in Handbook of American Indians; and Mooney, James, Siouan Tribes of the East Bull. 22, Bur. Amer. Ethn. 3 Op. cit., p. xvi. 4Tbid., pp. xvi, xvii. DENSMORE] TETON SIOUX MUSIC 3 are computed ten thousand fighting men.” ' In 1804 this entry was made in the Journal of the Lewis and Clark Expedition: ‘‘At 6 o€ in the evening we Seen 4 Indians .. . and three of them . . . belonged to the Souix nation.’ 2 But as white men came into closer contact with this tribe they began to use the word used by the Indians themselves. Thus in the ‘Scientific Data accompanying the orig- inal journals of the Lewis and Clark Expedition,’’ under the heading “Ethnology,” we find mention of the ‘‘Sieux or Dar-co-tars,”’ with an extensive description of the tribe, including a table of its sub- divisions, which is probably the one sent by Clark to the Secretary of War.’ Gradually the native name came into more general use, with various modes of spelling, and in 1823 Major Long noted the ‘‘man- ners and customs of the Dacota Indians.’’* However, the word “Sioux” received the sanction of official usage in 1825, the statement being made in a Government document of that year that “Returns have been received from Gen. Clark and Goy. Cass, the commis- sioners appointed to mediate, at Prairie Du Chien, between the Sioux, Sac, Fox, lowa, Chippewa, Menomonei, and Winnebago Tribes and to establish boundaries between them.” * On April 29, 1868, a treaty was made by the Government with the Sioux and Arapaho Indians, which opens with the words: ‘From this day forward all war between the parties to this agreement shall forever cease. The Government of the United States desires peace, and its honor is hereby pledged to keep it. The Indians desire peace, and they now pledge their honor to maintain it.’’® The Sioux Reser- - vation established at that time comprised about 20,000,000 acres of land, extending from the northern boundary of Nebraska to the forty-sixth degree of north latitude, and from the eastern bank of the Missouri River to the one hundred and fourth meridian of longitude.’ This was known as ‘‘the Great Sioux Reservation.” By the terms of this treaty the Government placed agency buildings and schools on the reservation, and provided that, under certain conditions, a patent for 160 acres of land could be issued to an Indian, who would thereby become a citizen of the United States. The affairs of the Indians were administered at seven agencies on this reservation, but the Indians continued in large measure their old manner of life. 1 Journal of Col. George Croghan, pp. 37-38; reprinted from Featherstonhaugh, in Amer. Mo. Journ. Geol., Dec., 1831. 2 2 Original Journals of the Lewis and Clark Expedition, 1804-1806, Reuben Gold Thwaites ed., vu, p. 61, New York, 1905. 3 Ibid., v1, pp. 93-100. 4 Keating, William H., Narrative of an Expedition to the Source of St. Peters River, under the Com- mand of Maj. Stephen H. Long, 1, p. 245, Philadelphia, 1824. 5 McKenney, Thomas L., in documents accompanying the President’s Message to Congress, Nineteenth Congress, First Session, No. 1, p. 90, 1825. 6 Indian Laws and Treaties, compiled by Charles J. Kappler, vol. 2, pp. 770-75, Washington, D. C., 1903. 7 The writer gratefully acknowledges the assistance of Maj. James McLaughlin, United States Indian Inspector, in preparing the following data concerning the Standing Rock Reservation. Major McLaughlin was Indian agent on this reservation from 1881 to 1895, 4 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 A part of the present Standing Rock Reservation (see pl. 2) was included in this territory, and an additional tract extending north to the Cannon Ball River was added by an Executive order dated March 16, 1875.1. An agency near.the present site of the Standing Rock Agency (Fort Yates, N. Dak.) was established July 4, 1873, and soon afterward a military post was established at that point.2. Two com- panies of Infantry were stationed there, and this force was increased to five companies of Infantry and two troops of Cavalry during the Indian troubles of 1876. The original name “Standing Rock Canton- ment” was changed to Fort Yates, and the post was continued until 1904. The distinctively tribal life of the Teton Sioux may be said to have closed when the last Sun dance was held in 1881 and the last ereat buffalo hunt in 1882. A final hunt was held in November, 1883, and at that time the last buffalo were killed. Then followed a period of difficult adjustment on the part of the Indians, but Gall, Crow King, and others, who had been leaders in the tribal life, became also the leaders of their people in the adoption of farming and other pur- suits recommended by the Government. The great change, however, did not come to the Indians until 1889, when the Great Sioux Reser- vation passed into history. In its place were established five reser- vations. The boundaries of these reservations were determined by a commission of three, of which ex-Goy. Charles Foster, of Ohio, | was chairman, his associates being Maj. George Crook, and Maj. William Warner. This commission went from one agency to another, holding councils with the Indians, who ceded about 9,000,000 acres of land to the Government at that time. a 1 er Octave complete except seventh, fifth, and second’... = 52: 2o9e 5-52 sst eee eee 1s | eiepecas AekS| om bicostne acehee 1 |. -tocegeee Octaye complete except seventh and 10) bbe aS be eee See EASE OE a 2 1 3 3 5 2 Octave complete except seventh and third. 1 SSR AAS 2] Aaa o ann as eee eae 1 See Octave complete except seventh and sec- (O78 Ve | Re A ea See TUNE Bae 7 5 2 2 9 4 Octave complete except sixth............. 9 7 3 3 12 Octave complete except sixth and fourth. Deal asstevcceye eee 1 1 2 1 1 These songs are minor in tonality, the mediant being a minor third above the tonic and the submediant a minor sixth above the tonic. In the fourth five-toned seale the seventh and fourth tones of the octave - are likewise omitted, but the third and sixth intervals are major and the songs are major in tonality (see analysis of song No. 85, Bulletin 53). DENSMORB ] MELODIC TETON SIOUX MUSIC ANALYSIS—continued TABLE 6.—TONE MATERIAL—continued Group IT. Comparatively modern songs. Group T. Old songs. Number. Per cent. | Number. | Per cent. Octave complete except sixth and second . 3 2 1 1 Octave complete except sixth, fifth, and COT ae cece hil nan a meee nie se cise: ate crete 118 bee eal ee [FS ee Octave complete except sixth and third... Uy [Pxcetshoed | beoceee aslo aaseoscee Octave complete except fifth and second. . LF | ocr sacs lose ciemeee [bem eaci oc Octave complete except fourth. .........-- 7 5 3 3 Octave complete except fourth and second. 2 1 1 1 | Octave complete except third and second.|..........]...------- 1 1 Octave complete except second..........-.. 8 6 3 3 PUITONO ITO ANG MOUTUMY say-5 o-- eee ce co a- alan > = aeeesl ese sees 1 1 Hirst: fourth, and fifth tones... .-----.-.-- 1G | eee cece eta te ce ne lt Awe crete os Other combinations of tones.........-..--- 2 116) eases at | eee ee ST GH S Sep are se alse oo mies Seat 1 YG eae G8 scam esas Songs containing— ‘Seventh and fourth lowered a semi- TABLE 7.—ACCIDENTALS IN OFACCIGBIGALS sc fares earcieicrses cece eo Sixth raised a Semitone..222- 2-225. .--- Sixth and third raised a semitone... -- Fourth raised a semitone...........--- Second raised a semitone............-- Fourth and seventh raised a semitone. Seventh lowered a semitone........... Third and second lowered, and fourth raised!aisamitone. 2. . 225.2 .6.c5c0...5 Group II. Comparatively modern songs. Group I. Old songs. eet 15 Total. Number. | Per cent. ZAO' | eee Se Total. Number. | Per cent. | Number. | Per cent. Number. | Per cent. 123 84 73 78 196 82 4 3 6 6 10 4 euler 8 eo a 3 3 3 1 eee ica Ae 1 1 he even Serer 4 3 2 2 6 2 2 1 1 1 3 1 de |PReRE MOMs te nN cre nowt tl ieee. 1 ae 2 2 3 1 Lg (ek eles ee gro ere rep Dal he Ste chee 4 3 1 1 5 2 2 1 1 1 3 1 2 1 1 1 3 1 ig Sone 1 1 2 1 Rinse steel esete wre eee 1 1 1S ee 2 fl | cae Meee ee 2 | 1 75.) eee 9g: [421 ee rs ee 16 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 MELODIC ANALYSIS—continued TABLE 8.—STRUCTURE Group IT. Group I. Gon F paratively Total. Old songs. modern songs. Number. | Per cent.} Number. | Per cent.| Number. | Per cent. MelOdIC- oe A652 een eee ne eee 99 67 59 63 158 66 Melodie with harmonic framework 2_.__... 28 19 19 21 47 20 Harmonics ta. scteecan ee aaa ee eee 18 12 15 16 33 14 Trrepilan=s8 82, Saeco 2 ee ee 2 DS meee at ys 2 oe Se 2 1 Totals bic) eee e eee tebees se ese 106) ES eee OSes e = Saree 240). sesame 1 Songs are thus classified if contiguous accented tones do not bear a simple chord-relation to each other. 2 Songs are thus classified if only a portion of the contiguous accented tones bear a simple chord-relation to each other. 3 Songs are thus classified if contiguous accented tones bear a simple chord-relation to each other. TABLE 9.—FIRST PROGRESSION—DOWNWARD AND UPWARD Group II. Comparatively modern songs. Group I. Old songs. Total. “Number. | Per cent.) Number.| Per cent. | Number. | Per cent. 106 72 59 63 165 69 41 28 34 37 75 31 Uber | eee ee ESD ee ep nts 240)):.. 228 TABLE 10.—TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD Number. Per cent.) Number. | Per cent.| Total. | Per cent. = | ars Downward foe Fone eeee Ce ee Sere cee 2,821 63 1,830 64 4,651 63 Ward ech 8.05 Ie TR ee Ste Coes ey eineo4 37 1,050 36 2, 674 37 Total coo oo eee ae eeerane OSE) le eoegeca yA a1e())| soccer or (RS) Tt| eames TABLE 11.—INTERVALS IN DOWNWARD PROGRESSION Number.| Percent. | Number.| Percent.| Total. | Percent. Interval of a— iIMajorSimth ><. 2. hse soe oe eee IG thesia, *| Sakti acess a ee ! |e MIN OVSEX G's ccs. 0 eco eae Nee ene a) Mescoaee 1h ee eg (ii ee Ss see Puitheecn os cos aet oe cee oo ota Be Bie Nese tape CS Geeta 26 1 OUT HNO ce ene cs hues =< ee eee 300 10 225 12 525 11 Mia GIANG aie cia = aeceternzseete oer iee ee ae 238 7 105 5 343 7 MixtOMihrd.<, sche cae o scene eee ee 831 29 565 30 1,396 30 Augmented second..........-:.... eeast Dit ke shen Bete i eeseyoe cio Sede ae Matlorsecond: <\).28+ see as Seer 1, 254 45 831 45 2, 085 45 iMnnorseconds=:2.2=s.2-25~- esos eeae ee 172 7 92 5 264 AGNI LBs re SOE ees eee eet Se 2; 8211) Sa O ME aece. ae 46015 cece eases DENSMORE] TETON SIOUX MUSIC MELODIC ANALYSIS—continued TABLE 12.—INTERVALS IN UPWARD PROGRESSION 17 Group I. Group IT. Total. Number.) Per cent. | Number. | Per cent. | Number.) Percent. Interval of a— BUEN GH ec Sk seas eestor mes ss ees ees a Sd Ree te er Be, Fras dit Seoshasee PPT ose acacia tas nctsecauspeeem en aee< ee eee ae DR same oe Guleeemecee ss NUE Som Scie ay aks See a aeetee ck oe he) Pe aaeocae Silane Beene Bi Ee wcreteacote MODUS o ast oe See oh ae eae cists 2 32 2 31 3 63 2 Beventh 24c8 noe ee beso atere ce 1 7 eee 1 Be Fees artes pi eget se es IMAIONGIXtHe so aes seae ate soe cents Orlncae n'est (de ee eee 16 1 i bial) oft b.qil ae Oke sees te 6 ee 23 1 Wi loneekic mee 30 1 TT Le Se Bs ee Aa eae ae ee oe 96 6 55 3) 151 6 TOG Tea nae Oye I a eer pee 238 14 184 18 422 16 IME OM HELIN era see fata acta re cic eye cntee © 174 11 97 10 271 10 1 cto) cierl ot yo lia Se eee 433 26 277 Pf 710 27 MATION SeCONG ee ee soe ne scope ccs sce 495 32 323 30 818 31 Mfinonseconde: 20 ees oe sco tees = 104 6 63 6 167 6 AUDIO A 8 eo oe anaes cle a7: Sy [eee eed 105082 5225... 26 faa sachs cetens TABLE 13.—AVERAGE NUMBER OF SEMITONES IN AN INTERVAL - : Average - Number of | Number of | Number of | #U™ber o songs. | intervals. | semitones. | S¢™itones inan ‘, interval. Clit 71. oe a ee Ge | 147 4,445 12, 864 2.89 Ciro Ute +=, LE Bo ae ce See ee ee 93 2,880 8,558 2.97 TABLE 14.—KEY Group I. Group IT. Total. Number. | Per cent. | Number. | Per cent, | Number. | Per cent. ae Z | 2 ser Key 1— | ania aN hs ei ne 10 | 7 2 | 1 12 5 PACIHINOR a see sce o)< Po ~k ei SEES PS: 8 6 7 | th 15 6 TB AEE ATER) [oir

3 2 2 1 5 2 DIM Ghenetetea ra cos cote le ecse 5 3 6 6 elu 5 ID MINOF eee eee te dacs. eos ae es 10 7 | 5 5 15 6 JHE (6) Ge 3 2 5 5 8 3 ID Epa ila) on ee ee a i 5 5h 3 3 8 3 iirriaj Onan te hate ce So Soy. | 11 Ree ae ore 6 6 fi 3 1 The term “key”’ is here used in its broad sense, as applicable to nonharmonic music, inclusive of modes. 18 BUREAU OF AMERICAN ETHNOLOGY MELODIC ANALYSIS—continued TABLE 14.—K EY—continued Group I. Old songs. [BULL. 61 — Group IT. Comparatively madern songs. Total. : Number. | Per cent. | Number.) Per cent. | Number. Per cent. Key—continued EUSIT VENI OT Ses ore tye ee ee Stet eae 3 2 5 5 8 3 (EMI A] OFS )2.2)= see soc. ree eee 7 5 1 1 8 3 RNIN OLe nce ae oe te esere sae cate eeaee 9 6 By ee 5 14 6 G@ flat major..--2...-.! Ae ee Se ae 2 2 1 1 3 1 Mi SHAarpymna|Opscteec es soe. scaeete te De eee ceases Geet aeecea|acoe seacee i (Peepers er A [Sharp aminOn cess sees seen ae one ee 9 6 1 1 10 4 Gamal oneiess } Number. | Per cent. Songs containing a major third below theifinal tone... 24|Peac. cee oe | Seen eee s| 2c. see 4 2 4 1 Songs containing a minor third below the final tone....__. 3 iL g 10 iD 10 2 13212901) Ce eee ores Mee NS eg, 2 | ee a Pa 2 1 7B aap ea he Motels ss. eNee By (0) le. soe ae 20 | ee 250s \eeeeeo es 600.)|.- essere TABLE 5A.—NUMBER OF TONES COMPRISING COMPASS OF SONG Sioux songs re- Chippewa songs. corded by Chip- Sioux songs. Total. pewa. : ‘ Number. | Per cent. | Number. | Per cent. | Number. | Per cent. | Number. | Per cent. Compass of— SOVeNnLeOn Ones eNee metre |beprme = wie Lk WEE Ae 3 1 BP este te Fourteen tones... . 9 Dis Mee se eee Meee ot eee 5 2 14 2 Thirteen tones. . . 29 OM eRe ge ect Sig hr erick 17 7 46 8 Twelve tones..... 103 30 3 15 41 17 147 25 Eleven tones..... 31 9 5 25 9 4 45 8 Ten tones. .-2..0 38 11 4 20 39 16 81 14 Nine tones....... 18 6 5 25 28 12 51 9 Eight tones. ..... 71 21 2 10 83 35 156 25 Seven tones...... 16 Did eer e ep [Sse ee eee 4 20- 3 Siz fones=. ssc: 10 3 1 5 8 3 19 2 Five tones. ...... 13 7 Mal a een 2 eee, ot A tp eae ee OE 14 2 Four tones....... 7A Neral co HS SOE | SERS ees } 1 AE Sees Total acse ic kue S405 bee aoe ee 200 Ree DAO) Sek tee G00: te aaeeeeee TABLE 64.—TONE MATERIAL Sioux songs re- Chippewa songs. corded by Chip- Sioux songs. Total. pewa. | Number. | Per cent. | Number. | Per cent. | Number. | Per cent. | Number. | Per cent. First five-toned scale. sects lane| eee eteienarel| @ stems =o ees Ute satea cet PAW Bcc secs cle Second five-toned SCHIGL ko tee eetee 40 12 3 15 31 13 74 12 Fourth five-toned Scale...:... Boseratera 88 26 6 30 43 18 137 23 Fifth five-toned Sales ctcicson seek PER rr one and baste] Gebpsaerealt sccacocas Cee eerene DEE gee Majomtriadi.. ceuscns 4 De aes cen wdaldierwenaw ac Oy Seisieatecsie's 5 1 Eee DENS MORP] TETON SIOUX MUSIC 29 MELODIC ANALYsIsS—continued | TABLE 6A.—TONE MATERIAL—continued Sioux songs re- s Chippewa songs. corded by Chip- Sioux songs. Total. pewa. Number. | Per cent. | Number. | Per cent. | Number. | Per cent. | Number. | Per cent. Clal fs ope FS eee ese te 1) eS | SSeS Pee) ree tI eee nee a PJ Sas ee Major triad and sixth. 42 1h rs oa eee 4 2 46 8 Major triad and fourths ee ee OY ER ca ar aS See) i a ec el be Se (ere SE Ae 72 Ee eee Major triad and sec- Ol Giseeer sok sees. 3 1 an ee eee ese See ee 3 11 2 Minor dried. 2s. =<. =: DG Acree = Sool a ater tae eas sae 1 Bl Svsstten cee Minor triad and sev- Gli 2 aa ee 3 de | Soeasocmelatene sees 1 Seer 4 1 Minor triad and sixth. 6 2B eceeae 5 xe eraes | sttce dl Sac a |Aee he oe 6 1 Minor triad and fourthso—~ =. 2... £ 18 6 1 5 30 12 49 8 Minor triad and sec- ile eye ht Seen eee | teeter ssaccee ss.c 1 aero BOR PA ate oe Octave complete. .... 19 6 2 10 14 6 35 6 Octave complete ex- cept seventh... ...-. 32 9 2 10 20 8 54 9 Octave complete ex- cept seventh and Sica ee Gosne S-h 6 Dad | aca rede (Spe a 16 7 22 4 Octave complete ex- cept seventh, sixth, AUEMMOMPEL BMS Oe Nes cote xe | Senos inc c| ome se te. | Per cent.| Number. | Per cent.| Number. | Per cent. Metronome—contd. DPS ob stain acta aes 13 (7M ee eM e eal [nai cen aa ana 4 3 17 5 HBRMAL i dob a bee 4 al IRS oe BP a 4 3 8 2 aL” Yigg Sea Da Pome caters’ 3.8 dil Slara\e ee Sees ee Stee ear 3 2 5 i} 1 Pl ee eyed EN ake ral fo cicllo cice sceteael testes elas oe 2 2 4 1 Oe en sae eREN eet. 3. |\S esate esas sacar es. 3 2 4 1 BR Es sapere eae Sol SET eT tha re cl ttens obese elem tachi 5 4 5 1 117 (1 es See AGEN tree octal Pa ceeciycests |preie® o8 cepa | matcietaeas isis |e eteie = isla iI ASA sae Ae Drum not recorded!.. HULA eer reverts, oof sho eee eat elle pare ore ae TNS al eerie DS) heer “LT Te le ae el 31: (0) | eee: } 7 AV sae } AO eae. Saco | G00) aes cee nee TABLE 22A.—COMPARISON OF METRIC UNIT OF VOICE AND DRUM (TEMPO) Sioux songs re- Chippewa songs. corded by Chip- Sioux songs. Total. ; pewa. | | Number. | Per cent.| Number. | Per cent.| Number. | Per cent.| Number. | Per cent. Drum and voice hay- ing thesame metric (Est (7 soe eee ae 80 36 | 7 35 76 62 163 44 Drum faster than VOICE Ree eae seas 103 46 11 55 24 20 138 38 Drum slower than | MENGE s ot oe 5s 41 18 2 10 22 18 65 18 Drum not recorded '.. SUA Bes eer fue | Se etn ae a eee ce 2 18 eee PAYG 8 Paes Potale Se. ss BeOUle 2 eee 20i basses eS Vales ee secc COOL s2S5245-28- 1 Excluded in computing percentage. ANALYSIS OF SIOUX AND CHIPPEWA SONGS The purpose of this chapter is to present in descriptive and diagram- matic form! the more important data contained in the tabulated analyses immediately preceding. Table 1A.—In this table the songs are grouped according to tonality, which is defined as ‘‘the quality or peculiarity of a tonal system.’ (See p. 12, footnote.) The first step in analyzing a song is the deter- mination of the keynote or tonic by observing the tones which occur in the song and their general progressions. The next step in the analysis is the determination of the tonality. In ascertaining this, if the song contains several tones, we observe especially the pitch of the third and sixth above the keynote, as these tones are a semitone lower in minor than in major tonality. The sixth is absent from 138 of the songs under analysis, while the third is absent from only 17 songs; the third is therefore the principal factor in judging the tonality of a song. If the third is four semitones (a major third) above the key- note, the song is said to be major in tonality, and if three semitones (a minor third) above the keynote, minor in tonality. Classifying the songs according to this basis, we find 50 per cent major in tonality and 49 per cent minor, | per cent being irregular inform. (Fig. 1.) We usually associate a minor key with the idea of sadness, but this association of ideas does not appear to be present to the same degree in the mind of the Indians. It seems more probable that a preference for the major tonality shown in many groups of songs may be due to the fact that the major third is one of the more prominent overtones of afundamental tone (see p. 41). Helmholtz states that the ‘‘minor triad is very decidedly less harmonious than the major triad, in con- sequence of the combinational tones, which must consequently be . taken into consideration”’;? also that ‘‘minor chords do not represent 1 The wricer gratefully acknowledges her indebtedness to Dr. AleS Hrdli¢ka, curator of physical anthro- pology, United States National Museum, for suggestions concerning the graphic methods used in the accompanying diagrams. 2 Helmholtz, The Sensations of Tone (translated by A. J. Ellis), pt. 2, p. 214, London, 1885. 40 DENSMORE] TETON SIOUX MUSIC 41 the compound tone of their root as well as the major chords; their third, indeed, does not form any part of this compound tone.”! In this connection it is observed that the tonality of a song does not determine its general character as much in Indian music as in that of the white race. The melodic feeling in many Chippewa and Sioux songs seems to be for the interval between successive tones, while the melodies of the white race are based upon ‘‘keys,’”’ which are groups of tones having a systematic and definite relation to a key- note. Subsequent analyses will show that the prevailing interval of progression in a song may be minor, though the interval between the keynote and its third is major, thus giving a predominance of minor intervals in a song of major tonality.” Table 2A.—Before considering this phase of analysis let us recall certain fundamental principles of the musical system developed by the white race. In that system the tonic chord, or triad on the key- note, may be said to be the framework of the group of tones called a key. This chord is based on the laws of acoustics and comprises, if the chord be major, the first four overtones of the keynote or fun- damental tone. It is understood, of course, that the tone produced by a stretched string or other body capable of strong sympathetic vibration is a compound, not a simple sound. In addition to the tone produced by the vibrations of the entire body there are higher tones which are less distinct, but which can be perceived. These are called overtones, or upper partial tones. Helmholtz says: We must . . . not hold it to be an illusion of the ear, or to be mere imagination, when in the musical tone of a single note emanating from a musical instrument, we distinguish many partial tones... If we admitted this, we should have also to look upon the colours of the spectrum which are separated from white light, as a mere illusion of the eye. The real outward existence of partial tones in nature can be established at any moment by a sympathetically vibrating membrane which casts up the sand strewn upon it.? The series of these upper partial tones is precisely the same for all compound mu- sical tones which correspond to a uniformly periodical motion of the air. It is as follows: The first upper partial tone . . . isthe upper Octave of the prime tone, and makes double the number of vibrations in the same time. The second upper partial tone . . . is the Fifth of this Octave . . . making three times as many vibrations in the same time as the prime. The third partial . . . is the second higher Octave - . . making four times as many vibrations as the prime in the same time. The fourth upper partial tone is the major Third of this second higher Octave . . . with five times as many vibrations as the prime in the same time. . And thus they go on, becoming continually fainter, to tones making 7, 8, 9, &c., times as many vibrations in the same time, as the prime tone.‘ 1 Helmholtz, The Sensations of Tone (translated by A. J. Ellis), pt. 3, p. 300, London, 1885. 2 See analyses of songs Nos. 175, 177, 187. 3 Helmholtz, op. cit., pt. 1, p. 48. 4Ibid., p. 22. 42 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 In musical notation, with C, second space bass clef, as a funda- mental, this part of the series is as follows (fig. 2). It is noted that the first overtone is an octave above the funda- mental and the second is 12 tones (fifth in the first higher octave) above the fundamental, while the fourth overtone (third in the second higher octave) supplies the major third, completing the tones of the triad or common chord of C, the fundamental tone. Fundamental Ist 21 3d 4th overtones C c g e! e’ I'i@. 2. Fundamental and first four overtones. We will now turn to the Indian songs under analysis. Figure 3 indicates the intervals on which the songs begin, omitting groups of less than 1 per cent, shown in Table 2A. Twenty-one per cent begin on the octave (first or third overtone), and 23 per cent, having a com- pass of 12 tones above the keynote, on the twelfth (second overtone), Thus, if the keynote were C, as in figure 2, the octave is c, and the twelfth g. But before pr oceeding further let us note the range of the human voice, also the fact that the ear seems to accept tones an Percentages Degrees of scale— AL WOlNDIs dear sere Eleventh Bitth: ios sees I OUn Gis eeceueee TUG en caterers SeoonG. eco. Fig. 3. First note of song—its relation to keynote. octave apart as being the same tone.' Not all voices have a range of 12 tones, and a large majority of the songs under analysis have au compass smaller than that number of tones. With the songs beginning on the twelfth should be included, therefore, those on the fifth, which (supposing the keynote to be C) would be G, an octave lower than the tone pe oe as g. Twenty-four per cent begin on the fifth above the keynote, making a total of 47 per cent begin- ning on this interval of the scale. Few voices have a range of two octaves, but two of these songs (Nos. 195, 202) begin on the second 1“Tt is very easy to make a mistake of an octave.’’—HELMHOLTZ, op. cit., p. 62. DENSMORE] TETON SIOUX MUSIC 48 octave above the keynote (third overtone). We find that, next to the percentages already cited, the largest proportion is that of songs beginning on the third and tenth above the keynote. With C as a keynote these tones are I and e, readily seen to be the fourth overtone, sung in the two lower octaves, which are within the com- pass of the voice. Thirteen per cent of the songs begin on these tones and 5 per cent begin on the keynote, these melodies lying partly above and partly below the keynote. Thus 86 per cent of the songs under analysis begin on the keynote and its first four overtones. These, as already indicated, comprise the tones of a common chord. Table 3A.—The results of this analysis serve to emphasize the pre- ceding paragraph. It is here shown that all except two of the songs Percentages 10 20 30 40 50 60 70 BT os ot RIG see Keynote__ Fia. 4. Last note of song—its relation to keynote. under analysis end on the keynote, its third or fifth. Twenty-six per cent end on the fifth (corresponding to the second overtone), 12 per cent on the third (corresponding to the fourth overtone), and 61 per cent on the keynote. (See fig. 4.) Two songs are so irregular jn form that no tone is designated as a keynote. Table 4A.—This table shows that the structure of 90 per cent of the songs is above the final tone. The preceding table indicated the final tone to be the keynote in 61 per cent of the songs. These tables Percentages 10 20 30 40 50 60 70 80 90 169 LA Songs in which final tone is lowest tone Songs in which final tone is not lowest | tone Via. 5. Last note of song—its relation to compass of song. supplement Table 2A in showing the melodic structure of these songs. This structure appears to rest on a fundamental tone, usually the keynote. The trend is downward and this frequently is not heard until the closing measures. [Bun 61 division of the count occurs in 15 per cent of the songs recorded at Waba/cifig. The same phrase is found in 10 per cent of the Sioux songs of the Drum-presentation Ceremony ... 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. From these data it appears that an accented sixteenth note, fol- lowed either by an eighth or a dotted eighth note, may be regarded as a rhythmic characteristic of the Sioux songs under analysis. No rhythmic peculiarity of equal importance was noted among the songs of the Chippewa. It therefore appears that the rhythmic sense is more strongly developed among the Sioux than among the Chippewa. Briefly summarizing the comparison between the Chippewa and Sioux songs as sung by the people of each tribe, it may be said that the tabulated analyses show differences between the music of the two tribes, but not such as can safely be traced to definite causes. The resemblances may be due to the fact that the two tribes have been in contact for many generations and the music of the one undoubt- edly has been influenced to some extent by that of the other. It is possible that the resemblances and differences between the two may be seen to have more significance as the study of Indian music is extended to include a comparison between the songs of other and more widely separated tribes. Test oF PitcH DIscRIMINATION AMONG CHIPPEWA AND SIOUX In order to obtain data on the pitch discrimination of Indians certain tests were made by the writer during the summer of 1915. ! These were made among the Mandan, Hidatsa, Chippewa, and Sioux Indians, but only the results obtained among the latter two tribes will be presented. In each of these tribes 10 persons were submitted to the test, including men and women who are known as being good singers, and also a few “old timers’? who are not musicians. The limited number of persons tested, as well as the very unfavorable conditions under which the tests were made, renders the results far from conclusive, but they have a bearing on the subject of Indian music, and also suggest interesting points for further investigation. The tests were made by means of a set of tuning forks comprising a fork giving the tone a’ (435 vibrations, international pitch), this being the fundamental tone of the series, and 10 other forks pro- ducing tones respectively 4, 1, 2, 3, 5, 8, 12, 17, 23, and 30 vibrations ore the fundamental. 1The writer gratefully acknowledges her indebtedness to Prof. C. E. Seashore, dean of the Graduate College, University of lowa, for his courtesy in lending the tuning forks with which the tests were made, also for valuable suggestions regarding the formulation of the results. The method used in the tests was essentially that described by Prof, Seashore in his monograph, ‘‘The Measurement of Pitch Discrimina- tion; A Preliminary Report,’’ in Psychological Monographs, vol, 18, No, 1, Review Publishing Co,, Lan- caster, Pa,,and Baltimore, Md,, 1910, - . «ee DENSMORE] TETON SIOUX’ MUSIC 517 As a preliminary to the recorded test the person was asked to listen to various intervals, interspersed with unisons, two forks being sounded in rapid succession and the person stating whether they sounded alike or different. Many could recognize the unison whenever it occurred (the same fork being sounded twice), while others could hear no difference between tones which were three or even five vibrations apart. After the subject had thus become somewhat accustomed to the sound of the forks, the regular test was given and repeated 20 times, each reply being noted, together with the interval used in the test. As in the preliminary tests, two forks were sounded in rapid succession, and in this the subject was asked which tone was the higher, the first or the second. The fundamental fork was not always used in this test, the forks being sounded in irregular order, making the test the more difficult. The intervals used in the test and the correctness of the replies formed a basis for judging the pitch discrimination of the individual. Thus a man who failed on a majority of tests comprising intervals of fewer than three vibrations and answered correctly on a majority of tests comprising intervals of three or more vibrations may be considered as having three vibrations as the limit of his pitch dis- crimination. The direct result of these tests can be shown quantita- tively, but in addition to this result there are observations of equal importance which depend to a large extent on personal knowledge of the individuals being tested. For instance, men whom the writer knows from an acquaintance of several years to be men of great firmness and independence of character showed special power of concentration and recognized small intervals (1, 2, or 3 vibrations) in the early part of the test, while men of less strong individuality did not make their best record until the test was almost completed. A particularly clear example of this occurred among the Chippewa. A man and two of his sons were tested, all being prominent singers on the White Earth Reservation. The father and one of the sons (known respectively as Big Bear and George Big Bear) recorded songs for the writer during her musical study among the Chippewa. The older man retains much of the native character, while his sons are somewhat divided in their sympathies, having much in common with the older Indians but having progressed so far in the white man’s way that when these tests were made they were employed as carpenters by the Government. A record of the tests of these three men indi- cates the pitch discrimination of the older man as about three vibra- tions, and that of his two sons as about five vibrations. The pitch discrimination of the older Chippewa and Sioux Indians was, generally speaking, about 3 vibrations. As the interval between a’ and b’ is 54 vibrations, the interval of 5 vibrations is approxi- 58 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61. mately one-eleventh of a tone, and the interval of 3 vibrations is approximately one-eighteenth of a tone. The following tables give the record of the tests made on 10 persons in each tribe: CHIPPEWA | Number of times this Number of vibrations in interval. itera eee Per cent. ree Per cent. in test. a PAM O) Stop alaa ea alas ea tele eiaie te raletretete hie tate bh ots 62 32 51 30 49 BitOWO4 sain = '«Gadaes son foes sation eae» See 96 67 70 29 30 EGO s oad oe aarore Ge oe eres eis oe ee Ene ro eae e 42 34 81 8 19 Motal A A535. cad betas 6 AIO ale Sees aes she 200 133 66. 5 67 3a: 5 SIOUX | 2 MUO accra osbaL AS bedegbociroadboeoaniode sae ac | 57 Yak 60 23 40 HO TO Ss. oot od. eee eee eh nee a aeeaeeeree | 79 67 85 12 15 PT FO SO S523. he 252 So ASS ae ee oe 64 52 81 12 19 Notals sos oct st suisse ee cae ase cece 200 153 76.5 47 23.5 It may be seen that there is no significant difference in the average ability of these two groups as shown in the small number of records here given. After comparing these records with those of American whites under various conditions, Professor Seashore is of the opinion that the abilities here shown are about as good as one would find among the average American whites under similar circumstances. Music as A CuLtTivaTeED Art AMonG CHIPPEWA AND Sr1oux ! From the structural data given in the foregoing tables and from the descriptions of the singers and their manner of singing contained in the following pages, it seems permissible to make some observa- tions concerning music as a cultivated art among the Chippewa and the Sioux. In this, as in the melodic and rhythmic analyses, we may bear in mind certain fundamental principles of music as an art among white races. The musical standards of civilized peoples have been gradually developed and are concerned with composition and manner of rendition. The music of Chippewa and Sioux will be considered with reference to both these standards. In the phonographic recording of about 1,000 Indian songs and in contact with a large number of Indian singers the writer has found 1 This chapter was read by a delegation of Sioux who were in Washington on tribal business. The dele- gation was composed of five men, one each from the Standing Rock, Pine Ridge, Rosebud, Crow Creek, and Lower Brule Agencies. They pronounced the standards of Indian musical criticism to be correctly set forth, adding only that in order to be a good musician among the Indians a man must be able to learn a melody quickly, and that a good musiciai. could sing a melody correctly after hearing it two or three times. DENSMORE] TETON SIOUX MUSIC 59 unmistakable evidence of musical criticism. Certain men are gen- erally acknowledged to be ‘‘good singers” and certain songs are said to be ‘‘good songs.”’ This implies that the songs and the singers satisfy some standard of evaluation. The Indian may not be able to formulate this standard, but its existence is evidence of an esthetic impulse. We may note at this.time a few observations on this subject, © opening it for further investigation. First, in the matter of composi- tion it is observed that the oldest songs, which are considered the best songs, were ‘‘composed in dreams.’”’ This means that they came in a supposedly supernatural manner to the mind of a man who was hoping for such experiences and who had established the mental and physical conditions under which they were believed to occur. In this we have the native concept of what we call ‘‘inspiration.”’ The Indian isolated himself by going away from the camp, while the white musician or poet locks his door, but both realize the necessity of freedom from dis- traction. A majority of the songs said to have been thus received by the Indians have a rhythmic and melodic unity which is not | always present in songs said to have been ‘‘made up.” Thus the writer once heard a song which was said to have been recently com- posed, and on inquiry learned that several men had ‘‘composed it together.’ This was evidenced by a lack of unity in the melody, which contained too many peculiarities. The form of the melody suggested the possibility that each man had incorporated in it a favorite interval, or some other musical fancy of his own. The result was a composite rather than a unit. The comparative analyses in Bulletin 53 (pp. 51-58) suggest a relation between mental concept and the form of its musical expres- sion. ‘The significant prominence of the ascending and descending interval of a fourth in songs concerning motion was noted in Bul- letin 53 (pp. 99-101) and is found also in songs of the present series. A comparison of the structure of the old songs with that of songs said to be somewhat modern shows that the more recent songs con- tain a smaller compass, larger number of progressions and a more regular rhythm. The latter tendency was shown by the following incident: In recording a Chippewa song from an old Indian the writer found the rhythm peculiar, ‘with frequent changes of measure lengths; later the same song was recorded by a young man, said to be an excellent singer. On comparing the phonographic records it was found that the younger singer had slightly changed the rhythm so as to avoid the irregularity in the measure lengths. The song had lost its native character and also its musical interest. The various occasions of music which exist among civilized races are found also among the Indians. It is a custom that songs con- nected with ceremonial acts shall be sung only by those who have 60 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 received them in dreams, or who have inherited or purchased the right to sing them. Such songs form one class of Indian music. To another class belong songs of games and dances, songs of war and of the hunt, as well as songs which celebrate the deeds of a chief or successful warrior. The words of all these songs, while often showing high degree of poetic feeling, appear to be less subjective ‘ in character than the words of similar English songs. It is difficult to state what Indian songs correspond to the folk songs of the white race, but in such a group should probably be included the songs connected with folk tales. These are many in number and usually are represented as being sung by animals. An example of this is the story and song of the crawfish (Bulletin 53, p. 305). Songs of this class are found to vary more than any others in their rendition by different people; perhaps because they were more generally known and sung than others, with less criticism as to correctness of rendition, Among musicians of civilized races the standards of excellence in a singer include (1) intonation, (2) quality of tone, (3) range of voice, (4) memory, and (5) interpretation (intellectual and emotional). (1) Intonation.—Observing Indian singers according to these standards, the writer has noticed that ‘‘good singers” keep the pitch of their tones approximately that of the tones of the diatonic scale, and that in songs recorded by such men and women the pitch of “accidentals” is practically the same in every rendition of the song. This is not the case in songs phonographically recorded by men whose musical standing among their own people is not so high. An instance of this is as follows: On the transcription of a song recorded by an old man it was found that the melody showed no feeling for a keynote. Inquiry among the Indians disclosed the fact that the man was not considered by them to be a good singer. The same song was accord- ingly obtained from a man of acknowledged musical proficiency, and on comparing the renditions it was found that by slight alterations in pitch the song had become diatonic in character, the intervals » closely resembling those of the scale and ending on a keynote. Ex- perience in listening to the melodies of Chippewa and Sioux makes it possible to distinguish between a melody which has unusual native peculiarities and one which is distorted by a poor singer. The accuracy of an Indian in repeating a song should also be con- sidered. For this purpose several consecutive repetitions of each song were recorded. As an evidence of accuracy in repeating cere- monial songs the following incident may be cited: In 1912 the writer recorded four songs of the Creek Women’s society of the Mandan, from Mrs. Holding Eagle, one of its members. In 1915 Mrs. Holding Eagle recorded the songs a second time, and on comparison it was found that the pitch and metronome speed of all the songs was the DENSMORE] TETON SIOUX MUSIC 61 same in the second as in the first records. In two of the songs there was no difference in the slightest respect; in one what appeared as a glissando progression in the first recording was sung in definite inter- vals in the second; and in the fourth song there was a slight differ- ence in the opening measures but none in the part containing the words. Several consecutive renditions of the songs were recorded on both occasions. Another and similar instance occurred among the Chippewa. Odjib’we (See Bulletin 53) recorded certain songs in August, 1909, and March, 1910, the two recordings showing the same pitch of the song as a whole, and also a slight deviation from diatonic pitch on the same tones, this deviation being perceptible but not enough to be indicated by an accidental. See also analysis of song No. 209 of this volume. (2) Quality of tone.—The manner of tone production by the Indian is different from that of the white man. The former cultivates and greatly admires a pronounced vibrato; a falsetto tone is also con- sidered a mark of musical proficiency. An instance of this is men- © tioned in Bulletin 53 (p. 252): A singer at Red Lake, Minn., “‘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.” This vibrato is not invariably found in a good singer, but, as in the white race, it is frequently present. A peculiar nasal tone is always used in the Love songs, so that one accustomed to the music of these tribes can recognize these songs by the tone quality, as well as by a melodic freedom greater than that in other songs. Another quality of tone is that used in the songs of hopeless illness, or in the ‘‘wailing songs”’ after a death. To these may be added the crooning tone of the lullabies. Other tone qualities are undoubtedly and perhaps utenuionslly, used, these being, however, the most easily recognized. (3) Compass of voice.—An expanded compass is admired among the Chippewa and Sioux as well as among musicians of the white race. Songs Nos. 55, 195, 202, have each a compass of 17 tones; two of these were recorded by Kills-at-Night, who has a wide reputation as a singer. Other songs have a compass of 13 or 14 tones each. (4) Memory.—The memory test (‘‘repertoire’’) obtains among these Indians as well as among civilized musicians. The writer has never attempted to exhaust the number of songs which could be recorded by a good singer. The largest number of songs recorded by one individual are those of Odjib’we in Bulletin 53. As he was recording songs known to no other person he was asked to record more than 80. These were songs which were practically all of the same class; he doubtless remembered many others of different kinds, The recording of 50 or 60 songs by one individual is not unusual in the present work, selections being made from this number after tran- 62 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 scription, and many records being used for comparison with records of the same song by other singers. (5) Interpretation (intellectual and emotional).—Among these In- dians, as among white musicians, there must be a convincing quality in a singer’s rendition of a song. It has frequently been said to the writer, ‘‘So-and-so knows the old songs, but he is not a good singer; he can give you the melody, but it will not be well sung.”’ Into this ‘convincing quality’’ there enters another element—the personality of the singer. It is required that a good singer among Indians, as well as among white men, shall carry with him full confidence in himself, and do his work with authority. From the foregoing data it appears that in general character the musical standards of the Chippewa and Sioux Indians bear a resem- blance to those of the white race. CEREMONIES Tue Waite Burrato Carr Pier (Prentn’6ata Canoy’Pa) It is fitting that a narrative of the gift of the White Buffalo Calf pipe to the Sioux should introduce the present account of the ceremonies and customs of the tribe. Throughout this memoir reference will be made to ceremonial acts performed in accordance with the instruc- tions of the White Buffalo Maiden, a supernatural being through whose agency the ceremonial pipe was given to the Sioux.’ The narrative in its present form was given by I[sna’la-wiéa’ (Lone Man; see pl. 23), and is recorded in the words of the interpreter, Mr. Robert P. Higheagle. Preceding this recital by Lone Man, the sub- ject had been studied with other informants for more than two years. A summary of this study was read to Lone Man and discussed with him, after which he was requested to give the narrative in connected form, incorporating therewith material which he wished to add.? The ancient and sacred tradition of the Sioux was given by Lone Man as follows: In the olden times it was a general custom for the Sioux tribe (especially the Teton band of Sioux) to assemble in a body once at least during the year. This gathering took place usually about that time of midsummer when everything looked beautiful and everybody rejoiced to live to see nature at its best—that was the season when the Sun-dance ceremony took place and vows were made and fulfilled. Sometimes the tribal gathering took place in the fall when wild game was in the best condition, when wild fruits of all kinds were ripe, and when the leaves on the trees and plants were the brightest. One reason why the people gathered as they did was that the tribe as a whole might celebrate the victories, successes on the warpath, and other good fortunes which had occurred during the year while the bands were scattered and each band was acting somewhat independently. Another reason was that certain rules or laws were made by the head chiefs and other leaders of the tribe, by which each band of the tribe was governed. For instance, if a certain band got into trouble with some other tribe, as the Crows, the Sioux tribe as a whole should be notified. Or if an enemy or enemies came on their hunting grounds the tribe should be notified at once. In this way the Teton band of Sioux was protected as to its territory and its hunting grounds. After these gatherings there was a scattering of the various bands. On one such occasion the Sans Arc band started toward the west. They were moving from place to place, expecting to find buffalo and other game which they would lay up for their winter supply, but they failed to find anything. A council was called and two young men were selected to go in quest of buffalo and other game. They started on foot. When they were out of sight they each went in a different direction, but met again at a place which they had agreed upon. While they were planning and planning 1 In connection with this chapter see Fletcher, Alice C., The White Buffalo Festival cf the Uncpapas, Peabody Museum Reports, m1, Nos. 3 and 4, pp. 260-75, Cambridge, 1884. 2 Other material obtained from Lone Man is found in the chapter on the Sun dance (p. 92), the heyo’ka (pp. 159-170), and the sacred stones (pp. 214-217). = 64 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 what to do, there appeared from the west a solitary object advancing toward them. It did not look like a buffalo; it looked more like a human being than anything else. They could not make out what it was, but it was coming rapidly. Both considered themselves brave, so they concluded that they would face whatever it might be. They stood stilland gazed at it very eagerly. At last they saw that it was a beautiful young maiden. She wore a beautiful fringed buckskin dress, leggings, and moccasins. Her hair was hanging loose except at the left side, where was tied a tuft of shedded buffalo hair. [See pp. 126, 458.] In her right hand she carried a fan made of flat sage. Her face was painted with red vertical stripes. Not knowing what to do or say, they hesitated, saying nothing to her. She spoke first, thus: ‘‘I.am sent by the Buffalo tribe to visit the people you repre- sent. You have been chosen to perform a difficult task. It is right that you should try to carry out the wishes of your people, and you must try to accomplish your purpose. Go home and tell the chief and headmen to put up a special lodge in the middle of the camp circle, with the door of the lodge and the entrance into the camp toward the direction where the sun rolls off the earth. Let them spread sage at the place of honor, and back of the fireplace let a small square place! be prepared. Back of this and the sage let a certain frame, or rack, be made. Right in front of the rack a buffalo skull should be placed. I have something of importance to present to the tribe, which will have a great deal to do with their future welfare. I shall be in the camp about sunrise.”’ While she was thus speaking to the young men one of them had impure thoughts, A cloud came down and enveloped this young man. When the cloud left the earth the young man was left there—only a skeleton. The Maiden commanded the other young man to turn his back toward her and face in the direction of the camp, then to start for home. He was ordered not to look back. When the young man came in sight of the camp he ran in a zigzag course, this being a signal required of such parties on returning home from a searching or scouting expe- dition. The people in the camp were on the alert for the signal, and preparations were begun at once to escort the party home. Just outside the council lodge, in front of the door, an old man qualified to perform the ceremony was waiting anxiously for the party. He knelt in the direction of the coming of the party to receive the report of the expedition. [See p. 441.] A row of old men were kneeling behind him, The young man arrived at the lodge. Great curiosity was shown by the people on account of the missing member of the party. The report was made, and the people received it with enthusiasm. The special lodge was made, and the other requirements were carried out. The crier announced in the whole camp what was to take place on the following morning. Great preparations were made for the occasion. Early the next morning, at daybreak, men, women, and children assembled around the special lodge. Young men who were known to bear unblemished characters were chosen to escort the Maiden into the camp. [See pp. 72, 103,111.] Promptly at sunrise she was in sight. Everybody was anxious. All eyes were fixed on the Maiden. Slowly she walked into the camp. She was dressed as when she first appeared to the two young men except that instead of the sage fan she carried a pipe—the stem was carried with her right hand and the bowl with the left. The chief, who was qualified and authorized to receive the guest in behalf of the Sioux tribe, sat outside, right in front of the door of the lodge, facing the direction of the coming of the Maiden. When she was at the door the chief stepped aside and made room for her to enter. She entered the lodge, went to the left of the door, and was seated at the place of honor. 1 The square space of mellowed earth, the spread sage, the buffalo skull, and pipe rack are frequently mentioned in this work. Among other instances the following are cited: pp. 71, 122, 229, 232, 235, 328. The earth space in the spirit-keeping lodge was round instead of square (p. 82). OS ee DENSMORE] TETON SIOUX MUSIC 65 The chief made a speech welcoming the Maiden, as follows: ‘’My dear relatives: This day Wakan’tanka has again looked down and smiled upep us by sending us this young Maiden, whom we shall recognize and consider as a sister. She has come to our rescue just as we are in great need. Wakan’tanka wishes us to live. This day we lift up our eyes to the sun, the giver of light, that opens our eyes and gives us this beautiful day to see our visiting sister. Sister, we are glad that you have come to us, and trust that whatever message you have brought we may be able to abide by it. Weare poor, but we have a great respect to visitors, especially relatives. It is our custom to serve our guests with some special food. We are at present needy and all we have to offer you is water, that falls from the clouds. Take it, drink it, and remember that we are very poor.” Then braided sweet grass was dipped into a buffalo horn containing rain water and was offered to the Maiden. The chief said, ‘‘Sister, we are now ready to hear the good message you have brought.” The pipe, which was in the hands of the Maiden, was jowered and placed on the rack. Then the Maiden sipped the water from the sweet grass. Then, taking up the pipe again, she arose and said: ““My relatives, brothers and sisters: Wakay’tanka has looked down, and smiles upon us this day because we have met as belonging to one family. The best thing in a family is good feeling toward every member of the family. Iam proud to becomea member of your family—a sister to you all. The sun is your grandfather, and he is the same tome. Your tribe has the distinction of being always very faithful to prom- ises, and of possessing great respect and reverence toward sacred things. It is known also that nothing but good feeling prevails in the tribe, and that whenever any mem- ber has been found guilty of committing any wrong, that member has been cast out and not allowed to mingle with the other members of the tribe. For all these good qualities in the tribe you have been chosen as worthy and deserving of all good gifts. I represent the Buffalo tribe, who have sent you this pipe. You are to receive this pipe in the name of all the common people [Indians]. Take it, and use it according to my directions. The bowl of the pipe is red stone—a stone not very common and found only at a certain place. This pipe shall be used as a peacemaker.! The time will come when you shall cease hostilities against other nations. Whenever peace is agreed upon between two tribes or parties this pipe shall be a binding instrument. By this pipe the medicine-men shall be called to administer help to the sick. ” Turning to the women, she said : ‘‘My dear sisters, the women: You have a hard life to live in this world, yet without you this life would not be what it is. Wakan’tanka intends that you shall bear much sorrow—comfort others in time of sorrow. By your hands the family moves. You have been given the knowledge of making clothing and of feeding the family. Wakan’tanka is with you in your sorrows and joins you in your’griefs. He has given you the great gift of kindness toward every living creature on earth. You he has chosen to have a feeling for the dead who are gone. He knows that you remember the dead longer than do the men. He knows that you love your children dearly.” Then turning to the children : “My little brothers and sisters: Your parents were once little children like you, but in the course of time they became men and women. All living creatures were once small, but if no one took care of them they would never grow up. Your parents love you and have made many sacrifices for your sake in order that Wakan’tanka may listen to them, and that nothing but good may come to you as you grow up. I have brought this pipe for them, and you shall reap some benefit from it. Learn to 1 Cf, Bulletin 53, pp. 143, 144, in which a woman is said to have been the supernatural means of bringing permanent peace between the Chippewa and Sioux, 66 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 respect and reverence this pipe, and above all, lead pure lives. Wakan’tankais your great grandfather.”’ Turning to the men: “‘ Now my dear brothers: In giving you this pipe you are expected to use it for nothing but good purposes. The tribe as a whole shall depend upon it for their necessary needs. You realize that all your necessities of life come from the earth below, the sky above, and the four winds. Whenever you do anything wrong against these ele- ments they will always take some revenge upon you. You should reverence them. . Offer sacrifices through this pipe. When you are in need of buffalo meat, smoke this pipe and ask for what you need and it shall be granted you. On you it depends to be a strong help to the women in the raising of children. Share the women’s sorrow. Wakayn’tanka smiles on the man who has a kind feeling for a woman, because the woman is weak. Take this pipe, and offer it to Wakan’tanka daily. Be good and kind to the little children.’’ Turning to the chief: “My older brother: You have been chosen by these people to receive this pipe in the name of the whole Sioux tribe. Wakan’tanka is pleased and glad this day because you have done what it is required and expected that every good leader should do. By this pipe the tribe shall live. It is your duty to see that this pipe is respected and reverenced. Iam proud to be called a sister. May Wakan’tanka look down on us and take pity on us and provide-us with what we need. Now we shall smoke the pipe.”’ Then she took the buffalo chip which lay on the ground, lighted the pipe, and pointing to the sky with the stem of the pipe, she said, ‘‘I offer this to Wakan’tanka for all the good that comes from above.’’ (Pointing to the earth:) ‘‘I offer this to the earth, whence come all good gifts.’’ (Pointing to the cardinal points:) “I offer this to the four winds, whence come all good things.’? Then she took a puff of the pipe, passed it to the chief, and said, ‘‘Now my dear brothers and sisters, I have done the work for which I was sent here and now I will go, but I do not wish any escort. I only ask that the way be cleared before me.”’ Then, rising, she started, leaving the pipe with the chief, who ordered that the people be quiet until their sister was out of sight. She came out of the tent on the left side, walking very slowly; as soon as she was outside the entrance she turned into a white buffalo calf. It is said that the chief who received the pipe from the White Buffalo Maiden was Buffalo Stands Upward (Tatan’ka-woslal’- nazin). The pipe has been handed down from one generation to another, and is said to be now in the possession of Elk Head (Helia’ka-pa), who lives at Thunder Butte, on the Cheyenne River Reservation. He is said to be of ‘‘about the. third generation” which has kept the pipe, and is 98 years of age.2 Each preceding keeper of the pipe lived to be more than a hundred years old. The Indians named the pipe the White Buffalo Calf pipe. Dupli- cates of it were made, and soon every male member of the tribe carried a similar pipe. The stem was made to resemble the wind- pipe of a calf. Whenever this pipe is used in a smoking circle, or even when two men are smoking together, the rule is that the pipe 4It is interesting to observe that the identity of a dream object often is unrecognized until it turns to depirt. See Bulletin 53, p. 207; also p. 185 of this volume. 2 Elk Head died in January, 1916, after the above paragraph was written, DENSMORE] TETON SIOUX MUSIC 67 be passed to the left, because that was the direction taken by the White Buffalo Maiden when she went away. The one who lights this pipe is required to make an offering. It is said that the following song was sung by the White Buffalo Maiden as she entered the camp. This song is sung in the Spirit- keeping ceremony when the man who is keeping the spirit of his child can afford to have a white buffalo robe used in the ceremony. (See pp. 82, 446.) The words “‘scarlet relic” refer to the scarlet-wrapped packet in the lodge of those who are ‘‘keeping a spirit.’’ No. 1. Song of the White Buffalo Maiden (Catalogue No. 569)1 Sung by CHarcina THUNDER Voice a = 58 Drem not recorded oe See Ni - ya tay-in-yan ma-wa-ni ye ni - ya _ tay-i)-ya) ma-wa-ni ye e e o-ya-te le i-ma-wa - ni na ho _ ho Tat pe ia? oo ea ee Re = mg Sige Pega a Z Se — ue = ho - tay -in-yay ma - wa-ni 7c ye ye We Ch WO, a ye ni - ya tay - in-yan ma-wa-ni ye e e wa - ho - tay) -i)-yay ma-wa-ni_ ss ye ye ye YO VGA ern paye 1 The catalogue numbers used throughout this memoir correspond respectively with tho numbers des- ignating the phonograph record of the songs, which are preserved in the Bureau of American Ethnology. 68 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 WORDS Bye, «tau Van)... .6> a. ose eee with visible breath ! MAWa DM “VGC... . soc a5 eee IT am walking oya’te? le...................... this nation (the Buffalo nation) Ema Wane: wisi cee dt 22 eee Walk toward MG ctaien alae okies cy eT DOMAIN VAN) elie on cyt oe ee my voice is heard Mawa DL, -Ves.. 2250. eee aM Walking ya’ \ tan valine ako ace with visible breath mawa/ni .yej02/.t 2 Seen. Tam walking wali’ta, 1é@.5.<,....2c.: dope, this scatlot.telte IMa Wall “VCs... -L.- 2 eee (for it) I am walking Analysis.3—This song is minor in tonality and melodic in structure. Thirty-four progressions are found in the melody, 22 (65 per cent) of which are minor thirds. This is an unusually large proportion of any one interval in a song. Ten of the remaining intervals (29 per cent) are major seconds, the others being an ascending fifth and a descend-: ing fourth. The tempo of the song is slow, and the short tones at the end of the first and similar measures were given in correct time. As in all the songs, vocables are here italicized. In this song they were sung with marked emphasis. The final measure of this song is transcribed as a complete measure, though the song begins on an unaccented tone. This precedent will be followed throughout the present work, instances in which the repetition of a song begins without a break in the time being indi- cated by the usual mark for repeat. Tue ALo’waypl CEREMONY This ceremony has been used by the Pawnee, Omaha, Osage, Ponca, Iowa, Oto, and Dakota tribes. The ceremony among the Omaha and Pawnee has been studied by Miss Alice C. Fletcher, whose research includes the ceremonial songs of these tribes. As the ceremony has been in disuse among the Dakota for many years it was impossible to study it exhaustively, but sufficient information was available for a general comparison with the customs of the above- mentioned tribes. From this comparison it is evident ‘that the 1 In cold weather the breath of a herd of buffalo, rising in the frosty air, could be plainly seen. 2 The word oya’te is of frequent occurrence in these songs. When reference is made to the Indians the word is translated ‘“‘tribe’’, but it is often used in connection with animals (see p. 162, footnote). ’ The descriptive analyses of these songs should not be regarded as exhaustive. It is their purpose merely to point out peculiarities of melody or rhythm which may aid the reader in a further investigation of the subject. Moreover, the phraseology of these analyses should be understood as general in character, Thus, the term ‘‘accurate intonation’’ should not be considered to mean that in every instance the Indian sang the exact interval, but that, so far as concerns the present work, the interval was practically correct. These descriptive analyses are based on tabulated analyses of individual songs, which are not herewith presented, but are incorporated in the tables of analysis found at the close of the groups of songs, and also in the tables on pp, 12-21. 4Cf, Fletcher, Alice C,, The ‘‘ Wawas’’, or Pipe Dance of the Omahas, in Peabody Mus, Rep., 1, Nos. 3,4, pp, 308-333, Cambridge, Mass,, 1884; also The Hako; a Pawnee Ceremony, by the same author, in J’wenty- second Rep, Bur, Amer, Ethn., pt, 2, 1904. DENSMORE] TETON SIOUX MUSIC 69 ceremony in transmission to another tribe and locality has undergone modifications and changes in detail. Among the Teton Sioux the ceremony is known as Alo’wanpi, meaning ‘‘to sing for someone,’ and also as the Hunka, this being the name applied to the child who fills an important role in the ceremony. Among the Sioux this ceremony was closely associated with the White Buffalo Maiden and her mysterious visit to the tribe. The following account concerns the usage of the Teton Sioux. The sub- ject was studied by the writer during two visits to the reservation, and Mr. Higheagle continued the work for several months, consulting the older Indians as he had opportunity. The material embodies the original narrative by Weasel Bear and also many points contributed by Chased-by-Bears, Eagle Shield, White-paw Bear, Jaw, and others Fic. 20. Drawing from picture-calendar—the year of the first Alo’wanpi ceremony. who were qualified to express opinions on the subject. The account in its final form was translated to, and pronounced correct by, Weasel Bear and others equally well informed. In a picture-calendar of the Teton Sioux there occurs a native draw- ing of this ceremony (fig. 20), the year represented by the drawing being called ‘‘ Awi’éa alo’wanpi wani’yetu,” meaning literally ‘“‘truth- fully: singing winter;” understood as ‘‘ceremonial singing winter.” This is the first year recorded on this calendar, and the writer’s informant said it represented the first year in which the Alo’wanpi ceremony was held by the Standing Rock Sioux. The date corres- ponds to the year 1801. The calendar, which is owned by Black Thunder, of Eagle River, closes with a representation of the Black Hills council which took place in 1912. The dates of other historical events are correctly indicated. . 4840°—Bull. 61—18 » ‘ 70 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 In describing the purport of the ceremony Looking Elk (Helia’ka- wa’kita), a Teton Sioux, said: The great result of this ceremony is that the man who performed it was regarded as a father by the child for whom he performed it. He made a solemn vow taking that child under his protection until one or the other died. He became like a brother to the man whose children he sang over and painted with the huynka stripes. In all the great ceremonies of the Sioux there is not one that binds two men together so strongly as this. : The keynote, or central idea, of this ceremony (as held by the Teton Sioux) is the affection of a father for his child, and his desire that only good should come to it. The following statement is given in the words of Mr. Higheagle: It is strictly believed and understood by the Sioux that a child is the greatest gift from Wakan’tanka, in response to many devout prayers, sacrifices, and promises. Therefore the child is considered ‘“‘sent by Wakan’tanka,’’ through some element— namely, the element of human being. That the child may grow up in health with all the virtues expected, and especially that no serious misfortune may befall the child, the father makes promises or vows to Wakay’tayka as manifested by the different elements of the earth and sky. During the period of youthful blessedness the father spared no pains to let the people know of his great love for his child or children. This was measured by his fellow men according to the sacrifices or gifts given, or the number of ceremonies performed. In order to have astandard by which this love could be shown, the first thing taken into consideration and adopted was the White Buffalo Maiden, Sent to the Sioux tribe by the Buffalo tribe. The impression left upon the people by the Maiden and her extraordinary good qualities were things that were much admired by every parent as a model for his children. This Maiden was pure white, without a blemish—that was the principal desire of the father for the character of his child. The Maiden addressed men, women, and children. It had been told by the Maiden that good things would come to the people by means of the pipe, so it seemed necessary that there be a ceremony, having connection with the Maiden and with the pipe. For this reason the essential article in the Alo’wanpi ceremony is the ‘‘Tuyka Canon’pa,”’ a decorated wand, which represents the pipe given to the Indians by the Maiden, the original pipe not being available when needed for this ceremony.['] This wand, or pipestem, was carried and employed by the itay’éan, ‘‘leader” [?] during the ceremony, and when that was finished it was given to the child for whom the ceremony had been performed. In many families such a pipestem was handed down for many generations. The manner of decorating the pipestem has also been handed down, and neither the shape nor the decoration can be changed. A new pipestem might be made by some one who had undergone the ceremony, but an old one was generally used. The wand, or pipe- stem, was usually about 20 inches long. On it were fastened tufts of the feathers of the kanke’éa, pileated woodpecker, and above each tuft of feathers was the head of [' In stating that the wand represented the pipe, the tradition related by the informant seems to have confused the symbolic meaning of the two. See article Calumet, by J. N. B. Hewitt, in Handbook of American Indians, pt. 1.] [2 The exact significance of this word may he understood from the connection in which it is used (ci. pp. 162,180, footnotes), or other words may he added tomake the meaning more definite. Thus certain officers in the spirit lodge, and the leader of dancers in the Sun dance were called merely itay’¢ay (see pp. 81, 98). Other officers in the spirit lodge were designated, respectively, waspay’ka ilipc’ ya itay’éay, ‘leader in charge of food’; wo’wasi itay’éay, literally ‘laor leader’, and itay’éay iya’tay ki’ yapi, ‘leader who lights the pipe’ while the master of the entire spirit-keeping ceremony was known as a’taya itay’cay (see pp. 80, 81). Anintensified form of the word, in’itay’éay, ‘supreme leader’, appears on p. 216. DENSMORP] TETON SIOUX MUSIC Wy. a woodpecker (Phleoeotomus pileatus). [!] The tail feathersof an eagle, in the form of a fan,and alsostrands of horsehair, were hung from the wand. [See pl. 3.]? In explaining the use of the woodpecker in decorating the Hunka Canon’pa it was said that this is “a simple, humble bird, which stays near its nest and is seldom seen.’’* This bird seems to have been considered especially appropriate, because children who underwent this ceremony were more closely guarded and protected than others. They usually belonged to well-to-do families, in which the girls were seldom seen in public until they were grown up. The ceremony could be held for several children at a time, and often took place in fulfillment of a vow.* The wish of the parents that this ceremony be performed for their child or children was first declared. An invitation was then sent to the man whom the father desired to perform the ceremony, and who thereafter would be bound to the father by a tie even stronger than that of natural brotherhood, because he had assumed a responsibility not placed on him by nature. An invitation was usually conveyed by means of a pipe, but for this ceremony a different form of invita- tion was used. The father of the child made a case from the dried bladder of a buffalo, into which he put many httle packages of tobacco, one or two pipefuls being wrapped in membrane, similar to the packets fastened to sticks as offerings at the Sun dance (p. 102). The case, after being tied or sealed, was wrapped in a cloth. This was taken to the man selected to perform the ceremony. If he accepted the invitation, he opened the case; otherwise he returned it unopened. On acceptance of the invitation great preparations were begun. Two large lodges were erected in the middle of the camp circle and united so as to make one lodge of double the usual size, opening toward the west. This and the other details of the ceremony were in accordance with the instructions given by the White Buffalo Maiden on her first appearance to the Indians. The lodge was like the one which they built to receive her. There was no fire within, but opposite the door and slightly back of the middle of the lodge a square of exposed ‘and ‘‘mellowed”’ earth was prepared. (See p. 64,. footnote.) In the two corners of this square farthest from the door {! The decorations of the calumet more frequently consisted of the feathers or heads of the duck, owl, eagle, or other birds. See J. N. B. Hewitt, art. Calumet in Handbook of American Indians, pt. 1.] 2 The pileated woodpecker is commonly called woodcock, and, through misunderstanding, the bird heads shown in pl. 3 are those of the common woodcock. 3 Cf. the following instances in which the characteristics of a bird or an animal were desired by the Indians who, in some cases, wore a part of the bird or animal on their persons; the deer (in a decoration), because this animal can endure thirst a long time (p. 125); the hawk as ‘‘the surest bird of prey”’ (p. 139); the elk, in gallantry (p. 176); the frog, in watchfulness (p. 160); the owl, in ‘“‘night-wisdom and gentle ways’’ (p. 181); the bear, which ‘‘though fierce, has given many medicinal herbs for the good of man”’ (p. 195); the kit-fox, which is ‘‘active and wily”’ (p. 314); the crow, which is especially direct as well as swift in flight (p. 319), and the wolf, in hardihood (p. 388). 4 Cf. the piercing of a child’s ears at the Sun dance in fulfillment of a similar vow (p. 137). 72 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 were placed two buffalo chips, which were used in lighting the cere- monial pipes. Sweet grass also was made ready for lighting the pipes. Fresh sage was spread on the ground in the rear of the square, and on this was laid a buffalo skull painted with red lines and having the open- ings filled with sage. (See pp. 64, 185.) Thenoseof the skull was near, but did not touch the side of the square. Strips of red flannel were tied on the horns. Back of the buffalo skull stood a pipe rack formed of two upright sticks, each having a crotch at the top, between which was laid a cross-bar; the whole was painted blue. This pipe rack was similar to that used in the Sun dance, but the position of the pipe (or wand) was reversed, the bowl of the Sun-dance pipe resting against the forehead of the buffalo skull, as shown in plate 20, while the Hunka pipe was placed with the stem toward the skull. If more than one child was to be “‘sung over,” there was a pipe for each, beneath which was laid the white eagle-plume to be tied on the head of the child during the ceremony. The rattle to be used by the itan’éay leaned against one of the posts of the pipe rack. Against the pipe rack was placed also an ear of corn on a stick, decorated in blue as shown in plate 3. It was essential that this be particularly regular in form, with an even number of kernels arranged in straight lines. Thus the ceremonial articles comprised the ear of corn, the deco- rated pipe (or wand), the pipe rack and the tuft of white down, and also a bunch of shed buffalo hair which was used in the ceremony. These were provided by the man who performed the ceremony, who kept them wrapped in a red cloth. The preparation of the lodge was completed by the erection around it of a barricade of hides, so placed as to keep spectators at a proper distance. The Teton Sioux were not originally an agricultural people, and ‘the use of corn in this ceremony formed the subject of considerable inquiry. In response to this inquiry the writer was told the follow- ing legend of the coming of the corn, which, in its final form, is given in the words of the interpreter, Mr. Higheagle: There was an old couple living on the bank of a river. They had been married a long time, but did not have any children, though they had often asked Wakan’tanka to send them achild. This special request was always made when they were in the sweat-bath booth. On one of these occasions, while they were praying, they heard some one outside saying that their prayer had been heard and would be granted on the following morning. They were very much pleased and felt overanxious. On the next morning the old man went out, and there, right in front of the door, peeped out of the ground a greenish opening of some seed—out of the ground. The old man was very much excited, and, not knowing what to do, they both went into the sweat-bath booth and asked what they should do. As before, they heard a voice 1 Articles for ceremonial use were required to be as perfect as possible. Cf. choice of the buffalo skull, and the tree for the sacred pole, in the Sun dance (pp. 102,111), also the ax used in cutting the tree (p. 112). The sacred stones were regular in outline and untouched by a tool (p. 205). Purity of life was required of leaders in all ceremonies. See also the statement on p. 173, footnote, that what is genuine should be pre- ferred to what is artificial. ANOW3439 VYNNH NI G3SN NYOO 4O YvV3 GNY GNYM : ; By & ‘ Lathe. - Sey RS et Sal € 3ivld 19 NILZTING ADOIONHLA NVOIWASWY 40 NV3AYNE ; , ze + =e — a s DENSMORE] TETON SIOUX MUSIC 73 saying: ‘‘Fearnot. This plant which you behold is going to grow into the most beauti- ful child you ever saw. Watch for its development. Take good care of it. Give it plenty of air, sunshine, and water. Let no other plant or shrub grow near it.’’? So they, realizing this was the child they had been desiring, went out and did as they were told. The plant grew up, had green clothing, and beautiful whitish hair. It grew to be tall. Finally beautiful corn, nicely enveloped in green covering, grew out. As soon as the coverings had turned to another color the corn was taken out. So from this they concluded that Wakan’tanka had sent them something to keep and to raise. In the old times this ceremony extended through several days, and many ceremonial songs were sung. In its later observance by the Teton Sioux it is said that the entire ceremony was concluded in one day. Only two of the songs were recorded by the writer. It was said that at the opening of the ceremony the itay’éan came from the double lodge and started to get the children for whom the ceremony was to be performed. They pretended that they did not know where the children lived and went through the camp singing the following song: No. 2. Song of Pretended Search (Catalogue No. 649) Sung by WEASEL BEarR VOICE a= 112 Drum not recorded -8- -0- -9- E-éa tu-kte ti- pi so WORDS (FREE TRANSLATION) A bata «, = 3422 3 I wonder GUI ees See sl o's. a ce where [PLAT HOE |. eae a ee eS, they live Analysis.—It is interesting to observe here the rhythmic unit in connection with the use of the song. As already stated, this is a song of search, the singer going around the camp pretending to seek a certain tent. He hastened to a tent, paused, and then passed on, repeating this procedure until he came to the tent which was his destination. Thus in the rhythmic unit we find a hurried triplet of eighth notes, followed in the next measure by a tone prolonged to the length of four quarter notes. The song is simple in form and has -a compass of eight tones, descending from the octave to the tonic. The tones are those of the second five-toned scale, and the tonic chord is prominent in the melody. One-third of the intervals are "4 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 minor thirds. Five renditions were recorded with no break in the time; these are uniform in every respect. When the man (or men) arrived at the door of the children’s home they did not enter at once, but began to tell of their deeds in the past as an evidence of their right to perform the Alo’wanpi ceremony. Without this narration they would not be allowed to enter and get the children, as none but those who had in the past, and who still had, the necessary qualifications could perform this sacred rite over children. If the children were small they were carried to the double lodge in blankets on the backs of the itan’éay. On their way to the lodge the men stopped four times (see pp. 78, 83, 113, 116, 167, 328) giving the ‘wolf howl”’, which was used to signalize approach. When they reached the double lodge the itan’éay sat in the place of honor, back of the pipe rack. There might be one man for each child who was to be ‘‘sung over,” and each of these men had his own pipe, or wand, which was placed against the pipe rack. Describing the enacting of. the ceremony for his two daughters, Weasel Bear said: Everyone could see the old man as he painted the faces of the girls. He painted a blue line from the hair-parting down to the end of the nose, then across the upper part of the forehead and down to the cheek, ending at a point opposite the end of the nose. Red stripes could be added after the blue paint had been put on the face. The red stripes were narrow, extending downward from the line across the forehead and being the same length as the vertical blue lines. Additional red stripes could be added at any time by a person qualified to do it, a horse being given fog the right to wear two or three more stripes. On many important occasions this decoration of the face was used by those who had the right to use it. A white eagle plume was fastened in the hair of a girl whose face was to be painted. In plate 8 is shown a spirit post decorated with the plume which was worn by the daughter of Weasel Bear in the Alo’wanpi ceremony, described by him; the tip of the quill was covered with duck feathers similar to those used on a Sun-dance pipe. With the eagle plume was fastened a strand of horse hair colored red, the whole being suspended by a narrow strip of hide, so that 1t hung hghtly. Continuing his narrative, Weasel Bear said: After the faces of the girls were painted the itan’éan stood with his rattle in his right hand and the decorated wand in his left, and waved the wand over them as he sang thefollowingsong. Enachgirlheld in her hand a decorated ear of corn as the song was sung. [This scene is shown in a native drawing on cloth made by Jaw (pl. 4).] 7 tee BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 4 PART OF HUNKA CEREMONY (NATIVE DRAWING) DENSMORD] TETON SIOUX MUSIC 75 No. 3. Ceremonial Song (Catalogue No. 648) Sung by WrAseL Bear Voice g—52 Drum not recorded Le huy - ka ye e le hujy-ka a ya ya le hu- ka ya ya ya le hun = kaya! ya” ye e - ca way -ka - tu iin le huyp -ka ya ya ya le huy - ka WORDS (First rendition) 11S i 2 gna ee ee this honored one CCT dene 9h Bis Colt had ail behold Wankan tue kins... (282 bos G1 2 you who are above (Second rendition) LORS lc: ae ee a this honored one Peder ee cor oo beet: oe aC behold maka’ kin.-...............---. you who are in the earth ( Third rendition) Sid (1 0h alc: Ree eaiee ae ae eae this honored one Bea) Saree tyes, ott eh tes am pehold Wiy0’ ipeyata oe dae Ses PAS you who dwells where the sun falls (west) (Fourth rendition) OR ATTA | <7) ot A this honored one DCW ae Shy Cae ree ee Re beho!d wazi’yata.............-..-..-.-. you who dwell in the home of the giant (north) (Fifth rendition) emer) kerries Sk eee es this honored one 6 a nee 0 oe a behold wiyo Hiyanpata.. 2.2 2..00..... you who dwell where the sun continually returns (east) (Sixth rendition) 1 28a] a ce <3 "Oe oe this honored one EACr err eRe oh ee gna ch bie behold TUS RABUN A since aco cent aw acnetes you who dwell in the direction we face with outstretched arms (south) "6 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis.—This song contains only the tones of the minor triad and fourth. Similar tone material is found in so many of these songs that it deserves special observation. Reference to Table 6 shows that it constitutes the tone material of 12 per cent of the songs, this being the largest proportion except that of the second five-toned scale (13 per cent) and the fourth five-toned scale (18 percent). There are two ways in which this tone material may be regarded—as a minor triad with the fourth as a passing tone and as a combination of tones leading toward the second five-tone scale. If the first be the correct standpoint, we may expect a large proportion of songs containing either the minor triad alone or with some other tone used as a passing tone, but such is not found. We note only 1 per cent containing the minor triad alone, and less than 1 per cent with an- other tone as a passing tone. Regarding the matter from the second standpoint, we note that the percentage of songs on the second five- toned scale is less than that of those on the fourth five-toned scale. It is observed, however, that the proportion of songs containing the major triad and sixth is 12 per cent. This bears the same relation to the complete fourth five-toned scale that the minor triad and fourth bears to the complete second five-toned scale. In this connection, see Bulletin 53, pages 4-5. Tests and comparisons similar to the foregoing are presented merely as suggestions for the practical use of the present method of analyzing Indian music. Like the preceding song, this has a compass of 12 tones, beginning on the octave and ending on the tonic. It is, however, harmonic in structure, while the preceding is melodic. The proportion of minor thirds is larger than in the preceding song, constituting about 39 per cent of the intervals. As in the preceding song, the vocables were slightly emphasized, and the words of the many renditions were dis- tinctly sung. Neither this nor the preceding song contains a change of time. Only 23 per cent of the 340 Chippewa songs are without change of time, and this continuity appears in only 16 per cent of this series. After the ceremony (which, as already stated, was not studied in detail by the writer) the decorated pipe (or wand) and the corn became the property of the child for whom the ceremony had been performed. In departing with the children the Itan’Géan, pausing four times, gave the long ‘‘wolf call”’ which had signalized their approach to the cere- monial lodge. Liberal rewards were given those who performed this ceremony, Weasel Bear stating that he bestowed three horses and a pipe on the old man who painted and “sang over” his daughters. The celebration of this ceremony placed a child in a highly respected position in the tribe. Such a child was regarded as possess- ing that which would ‘‘ make it nothing but good in every way,” and was ‘recognized by all as ranking above an ordinary child.” PLATE 5 BULLETIN 61 BUREAU OF AMERICAN ETHNOLOGY DECORATED ROBE DENSMORB] TETON SIOUX MUSIC 7 v4 A young girl for whom the Alo’wanpi ceremony had been performed might wear a calfskin robe similar to that shown in piate 5. The decoration on this robe indicates that the wearer had taken part in the Huynka ceremony, and also that her relatives had been successful in war. Red, blue, and yellow are the colors used in the decorations. It was said that ‘“‘red represents blood, blue is a ‘blue cloud,’ indicat- ing success, and yellow is the color of the sky at morning.”! The stripes on the head of the calfskin are red and represent the Huyka stripes painted on the face of the child for whom the ceremony was performed. The two lines bordering the entire decoration are blue, and the space between them is yellow. Near the left margin are red lines, said to represent a spider’s web.. The crescents along the right margin represent the phases of the moon, blue being used to repre- sent a quarter moon and red a full moon. ‘These are the phases in which the child’s relative engaged in the war expeditions noted in the decoration of the robe. Next to this border are parallel lines, the dots on which represent the number of camps made during a certain expedition. The panel in the center of the robe represents the ‘“‘warrior’s path.” A war party with eight camps is here shown, -each round dot representing a camp. Such a robe could be made only by a woman whose relative had been successful in war. The robe illustrated was made by the wife of Dog Eagle. (See p. 349.) THe CEREMONY OF SPIRIT-KEEPING? (WAKI’/CAGAPI) In the old days a Sioux, filled with grief at the death of a near relative, might prolong his period of mourning by “keeping the spirit” for several months or a year, and then “letting it go” by means of a certain ceremony. This was a custom which exacted a great deal and which, having been begun, must be carried out con- sistently, either by the man who undertook it, or in the event of his death by his nearest relative. A man considered this before he announced his intention of “keeping the spirit” of a relative. He considered the fact that for many months he could not hunt, nor go to war, nor share in the social activities of the tribe, and he also counted the cost of gifts which he must distribute at the feast for releasing the spirit. If he felt that he could meet these requirements he made known his decision, and those who wished to join him were at liberty to do so, each providing a “spirit bundle” (wana’gi wapa’lita) 1 Other symbolisms mentioned in this work are as follows: The white buffalo robe used in Hunka cere- mony (p, 80); colors—red, blue, yellow, white, and black (p. 124); ascending smoke of sweet grass (p. 127, footnote); a hoop (pp. 139,295); water, fire, and steam (p. 167); outline and structure of the sacred stones, by Chased-by-Bears (p.205); by Brave Buffalo (p. 208); a hand (p. 330), The symbolism of the ‘earth space”’ is given on page 122, footnote. 2 See in this connection Fletcher, Alice C., The Shadow or Ghost Lodge: A Ceremony of the Ogallala Sioux, Peabody Mus. Reps., m1, Nos. 3, 4, pp. 296-307; also Dorsey, James Owen, A Study of Siouan Cults, in Eleventh Rep. Bur. Ethn., pp. 487-89, 1894. 78 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 to represent the spirit of a relative, and also his share of food and gifts for the final feast. The Ceremony of Spirit-keeping, like the Alo’wanpi, had its inspira- tion in the Coming of the White Buffalo Maiden, and everything was done in accordance with her instructions. The manner of studying this subject was similar to that used in connection with the two pre- ceding chapters. The spirit of a child was “kept” more frequently than that of a grown person, and the writer’s first work on this cere- mony consisted in taking down a narrative by Weasel Bear (inter- preted by Mrs. McLaughlin), in which he told of keeping the spirit of a little daughter. A year later this narrative was discussed by Bear Face! and other old men (Mr. Higheagle interpreting), and many points were added. In its final form the first part is based on a narrative by Bear Face, while in the latter part the information given by Weasel Bear has been incorporated, together with details supplied by other reliable informants. Concerning this ceremony Bear Face (Mato’-ite’) said: It is one of the great undertakings of the tribe, not simply in the honor which sur- rounds it, but because of the work and obligation it involves, so that a man who can carry this through successfully is recognized by the tribe as a man who is qualified . to fulfill large responsibilities. Bear Face said that his first spirit keeping was for a son who died at the age of 15. The body of the boy was placed on a scaffold, and his best horse was killed beneath it. Before this was done the father decided to keep the boy’s spirit and so announced to the tribe. He requested a man whose record was without blemish to cut a lock of the boy’s hair to be put in the spirit bundle. The man came at his request, and before going near the body of the boy he purified his hands and also his knife with the smoke of sweet grass. When about to cut the hair he made three motions as if to do so and then cut it with the fourth motion. (See references on p. 74.) The lock cut was over one eye. When the hair had been cut it was wrapped in red cloth. (The remainder of the narrative is a compilation from several informants.) If desired, some article which had been worn next the body of the child could be used instead of a lock of hair. Thus Weasel Bear said that when keeping the spirit of his little girl, he used the ornaments which she had worn on her hair as the central article in the spirit bundle. After wrapping this selected article in red cloth the proposed spirit-keeper took the little packet in his arms as if it were the body of a child and rode around the camp circle, lamenting the child’s death. This was his announcement to the tribe that he had taken upon himself the responsibilities of a spirit-keeper (wana’gi yuha’ pi) and wished to be considered assuch. Afterwards a decorated case was 1 Bear Face died in December, 1914. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 6 OUTER WRAPPING FOR SPIRIT BUNDLE AND BRAIDED SWEET GRASS BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 7 IMPLEMENTS USED IN HANDLING COALS IN SPIRIT LODGE DENSMOKE] TETON SIOUX MUSIC 79 brought, and in this was placed the packet containing the hair, also sweet grass and the shed hair of the buffalo. This case was wrapped in red cloth. The spirit-keeper or his friends then selected the straightest pole they could find, pine being preferred for the purpose. This pole was erected outside his door, and the spirit bundle was tied on it. The bundle was supposed to stay there four days and nights before being taken down. During these four days a special wrapping (wi’éaske) of soft-tanned hide was made for it, and feasts were given to those who had kept spirits. At the end of four days the bundle was taken down by men who had kept spirits and was placed in its wrapping, which was elaborately decorated but had no sewing about it. With it were placed articles intended as gifts to those who took part in the ceremony. Small articles were placed in a decorated case and large articles, as pieces of red cloth, were folded smoothly. Plate 6 shows a ‘‘spirit wrap’’ and a braid of sweet grass which was placed in the spirit bundle. Mrs. James McLaughlin said she “purchased it 30 years ago from Black Moon’s mother, who said it was then about 80 years old and had been used in keeping the spirits of her grandfather, her mother, and other relatives.’ The porcu- pine quills on it were dyed with native dyes, and the wrap is so fragile that it had been used in recent years as an inner instead of an outer wrapping. A braid of sweet grass was usually placed in a spirit bundle, and an old one had been preserved with this wrapping. According to Mrs. McLaughlin, beads were seldom used on any of the wrappings of a spirit bundle, as beads were unknown among the Sioux when the White Buffalo Maiden came to them. After the spirit bundle was complete they prepared three stakes, painted red and decorated with quill work, also decorated thongs with which to fasten the bundle in place. Two of the stakes were tied together near the top, and the bundle was tied across them, the third stake being used as a support for the other two, which faced the door of the spirit-keeper’s tipi. The tripod was about 6 steps from this tipi, which was known as wana’gi ti’pi, or “spirit lodge.”’ When the tripod had been put in place they made a decorated case (pay) of soft-tanned hide. In it were put gifts for the itan’éay who would have charge of the final ceremony. These gifts, which were gradually collected, comprised needles, awls, knives, tobacco, and sometimes as many as 50 pipes. In the tipi, between the fire and the place of honor, a certain area of the earth floor was ‘mel- lowed.” This was round, not square as in the Hunka and the Sun dance. In the center of this space was placed a buffalo chip, and beside it two implements (pl. 7) made of wood, about 3 feet in length, one broad at the end and the other pointed. When sweet grass was to be burned it was the custom to use the pointed stick in pushing a ¢ 80 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 coal on the other implement, with which it was lifted and laid on the buffalo chip. The spirit-keeper and his wife wore no ornaments dur- ing this period, and their faces were painted all the time. Their manner was always quiet and reverent, as though the body of the relative whom they mourned was in the lodge. It was expected that those who kept a spirit would hold charitable thoughts toward every- one in the tribe, and all unkind or harsh words were forbidden in the spirit lodge. The tripod and spirit bundle were brought into the lodge at night and also in bad weather.. The bundle was laid in the place of honor and treated with great respect, no one passing between it and the fire. Weasel Bear said: ‘At evening I burned sweet grass and my wife passed her hands over the smoke, rubbing the fragrance on her face, hair, hands, and neck. Then she took the tripod in her arms and carried it into the tipi, turning toward the left as she entered. In the morning she again made herself fragrant and took the tripod and its burden outside the lodge.”’ The thing most desired was that a man might have the robe of a white buffalo to spread in the place of honor. ‘Ou this the tripod and spirit bundle would rest when they were in the lodge. Such a robe signified that the spirit beg kept was pure, and that all the articles connected with it had been purified. No one was allowed to touch the robe with bare hands nor pass between it and the fire. The only person permitted to touch it was a medicine-man who was known to be qualified for the act. Bear Face said that he had such a robe when he kept the spirit of his son, and that the only person allowed to touch or move it was a man, whom he engaged, who was noted for this ceremony. If he needed help he was obliged to call on some one as fully qualified as himself and to give him half of the compensation for such services. The only exception is in favor of children who have been through the Huynka ceremony. These children may lift the white buffalo robe and carry it out of the lodge when the ceremony is finished. Weasel Bear said further that during the period of keeping a spirit the contents of his lodge were supposed to belong to the tribe. Thusif a man came to his lode saying, ‘‘I have come for some of my tobacco and red willow,” he gave him what he required. Weasel Bear con- tinued his narrative as follows: I selected a virtuous old man as one of the officers of the spirit ledge. He was called waspayn’ka ihpe’ya itan’éayn, meaning ‘“‘leader in charge of food.’’ He came to the tipi for a short time every day, and if he wished to sleep there at night he was at liberty to do so. Every morning I put beef in a dish; he took a small piece of the meat, offered a prayer, and put it in a small dish provided for that purpose. This duty was never omitted. When the dish was full he emptied it into the fire, saying, “‘Grandchild, this is our food, but we give it to you to eat before us.’’? This was con- tinued from early winter, when my child died, until the next autumn, when we } 4 a : a ' f , ey : ic. 7 = > . : ri cy, : « 7 7 F \ : ) Lf , ~ veer ; . - Py f : , . 7 = = ’ iy e els . e ; A= : « e iad a a = ye - . P : ' ‘ * : : . » c 2 ' » ‘ va ’ ; ‘ i ‘ vy * e : J ‘ Ra c A - ’ 7 : S a a 5 ~ : 7 4 > : _ : = : he t ‘ 5 ‘ < y ' ; ‘ a ‘ : : 7 i i J 4 BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 8 PARTIALLY DECORATED DECORATED WITH CLOTHING SPIRIT POST DENS MORE] TETON SIOUX MUSIC 81 released her spirit. During that time we collected many gifts for the final feast. Our relatives helped us in this, the women making many articles with their own hands. As I was withheld from the ordinary duties of life I had a man called wo’ wasi itan’éay (literally ‘“‘laborer leader’’), who carried messages for me, kept us supplied with wood and water, swept the lodge, and kept clean the space around the spirit bundle. He also cut red willow [éaysa’sa] and dried it, so that I would have plenty to give away at the final feast. The man who kept a spirit was frequently invited to feasts of the various societies and was expected to attend them. It was under- stood that if valuable presents were being given away he would be first to receive one. In return for these favors he invited the societies to attend the feasts, which were held outside the lodge, when the time came for releasing the spirit. The time for keeping a spirit varied from several months to a year or even longer. At the expiration of this time the final ceremony and feast were held. This was called waki’ éaga, meaning the act of completing the undertaking. All the band gathered for the event and the various societies had their special tents. The societies took a prominent part in such features of the spirit releasing as took place outside the lodge, but their members did not enter the lodge unless they were men who themselves~had kept spirits. If several spirits were to be released, the man who first announced his intention of keeping a spirit was considered the leader of the spirit-keepers. Early in the morning, on the day of the spirit releasing, he sent a filled pipe to an old man who was to be master of the whole ceremony and who was designated a’taya itayn’éayn. Weasel Bear said: “On that day I was to lay aside all signs of mourning, so I painted myself gaily and put on all my finest attire. I was only 28 years old, but I had won a war-honor feather and I wore it that day. My wife arrayed herself like a young girl.” (See reference to the bright adornments in the Ceremony of Restoring the Mourners, in Bulletin 53, p. 153.) One man was selected for each spirit; he was known merely as itan’cay,! and was a man who had kept the spirit of a relative. It was his duty to prepare the “spirit post”? (wana’gu gele’pi) and to perform other parts of the ceremony pertaining to the individual spirit in whose service he had been employed. The spirit post was made in the spirit lodge. According to Weasel Bear cottonwood was generally used for this purpose (cf. pp. 111, 118), and the man who made it always sat with his face toward the east and whittled upward, moving the knife away from him. Before doing this he purified his hands and knife with the smoke of sweet grass. A post for a child’s spirit was smaller than for that of an adult. The post shown in plate 8 is 35 inches long; this was made by Weasel Bear to 1 See p. 70, footnote. 82 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 represent the one used when the spirit of his little girl was released. The features of the face are worked with beads on buckskin, and the lines of the paint are those which would be used for'a girl who had been through the Alo’wanpi ceremony. The feather is that worn by Weasel Bear’s daughter when she was “‘sung over”’ in that ceremony. Both the lines and feather belonged to a daughter somewhat older than the one whose spirit he kept. When the features had been deline- ated on the posts each itan’éan opened the case (pay) containing the articles of clothing to be placed on the posts. These, which had been previously exhibited outside the lodge, were garments worn by the person whose spirit was to be released. After the ceremony these garments were given to the man who painted the post. After the dressing of the posts the woman in charge of the cooking brought food, a plate of which she put in front of each spirit post, after purifying the food in the smoke of sweet grass. Taking: a round piece of pounded meat, each itan’éay held it to the painted mouth on a spirit post. At this time any orphan in need of help might appear and ask in the name of the spirit to be released, that it be fed and cared for. Such a request was never refused. Any others in need of help might make an appeal at this time, four oppor- tunities being given during the ‘‘feeding of the spirits.”’ When this was finished within the spirit lodge there was a distri- bution of gifts to the people in the camp. These gifts had been accumulated by the family of the spirit-keeper and already had been exhibited to the people. Weasel Bear said that his wife put up frames for this purpose, laying poles across forked stakes and hanging belts, moccasins, leggings, and other articles on the poles. At this time the spirit-keeper sent gifts to the societies, who pre- served order in the camp. A gift to a society was said to be some- thing about equal in value to the gifts which the spirit-keeper had received from that society, and to be something which could be divided among the members. , Thus Weasel Bear said that he gave a war bonnet to the Tokala society, and that the feathers were dis- tributed among the men. There was much feasting in the camp and this was an occasion on which prominent: families announced pub- licly the names which they had given their children, or had the ears of their children pierced in the same manner as at the Sun dance. (See p. 137.) The ceremony within the lodge was not studied in detail. Only former spirit-keepers were allowed to enter, and the man selected as a’taya itay’éay was ‘‘prepared with proper songs and prayers and was also qualified to give lamentations for the dead.”’ If a white buffalo robe were used, song No. 1 was sung. Mention has been made of a filled pipe placed beside the round space of mel- lowed earth in the spirit lodge. A man was appointed to light this ae te oe ee ee as DENSMORE] TETON SIOUX MUSIC 83 pipe, and was known as itay’éay iya’tay ki'yapi, or ‘‘leader who lights the pipe.” This man put lighted sweet grass on the buffalo chip which lay on the mellowed earth. He did not do this with directness, but, lowering the grass a short distance, he paused for a moment; then lowering it farther, he paused again, making four down- ward motions, after which he moved it four times in a circle, ‘‘with the sun,” and placed it on the buffalo chip. The a’taya itan’éan held the pipe in the ascending smoke and repeated the words which the White Buffalo Maiden said to the Sioux when she appeared to them. This ceremonial speech was not recorded, as none of the writer’s informants on this subject were able to repeat it.) The a’taya itayn’éan then turned the pipe and held it as if he would smoke it. Having done this three times, he put it to his lips, ready for lighting. More grass was put on the buffalo chip, and the man who was to light the pipe rubbed the fragrant smoke on his hands and face, after which he lit the pipe and the a’taya itay’éan smoked it freely. Weasel Bear said: After he had smoked for awhile I sat down close to him and he pointed the stem of the pipe toward me, saying, ‘““Young man, you are going to smoke this pipe. It was brought to us by a woman, and drawing it will lead you to be as straight and truth- ful as the stem of the pipe.’’ I smoked it without touching the bowl, and the old man in taking it from me passed his hand downward over my face. The pipe was then passed around the lodge, going toward the left. When it wassmoked out itan’éan iya’tan ki’yapi took it and three times pretended to empty the ashes on the buffalo chip, emptying them with the fourth motion. During the day of the ceremony the spirit bundles lay beside their respective spirit posts. The actual release of the spirits came when these bundles were opened. This was done by the a’taya itan’éan. Weasel Bear said: He did not take all the wrapping from a spirit bundle at once. He removed a por- tion and then made a brief discourse, doing this in such a manner that there were four acts of unwrapping, the last one occurring about an hour before sunset. Then he un- folded the last wrapping and let the spirit of my child depart. The lock of hair, or other object which formed the nucleus of the spirit bundle, was kept by the family, and the itan’éay kept such articles from the bundle as he desired, the remainder being distributed among the people in the lodge. The spirit-keeper and his wife then gave away practically all they possessed except the clothing they wore. ‘ If the principal spirit-keeper made use of a white buffalo robe in the spirit lodge there was much interest at the close of the ceremony in see- ing who would have the honor of carrying it out of the lodge. A man having the necessary qualifications might do this, and children who had been through the Alo’wanpi ceremony might take hold of it and help him carry it. The qualifications included uprightness of life and the former possession of a white buffalo robe. Outside the lodge a crude 84 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 effigy of a buffalo had been erected of small trees. After being carried from the lodge the white buffalo robe was laid over this framework, and on it were placed valuable garments, as an elk-tooth dress or an eagle war bonnet. The white buffalo robe, together with the articles placed upon it, were given to the society which had given most assist- ance to the spirit-keeper. In every society there is one man who is qualified to take charge of such a robe if the society decides to keep it intact, and such a man may make drawings on it. The society is at liberty, however, to cut it in pieces and divide it among the mem- ~ bers, or to sell it if so desired. Weasel Bear said: When it was time for the people to depart, the itan’¢an went first, carrying his share of the bundle in which for so long I had detained the spirit of my little daughter. My wife stood at the door of the tipi and said to the people, ‘‘if you have no leather you may cut up this tipi.’”? The women came like a rush of wind and cut up the tipi very quickly. My wife even let them have a little tipi in which we kept our cooking uten- sils and other things not connected with the spirit-keeping. ‘They even took away the tipi poles. Nothing was left except the grass on which we stood and the little spirit post. My wife and I had parted with everything. We walked side by side, and I thought with some regret of all I had given away. We went and sat down under a tree in a deep study. That evening one of our relatives came and put up a tipi, led us to it and said. “‘This is your home.’’ Others brought kettles, blankets, provisions, and clothing for us. Our relatives did all this for us, in order that we might begin our lives again. After a time the camp moved to another place and we left the spirit post standing there. No matter where we were, if a woman came and said, ‘“‘I cleared the ground around your daughter’s post,’’ my wife would give her food. . Sometimes, if there isa spirit post in the camp, a person who is hungry will go and clear the ground around the post. The relatives of the dead person will see this and cook food and carry the kettles to the place, that the hungry may eat and be satisfied. But if a spirit-keeper so desires, he may, after a certain time, take up the spirit post-and bury it.”’ After finishing his narrative, Weasel Bear added: ‘‘All this came to us through the white buffalo and is one of the reasons why every- thing connected with the buffalo is so highly regarded by us.” THE SuN DANCE In the myths of the Indians, as in the mythology of ancient peoples, the sun was a prominent figure. Doctor Swanton" states that ‘‘the Natchez believed the universe to be filled with spirits in human forms, and that there were differences in power among these, the most powerful of all being a sky deity resident in or connected with the Sun.” Many other tribes held a similar belief, and the worship of such a deity was widespread among the Indians of North America. This worship assumed various forms, presenting con- trasts In Many important characteristics. The Sun dance was a 1Jndian Tribes of the Lower Mississippi Valley and Adjacent Coast of the Gulf of Mexico, Bull. 43, Dur. Amer. Ethn., p. 174, 1911. a , ; ee DENSMORB] TETON SIOUX MUSIC 85 ceremony whose observance was limited to certain Plains tribes.1. In the Sun dance the Indian considered that he offered to Wakan/taynka? 1 See bibliography, pp. 86, 87, footnote, of this work, also article Sun Dance, by G. A. Dorsey, in Hand- pook of American Indians, pt. 2, p. 649. 2 Throughout this work the term Wakan’tanka will be used in preference to the term Great Spirit, which is commonly accepted as its English equivalent. The word Wakan’tanka is composed of wa'kay (mysterious) and fay’ka (great). There is nothing in the term to suggest “spirit,” the Sioux having other words to express that idea. The statement has been made that the term Wakan’tanka, as well as the idea which it is used to express, is a result of the teachings of missionaries, the native religion being a worship of Ta‘kuwakan, a numen or a mysterious thing (hence a spirit or divinity). Rev.J.Owen Dorsey, who went among the Siouan tribes first as a missionary and afterwards as a philologist, wrote: “The missionaries, not the laymen, are the ones who make the positive statements about the absence of a beliefin one Great Spirit. (See Eleventh Rep. Bur. Ethn., p.432.) During several seasons’ work among the Teton Sioux the writer has made diligent inquiry concerning this matter, and the unvarying opinion of the old men is that the Sioux have always believed in Wakan’tanka. The exact significance of the term in the mind of the Sioux is as difficult to formulate as the exact meaning of the word God in the mind of Christians. (Seep. 96.) In old times the term Wakan’tanka was not used in ordinary conversation, because it was held too sacred to be spoken except with due reverence and at a proper time. In this connection it will be recalled that many tribes of Indians avoid mentioning a man’s name, especially in his presence. That whichremains unspoken must be considered in the study of any deep phase of Indian thought. A full and complete expression is not in accordance with Indian custom. The unspoken element may be a matter of mutual understanding, no indication of which appears in words, or it may be something which is indicated in such a manner as to be intelligible only to those for whom it is intended. Thus there is a “sacred language” used by medi- cine-men in which familiar words take on an occult meaning. (See p. 120, footnote.) In attempting to express the meaning of the word wakay the following statement was made to the writer by several old In- dians, after consultation: “ An ordinary man has natural ways of doing things. Occasionally there isa man who has a gift for doing extraordinary things,and he is called wakay. Although this is a supernatural gift, he can use it only by effort and study. A man may be able to do things in a mysterious way, but none has ever been found who could command the sun and moon or change the seasons. The most wonderful things which man can do are different from the works of nature. When the seasons changed we regarded it as a gift from the sun, which is the strongest of all mysterious wakay powers.’’ (See p. 96.) In another con- sideration of the subject it was said: ‘We use the words taku wakay for anything which we can see for ourselves has mysterious power. Thus a pipe is taku (something) wakay, for with it supplications may, be made and good obtained. Wecan not see the thunder, and we say it is wakay, but we see the lightning and we know that the thunder and lighting are a sign of rain, which does good to the earth. Anything which has similar power is wakay, but above all is the sun, which has most power of all.”” Other conversa- tions, similar to the preceding, expressed the conviction in the minds of the Sioux that their people had always believed in a mysterious power whose greatest manifestation is the sun, and that Wakan’tanka was the designation of that power. The belief in lesser ‘‘deities’’ will not be considered at this time. The following citations indicate the manner in which Wakan’tanka is regarded by the Sioux: Should be reverenced (p. 88); “I conquered by the help of Wakan’tanka”’ (p. 96); ‘“‘ Wakan’tanka, pity me”’ (p. 135); is to be petitioned reverently (p. 184); provides food (p. 185); is maker of all (p. 208); Wakan’tanka repre- sented by sacred stones (p. 214); medicinal herbs are a gift from Wakan’tanka (p. 268); is all powerful (p. 87); is a help in sickness (p. 275); gives success (p. 341). See also prayers to Wakan’tanka, p. 95, footnote. The following authorities on this subject may be consulted, some holding opinions differing from the above statement: Rev. G. H. Pond, writing in 1866, said: ‘Evidence is also wanting to show that the Dakotas embraced in their religious tenets the idea of one Supreme Existence, whose existence is expressed by the term ‘Great Spirit.’’’ (Colls. Minn. Hist. Soc., vol. 2, pt. 3, p. 33, 1867.) Rev. S. R. Riggs men- tions nine “ Dakota gods,” saying, “‘this enumeration of the, Dakota gods is not intended to be exhaustive.” (See Riggs, Stephen Return, Tah-koo Wah-kan’, pp. 61-75, Boston [1869]; also, by the same author, The Theogony of The Sioux, in Amer. Antig. for April-June, u, No. 4, pp. 265-70, 1880, in which the elements of earth, air, and water have each a special deity. Among certain Siouan tribes the term wakay’da was used. Concerning this word Dr. W J McGee says «The idea expressed by the term . . . can not justly be rendered into ‘spirit,’ much less into ‘ Great Spirit’ . . . It appears that, in so far as they grasped the theistic concept, the Sioux Indians were polytheist; that their mysteries or deities varied inrank and power; . . . and that their dispositions and motives resembled those found among mankind.” (McGee, W J, The Siouan Indians, in Fifteenth Rep. Bur. Ethn., pp. 182-83.) Miss Fletcher states that among the Omaha and Ponca tribes the word wakay’da was used to designate a “‘mysterious power or permeating life,” and that “this word is now used to designate the Deity.”’ (Fletcher, Alice C., The Emblematic Use of the Tree in the Dakotan Group, in Proc. Amer. Assoc. Adv. Sci., 1896, p. 193, Salem, 1897.) Seo also Fletcher and La Flesche, The Omaha Tribe, in Twenty-seventh Rep. Bur. Amer. Ethn. pp. 597-599, Washington, 1911; Fletcher, Wakondagi, in Amer. Anthr., XIV., pp. 106-108, Lancaster, 1912, 4840°—Bull. 61—18——8 86 BUREAU OF AMERICAN ETHNOLOGY [BULL 61 what was strongest in his nature and trainmg—namely, the ability to endure physical pain. He did this in fulfillment of a vow made in time of anxiety, usually when on the warpath. Strange as it may seem, the element of pain, which ennobled the ceremony in the mind of the Indian, was a cause of its misunderstanding by the white man. The voluntary suffering impressed the beholder, while its deep signifi- cance was not evident. It is probable that no Indian ceremony has been misinterpreted so widely and so persistently as the Sun dance. V. T. McGillicuddy, agent at Pine Ridge, S. Dak., wrote in his report for 1882: ‘‘The heathenish annual ceremony termed ‘the Sun dance,’ will, I trust, . . . be soon a thing of the past.’’! James G. Wright, agent on the Rosebud Reservation, in the same State, characterized the Sun dance as an ‘‘aboriginal and barbarous festival.”’ 2? The stand point of the Sioux concerning the Sun dance is indicated by the following statement of Red Bird, a thoughtful member of the tribe. In describing the Sun dance to the writer he said: There is a great deal in what a man believes, and if a man’s religion is changed for the better or for the worse he will know it. The Sun dance was our first and our only religion. We believed that there is a mysterious power greater than all others, which is represented by nature, one form of representation being the sun. Thus we made sacrifices to the sun, and our petitions were granted. The Indians lived longer in the old days than now. I would not say this change is due to throwing away the old religion; there may be other reasons, but in the old times the Sun dance was held annually and was looked forward to with eagerness. I believe we had true faith at that time. But there came a year when ‘‘the sun died,” There wasa period of dark- ness,? and from that day a new religion came to the Indians. It is the white man’s religion. We are timid about it, as we are about the other ways of the white man. In the old days our faith was strong and our lives were cared for; now our faith is weaker, and we die. The ceremony of the Sun dance varied among different tribes.‘ 1 Ind. Aff. Rep. for 1882, p. 39, 1882. 2 Tbid. for 1886, p. 82, 1886. 3[The Indians stated that this referred to an eclipse of the sun in 1868, but the reference is probably to the total eclipse which took place August 7, 1869.] 4 Concerning the Sun-dance customs of various tribes the following authorities, among others, may be consulted: Among the Sioux: Fletcher, Alice C., The Sun dance of the Ogalalla Sioux, in Proc. Amer. Assoc. Adv. Sci., 1882, pp. 580-84, Salem, Mass., 1883. Description by Bushotter, in Dorsey, George A., A Study of Siouan Cults, in Eleventh Rep. Bur. Ethn., pp. 450-64. Also description by Capt. John G. Bourke, U.S. A., ibid., pp. 464-66. Clarke, W: P., Indian Sign Language, p. 361, Philadelphia, Pa., 1885. Catlin, George, The Manners, Customs, and Condition of the North American Indians, I, pp. 232, 233, London, 1841. Lynd, James W., Religion of the Dakotas, in Colls. Hist. Soc. Minn., vol. 2, pt. 2, pp. 78, 79, St. Paul, Minn., 1865. Pond, G. H. (quoting from Rey. S. R. Riggs), Dakota Superstitions, ibid., pt. 3, pp. 46-49, 1867. Beckwith, Paul, Notes on Customs of the Dakotahs, in Smithson. Rep. for 1886, pt. 1, p. 250, 1889. Among the Crows: Lowie, Robert H., The Sun Dance of the Crow Indians, in Amer. Mus. Nat. Hist., Anthr. Papers, XVI, pt. 1, New York, 1915, DENSMORE] TETON SIOUX MUSIC 87 The form of the ceremony herewith presented is that of the Sioux on the Standing Rock Reservation, in Dakota, a majority of whom belong to the Teton division. In old times the tribe was so large and so widely scattered that Sun dances were held at more than one locality, the Teton and Yanktonai usually uniting in a ceremony, which was held on the western portion of the Dakota prairie. Thus their traditions of the ceremony have much in common, while the Sun-dance customs of the Santee, Sisseton, and other divisions of the tribe living toward the east, present many radical differences. THE SUN DANCE OF THE TETON SIOUX The writer’s study of the Sun dance was made in 1911 among the Teton and Yanktonai Sioux on the Standing Rock Reservation, in North and South Dakota. ‘The principal part of the work was done in a series of conferences covering a period of several weeks, these being held at the Standing Rock Agency. Fifteen men took part, and about 40 others were interviewed. These informants, who were carefully selected, lived within a radius of about 80 miles. Below will be found a brief sketch of each of the men who took-part in the conferences. Ten are of pure Teton blood. Several of these men have been prominent in the history of the tribe and its negotiations with the Government. With one exception—a noted warrior who took part in the battle known as the Custer massacre—they were friendly to the white men during the troublous days on the frontier. Six of the men have steadily refused to be influenced by the mission- aries and still retain the native religious beliefs. Among the Cheyenne: Dorsey, George A., The Cheyenne, pt. 2, in Pubs. Field Col. Mus., Anthr. ser., 1x, No. 2, Chicago, 1905. Hayden, F. V., Contributions to the Ethnography and Philology of the Indian Tribes of the Missouri Valley, p. 280, Philadelphia, 1862. Mooney, James, The Cheyenne Indians, in Mems. Amer. Anthr. Assoc., vol. 1, pp. 369, 417, Lancaster, Pa., 1905-1907. : Among the Arapaho: Dorsey, George A., The Arapaho Sun Dance; The Ceremony of the Offerings Lodge, op. cit., Iv, 1903. Among the Ponea: Dorsey, James Owen, A Study of Siouan Cults, in Eleventh Rep. Bur. Ethn., p. 378, 1894 Among the Kiowa: Scott, Hugh Lenox, Notes on the Kado, or Sun dance of the Kiowa, in Amer. Anthr.,xm, No. 3, pp. 345-79, Lancaster, Pa., 1911. Among the Mandan: Catlin describes and illustrates a ceremony similar in some respects to the Sun dance, under the title ‘Annual Religious Ceremony;”’ see Catlin, op. cit., pp. 155-77. This ceremony is also described as the ‘‘Okippe’’ of the Mandan by Maximilian, Prince of Wied, in Travels in the Interior of North America (translated from the German by H. Evans Lloyd), pp. 372-78, London, 1893. Among the Blackfoot: Wilson, R. N., The Sacrificial Rite of the Plackfoot, in Proc. and Trans. Roy. Soc. Canada, 1909, 2d ser., vol. 3, sec. 0, pp. 3-21, Ottawa, 1910. Among the Minitari (a division of the Hidatsa): Matthews, Washington, Ethnography and Philology of the Hidatsa Indians, U. S. Geol. and Geogr. Surv., Misc. Pub. No. 7, pp. 45, 46, 1877. James, Edwin, Account of an Expedition from Pittsburgh to the Rocky Mountains, performed in the years 1819 and 720, under the command of Maj. Stephen H. Long, pp. 276, 277, Philadelphia, 1823. See also articles Sun dance and Ceremony by George A. Dorsey in Handbook of American Indians. 88 BUREAU OF AMERICAN ETHNOLOGY [ BULL, 61 (1) Iruyn’KAsAn-LU’TA (RED WEASEL), a member of the Teton division of the tribe. Concerning the Sun dance Red Weasel is con- sidered the highest authority among the Teton Sioux. He acted as Intercessor four times, the last occasion being the Sun dance of 1881, the final ceremony held by the Teton in Dakota. He also took part in the dance four times, once by being suspended from the pole and three times by receiving cuts on his arms. In earlier years he was trained for the office of Intercessor (Auwa’ Kiya’pr) * by Wi-ihan’bla (Dreamer-of-the-Sun), who died about the middle of the last century. Before giving his information concerning the Sun dance Red Weasel said: Tam not boasting; I am telling you what I myself know and I must speak for myself as there is no man living who can vouch for me. What I tell you is what I learned from Dreamer-of-the-Sun, who taught me as he was taught. Beyond that I can not tell you the history of the Sun dance. Dreamer-of-the-Sun was my uncle. He had many relatives, but he selected me as one who was peculiarly fitted to succeed him if I lived to grow up. He thus decided to instruct me and began my training at an early age. One of the first and most important things I was taught was that I must have the greatest reverence for Wakan’tanka. Dreamer-of-the-Sun told me that if I would obey his instructions I would be a help to the Sioux nation, and that, if properly prepared for the duties of the highest office in the Sun dance, I need have no anxiety when filling the office as the proper thing to do would come to my mind at thetime. In regard to the songs, Dreamer-of-the-Sun told me that I may pray with my mouth and the prayer will be heard, but if I sing the prayer it will be heard sooner by Wakan’tanka. All the prayers which I offered in the Sun dance and which are still in my mind are prayers which were taught me by Dreamer-of-the-Sun. When Red Weasel gave his information concerning the Sun dance he was about 80 years old and bowed with the weight of his years. He traveled 43 miles by wagon in order to confer with the writer. The sun shone in a cloudless sky while he was at the agency, and his presence was so highly esteemed by the old people that many said, ‘“We have fine weather because Red Weasel is with us.” (2) Maro’-Kuwa’Pl (CHASED-By-BEARS), aSantee-Y anktonai (pl.13) took part in the Sun dance twice as Leader of the Dancers and was present at the final Sun dance of the Teton. His first participation in the dance was in 1867, when at the age of 24 years he had ‘‘spoken the vow”’ of a war party. (See p. 97.) On that occasion as well as at other Sun dances he cut the arms of the men, suspended them to the pole or fastened the buffalo skulls to their flesh, according to the nature of their vows. He said that he once saw a vision. He was dancing in the Sun dance, and as he looked steadily at the sun.he saw representative of the people, and for this reason the term “Intercessor”’ was adopted by Mr. Higheagle to designate this office. A majority of English words expressing religious ideas are associated with the teachings of Christianity. In many instances, therefore, the native idea must be gained largely from the connection in which a word is used. ee be eet DENSMORE] TETON SIOUX MUSIC 89 a man beneath the sun, the man’s face being painted red and white.’ Chased-by-Bears died in February, 1915. (3) ZinTKA’LA-LU’TA? (RED Brrp), plate 22, a Teton Sioux, took part in the Sun dance at the age of 24 years, receiving 100 cuts on his arms in fulfillment of a Sun-dance vow.* His uncle was an Intercessor in the Sun dance and Red Bird was receiving instructions from him with a view to filling that office when the Sun dance was discontinued. His uncle’s name was Taéa’gula (His Lungs) who died in the year 1868. (4) Pra’ (Grass), plate 73, bears also the name Mato’-wata’- kpe (Charging Bear); he is best known, however, as John Grass. His father also was known as John Grass, and in addition to this he bore the name Waha’éanka-ya’pi (Used-as-a-Shield); he was noted as a warrior against other tribes, but was always friendly to the white men. John Grass is a Teton and was a successful leader of war parties against the Mandan, Arikaree, and Crow Indians. When the Black Hills treaty and other treaties were made with the Govern- ment he was the principal speaker for the Sioux tribe. Since that time he has constantly influenced his people to adopt the customs of civilization. He has been to Washington as a tribal delegate and for 30 years has been the leading judge of the Court of Indian Offenses on the Standing Rock Reservation. As a young man he was selected to choose the Sun-dance pole, but never made a Sun-dance vow. (5) Irun’KAsAn-MATO’(WEASEL BrEaR) is a Teton Sioux. He was once selected to choose the Sun-dance pole but never fulfilled a vow at a Sun dance. He once made a similar vow, which, how- ever, was fulfilled privately. When on the warpath against the Crows he vowed that if he were successful he would give part of his flesh to Wakan’tanka, but did not say that he would do so at the Sun dance. The war party was successful, and on the way home his arms were cut with 100 gashes in fulfillment of the vow, the cutting being done by a man who had taken part in the Sun dance. Weasel Bear is hereditary chief of a large band and belongs to one of its wealth- iest families. As a young man he was successful in war, a prominent member of the White Horse Riders, and a leader in the grass dance. When negotiations with the Government were begun he was one of 1 For other descriptions of dreams see: Dream of the rising sun (p. 139); a dream of “a man in the sun,” by Red Bird (p. 149); of the thunderbirds, by Lone Man (pp. 159-161); of the thunderbirds, and of wolves, by Charging Thunder (pp. 170-181); of the buffalo, elk, wolf, and sacred stones, by Brave Buffalo (pp. 173-179, 207-208); of the crow and owl, by Siya’ka (pp. 184-188); of the wolf, by Two Shields and by Weasel Bear (pp. 188-190); of a rainbow (p. 214); a strange vision in the sky, in which a sacred stone ap- peared, by Goose (p. 251); a dream of a badger by Eagle Shield (p. 266.) 2 This is the generic term for small birds but is commonly translated simply ‘‘bird.”’ 3 Red Bird died a few weeks after the study of the Sun dance was completed. On returning to the reser- vation the writer asked whether the death of Red Bird was attributed to the information given concerning the Sun dance and was assured it was not. Indeed Red Dird said during his last illness that he was greatly comforted by the thought that he had helped to preserve the songs and beliefs of his people. 90 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 the tribal delegates to Washington. In his later years he is known as one of the most prosperous native farmers on the reservation. (6) Waxkiy’YAN-WATA’KPE (CHARGING THUNDER), plate 24, a Teton Sioux, is an hereditary chief of a band and a highly respected member of the tribe. . He took part in the Sun dance four times, at the ages of 21,23, 24, and 25. On each occasion he had vowed that 100 cuts should be made on his arms, but the last time there was not room for all the cuts on his arms, so about 20 were made on his chest. He is a man of genial countenance and powerful physique. In speak- ing of himself he said, ‘‘My prayer has been heard and I have lived long.” (7) Maéa’ (Goose), plate 31, was a member of the Teton division, and at the time of giving his information was 76 years of age. He still continued the practice of native medicine and was considered the best Indian doctor on the reservation. He took part in the Sun dance at the age of 27, being suspended from the Sun-dance pole. Goose served for a time in the United States Army. The records of the War Department show that he enlisted September 11, 1876, in Buffalo County, Dakota Territory, as a scout, U. S. A., and served almost continuously in that capacity until July 10, 1882. .He again enlisted June 11, 1891, at Fort Yates, North Dakota, and was honor- ably discharged April 30, 1893, a private of Company I, 22d United States Infantry. He was a corporal from October 16, 1891, to October 18, 1892. Goose died in September, 1915. (8) Srva’ka (Trat Duck), plate 1, who bore also the name Wanbli’wana’peya (EKaGLE-WHo-FRIGHTENS), was a Yanktonai- Teton. Instead of being known by the English equivalent of his Sioux name he was known as Siya’ka, the name used in the present work. He was not an hereditary chief, but was elected chief of a band. He took part in the Sun dance twice as a young man and was also one of the four young men selected to choose the Sun-dance pole. The. first time he took part in the Sun dance was at the age of 21 in fulfilment of a vow made on the warpath. He went with a party of 26 warriors on an expedition against the Mandan and Arikaree. About 20 of the warriors, including himself, vowed to take part in the next Sun dance by dancing, and the other members of the party vowed to participate in other ways. One battle was fought, and all the party returned home alive. His second participa- tion in the Sun dance was at the age of 25, and he bore three long scars on each arm as an evidence of the ordeal. He was once a tribal delegate to Washington. Siya’ka died in March, 1913. (9) Toxa’La-Lu’TA (Rep Fox), plate 56,is a member of the Teton band. He was prominent in the Sun dance, taking part three times, at the ages of 19, about 30, and 40 years. The last time he had sey- a ee ee es BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 9 ho BUFFALO BOY BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 10 NO HEART PLATE 11 BULLETIN 61 BUREAU OF AMERICAN ETHNOLOGY WHIT E-BUFFALO-WALKING DENSMORE] TETON SIOUX MUSIC 91 eral buffalo skulls fastened to his back. As evidence of his other Sun- dance vows he bears nine long scars on each arm, three near the wrist, four near the elbow, and two on the upper arm. (10) Hoeay’-Lu’ra (Rep Fisn), plate 74, a Santee-Yanktonai, is a chief and is a prominent man in the councils of the tribe. He took part in the Sun dance twice, first when he was 26 years old, and the second time at the age of 40. (See song No. 192.) (11) Isna’La-wiéa’ (Lone Man), plate 23, a Teton, took part in the Sun dance when 20 and when 31 years of age, and has 100 sears on each arm. He was chosen on one occasion to help select the Sun- dance pole and on another occasion to sing at the drum. He was prominent in tribal wars and took part in the Custer massacre. (12) Ma’zaKay’-wiGa’KI (SEIZES-THE-GUN-AWAY-FROM-THEM), a Teton, took part in the Sun dance, being suspended from the pole. He stated that when he was on the warpath all the warriors made a Sun-dance vow, so he joined them, asking that he might conquer the enemy and capture horses, also that he might find his friends alive when he reached home. In fulfilling this vow he remained suspended for more than an hour, after which he was ‘‘jerked down,” but the flesh still refused to tear and only the sticks were broken. The flesh was then cut and the splinters of wood remaining underneath were removed, after which a tiny portion of flesh was offered as in the case of that cut from the arms. : (13) Tatay’Ka-HOKSI’LA (BurraLo Boy), plate 9, is a Santee- Yanktonai. At the age of 30 he carried six buffalo skulls when ful- filling a Sun-dance vow. Ten years later he took part in the dance again. He received his name from a dream in which he saw the buffalo. (14) Cayrr’-want’6éa (No Heart) (plate 10), a Yanktonai, is a well known medicine-man of the tribe and is able to depict events by means of drawings. (See pl. 16.) He took part in the Sun dance when 20 years of age and has 100 scars on each arm. (15) Presay’-Ma’n1t (Wuitre-Burrato-WaALkina), plate 11, is a Teton and took part in the final Sun dance in 1882. The above-mentioned men were the principal informants concern- ing the Sun dance, the work being done in a series of conferences. As already stated, about 40 additional men were interviewed. All were members of the Teton, Santee, and Yanktonai divisions of the tribe. he purpose of the interviews was to ascertain the facts concerning the ceremony which were remembered by those who at- tended as spectators, and also to ascertain the manner in which the men who took part in the conferences were regarded by members of the tribe. Thus the importance given the opinions expressed by 92 BUREAU OF AMERICAN ETHNOLOGY [BULL. 62 these men was influenced somewhat by the authority accorded them by these scattered members of the tribe. The facts brought out dur- ing these interviews did not conflict with statements made in the con- ferences, but served to corroborate them and to add minor details. Not all the men in the foregoing list were present at every confer- ence. ‘Thus on the first occasion it was possible for only 9 to attend. It was considered desirable that at least 12 persons be present, and as no other elderly man was acceptable to the council, an invitation was extended to Thomas Frosted, a full-blood Santee-Yanktonai, who witnessed several Sun dances when too young to make a Sun- dance vow, and who has given much consideration to its history and beliefs. Robert P. Higheagle, the interpreter, also witnessed a Sun dance when a child. These men, with the writer, completed the desired number and no other persons were allowed in the room. Two days were occupied by the discussions, and several men remained longer to record songs. Canneanine these coukesates Isyna’la-wiéa’ (Lone Man) said to the writer: When we heard that you had come for the facts concerning the Sun dance we con- sulted together in our homes. Some hesitated. We have discarded the old ways, yet to talk of them is ‘‘sacred talk’’ to us. If we were to talk of the Sun dance there should be at least 12 persons present, so that no disrespect would be shown, and no young people should be allowed to come from curiosity. When we decided to come to the council we reviewed all the facts of the Sun dance and asked Wakan’tanka that we might give a true account. We prayed that no bad weather would prevent the presence of anyone chosen to attend, and see, during all this week the sound of the thunder has not been heard, the sky has been fair by day and the moon has shone brightly by night, so we know that Wakan’taynka heard our prayer. Seated in a circle, according to the old custom, the Indians lis- tened to the statements concerning the Sun dance as they had already been given to the writer. According to an agreeement there were no interruptions as the manuscript was translated. The man at the southern end of the row held a pipe, which he occasionally ht and handed to the man at his left. Silently the pipe was passed from one to another, each man puffing it for a moment. The closest attention was given throughout the reading. A member of the white race can never know what reminiscences it brought to the silent Indians—what scenes of departed glory, what dignity and pride of race. After this the men conferred together concerning the work. That night until a late hour the Aes was discussed in the camp of Indians. The next morning the principal session of the council took place. At this time the expression of opinion was general and after each discussion a man was designated to state the decision through the interpreter. Sometimes one man and sometimes another made the final statement, but nothing was written down which did DENSMORB] TETON SIOUX MUSIC 93 not represent a consensus of opinion. Throughout the councils care was taken that the form of a question did not suggest a possible answer by the Indians. On the afternoon of that day the entire party drove across the prairie to the place, about a mile and a half from the Standing Rock Agency, where the last Sun dance of these bands was held in 1882. ~A majority of the Indians who went to the site of the Sun dance with the writer were men who took part in the Sun dance of 1882 and had not visited the place since that time. When nearing the place they scanned the horizon, measuring the distance to the Mis- souri River and the buttes. At last they gave a signal for the wagons to stop, and, springing to the ground, began to search the prairie. In a short time they found the exact spot where the ceremony was held. The scars were still on the prairie as they were on their own bodies. A depression about 2 inches in depth still square in outline and not fully overgrown with grass showed where the earth had been exposed for the oway’ka wakay’ (“sacred place’’); see page 122. Only 3 or 4 feet away lay a broken buffalo skull. Eagerly the Indians lifted it and saw traces of red paint upon it—could it be other than the skull used in that ceremony? They looked if perchance they might find a trace of the location of the pole. It should be about 15 feet east of the ‘‘sacred place.’ There it was—a spot of hard, bare ground 18 inches in diameter. One said, ‘‘Here you can see where the shade-house stood.’ This shade-house, or shelter of boughs, was built entirely around the Sun- dance circle except for a wide entrance at the east. It was possible to trace part of it, the outline being particularly clear on the west of the circle; to the east the position of the posts at the entrance | was also recognized. The two sunken places (where the posts had stood) were about 15 feet apart, and the center of the space between them was directly in line with the site of the pole and the center of the ‘‘sacred place”’ at the west of it.1_ More than 29 years had passed since the ceremony. It is strange that the wind had not sown seeds on those spots of earth. The little party assembled again around the buffalo skull. Mr. Higheagle gathered fresh sage, which he put beside the ‘‘sacred place;’ he then laid the broken buffalo skull upon it and rested a Sun-dance pipe against the skull, with stem uplifted. He, too, had his memories. As a boy of 6 years he was present at that final Sun dance, wearing the Indian garb and living the tribal life. Between that day and the present lay the years of education in the white man’s way. Some of the Indians put on their war bonnets 1 These measurements were verified by the writer at a subsequent time. 94 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 and their jackets of deerskin with the long fringes. (Pl. 12.) How bright were the porcupine quills on the tobacco bags! ‘Yes, it is good that we came here today.” Pass the pipe from hand to hand in the old way. Jest a little. Yonder man tells too fine a story of his part in the Sun dance—let him show his scars! Yet the memories, how they return! One old man said with trembling lips: ‘““I was young then. My wife and my children were with me. They went away many years ago. I wish I could have gone with them.” The sky was blue above the little gathering, and all around the vast silent prairie seemed waiting, listening. The Indians were its children—would the white man understand them aright ? A few weeks later the material was again discussed point by point with men who came 40 miles for the purpose. Chief among these was Red Bird, who was under instruction for the office of Inter- cessor when the Sun dance was discontinued. He was present at the first council, but some facts had come to his mind in the mean- time, and he wished to have them included in the narrative. These men met four times for the discussion of the subject, the phonograph records being played for them and approved, and some ceremonial songs being added to the series. A few days later a conference was held with five other men, most of whom were present at the council of August 28 and 29. The session lasted an entire day, the narrative which had been prepared being translated into Sioux and the phono- graph records played for them, as for the previous group of men. With one exception all the men present were chiefs. Throughout this series of conferences the principal points of the account remained unchanged. Each session added information, placed events in the proper order, furnished detail of description, and gave reasons for various ceremonial acts. The councils were not marked by controversy, a spirit of cordiality prevailing, but the open discussion assisted in recalling facts and nothing was recorded which was not pronounced correct by the council as a whole. A message was then sent to Ituyn’kasan-lu’ta (Red Weasel), an aged man who acted as Intercessor at the last Sun dance, asking him to come and give his opinion on the material. He came and with three others went over the subject in another all-day council. His training and experience enabled him to recall details concerning the special duties of the Intercessor, and he also sang four songs which he received from Wi-ihan’bla (Dreamer-of-the-Sun) together with the instructions concerning the duties of his office. These songs are Nos. 14, 15, 16, and 18 in the present memoir. Before . ; . } | sip ee =» A SONVO NNS NI SLNVdIOILYWd A Gt 3ALV1d 19 NILSTING ASOIONHL]A NVOIYSAWY JO NV3AYNG BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 13 CHASED-BY-BEARS DENSMORE] TETON SIOUX MUSIC 95 singing the first song the aged man bowed his head and made the following prayer,' which was recorded by the phonograph: Ho Wakan’tanka nama‘lion wo. Anpe’tu le el ni’oié wanZi’ obla’kin ktelo’. Tka ta’ku wo’wahtani wanil’ ya obla’kin ktelo’. Oya’te wi¢a’ni ktelo’. Huku/’¢iyela waon’ tanyan’ ama/blezayo. Mi’wankapatanhay wayyayg’ nama’jiy yo. Wi¢a’yaka eée kin on tanyay’ ho ana’magoptayn ye. Le mita/kuye yanka’pi kin ob tanyan’ to’ka e’waciy Sniyan waon’ ktelo’. Heéeéa kin toka’ta oi/najiy wan onyeglepi kin ekta’ hountayiy pi kta nuywe’. ( Translation) Wakan’tanka, hearme. This day I am to tell your word. But without sin I shall speak. The tribe shall live. Behold me for 1am humble. From above watch me. You are always the truth, listen tome. My friends and relatives, sitting here, and I shall be at peace. May our voices be heard at the future goal you have prepared for us. The foregoing prayer was uttered in so low a voice that the phono- gram was read with difficulty. It is uncertain whether the aged man intended that it should be recorded, but as he had seated himself before the phonograph preparatory to singing, it was possible to put the machine in motion without attracting his attention. He began the prayer with head bowed and right hand extended, later raising his face and using the same gestures which he would have used when filling his ceremonial office. The final work on this material was done with Chased-by-Bears, (pl. 13), a man who had twice acted as Leader of the Dancers, had ‘‘spoken the Sun-dance vow” of a war party (see p. 97), and had frequently inflicted the tortures at the ceremony. He was a particu- larly thoughtful man, remaining steadfast in the ancient beliefs of his people. Few details were added to the description of the ceremony at this time, but its teachings received special attention. Chased- by-Bears’ recital of his understanding of the Sun dance was not given consecutively, though it is herewith presented in connected form. This material represents several conferences with the writer, and also talks between Mr. Higheagle and Chased-by-Bears which took place during long drives across the prairie. In order to give opportunity for these conversations the interpreter brought Chased-by-Bears to the agency every day in his own conveyance. ‘Thus the information was gradually secured. When it had been put in its present form, it was translated into Sioux for Chased-by-Bears, who said that it was correct in every particular. The statement of Chased-by-Bears concerning the Sun dance was as follows: The Sun dance is so sacred to us that we do not talk of it often. Before talking of holy things we prepare ourselves by offerings. If only two are to talk together, one 1 Other prayers, either incorporated in narratives or made before songs and recorded by phonograph, are . as follows: By Chased-by-Bears (p. 97); by Lone Man (pp. 160, 163, 216); by Eagle Shield (p. 266); by White-paw Bear (p. 268); by Jaw (p. 389). 96 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 will fill his pipe and hand it to the other, who will light it and offer it to the sky and the earth. Then they will smoke together, and after smoking they will be ready to talk of holy things. ; The cutting of the bodies in fulfillment of a Sun dance vow is different from the cut- ting of the flesh when people are in sorrow. A man’s body is his own, and when he gives his body or his flesh he is giving the only thing which really belongs to him. We know that all the creatures on the earth were placed here by Wakan’tanka. Thus, if a man says he will give a horse to Wakay’tanka, he is only giving to Wakan’tanka that which already belongs to him. I might give tobacco or other articles in the Sun dance, but if I gave these and kept back the best no one would believe that I was in earnest. I must give something that I really value to show that my whole being goes with the lesser gifts; therefore I promise to give my body. A child believes that only the action of some one who is unfriendly can cause pain, but in the Sun dance we acknowledge first the goodness of Wakan’tanka, and then we suffer pain because of what he has done for us. To this day I have never joined a Christian Church. The old belief which I have always held is still with me. When a man does a piece of work which is admired by all we say that it is wonderful; but when we see the changes of day and night, the sun, moon, and stars in the sky, and the changing seasons upon the earth, with their ripening fruits, anyone must realize that it is the work of some one more powerful than man, Greatest of all is the sun, without which we could not live. The birds and the beasts, the trees and the rocks, are the work of some great power. Sometimes men say that they can under- stand the meaning of the songs of birds. I can believe this is true. They say that they can understand the call and cry of the animals, and I can believe this also is true, for these creatures and man are alike the work of a great power. We often wish for things to come, as the rain or the snow. They do not always come when we wish, but they are sure to come in time, for they are under the control of a power that is greater than man. It isright that men should repent when they make or fulfill a vow to Wakan’tanka. No matter how good a man may appear to others, there are always things he has done for which he ought to be sorry, and he will feel better if he repents of them. Men often weep in the Sun dance and cry aloud. They are asking something of Wakan’- tanka, and are like children who wish to show their sorrow, and who also know that a request is more readily granted to a child who cries.1. (See p. 185.) We talk to Wakan’taynka and are sure that he hears us, and yet it is hard to explain what we believe about this. It is the general belief of the Indians that after a man dies his spirit is somewhere on the earth or in the sky, we do not know exactly where, but we are sure that his spirit still lives. Sometimes people have agreed together that if it were found possible for spirits to speak to men, they would make themselves known to their friends after they died, but they never came to speak to us again, unless, perhaps, in our sleeping dreams. Soitis with Wakay’tanka. We believe that he is everywhere, yet he is to us as the spirits of our friends, whose voices we can not hear. (See p, 85.) My first Sun-dance vow was made when I was 24 years of age. I was alone and far from the camp when IJ saw an Arikaree approaching on horseback, leadinga horse. I knew that my life was in danger, so I said, ‘‘ Wakan’tanka, if you will let me kill this man and capture his horse with this lariat, I will give you my flesh at the next Sun dance.”’ I was successful, and when I reached home I told my friends that I had conquered by the help of Wakan’tanka and had made a Sun-dance vow. It happened that I was the first who had done this after the Sun dance of that summer, so my friends said that I should be the Leader of the Dancers at the next ceremony. (See p. 102.) In 1 See Dorsey, James Owen, A Study of Siouan Cults, in Eleventh Rep. Bur. Ethn., p. 435, 1894. —————————————————— el eee DENS MORE] TETON SIOUX MUSIC 97 fulfilling this vow I carried the lariat I had used in capturing the horse (fig. 21) fastened to the flesh of my right shoulder and the figure of a horse cut from rawhide fastened to my left shoulder. [Fig. 21 shows the lariat and whistle carried by Chased-by- Bears. ] Later in the same year I went with a party of about 20 warriors. As we approached the enemy some of the men came to me saying that they desired to make Sun-dance vows and asking if I would ‘‘speak the vow” for the party. (See p.101.) Each man came to me alone and made some gift with the request. He also stated what gifts he would make at the Sun dance, but did not always say what part he intended to take in the dance. One man said, “‘I will give my whole body to Wakan’tanka.’’ I did not understand what he meant, nor was it necessary that I should do so, but at the time of the Sun dance he asked that his body be suspended entirely above the ground. Just before sunrise I told the warriors to stand side by side facing the East. I stood behind them and told them to raise their right hands. I raised my right hand with them and said: ‘‘ Wakan’tanka, these men have requested me to make this vow for them. I pray you take pity on usand on our familiesat home. We are now between life and death. For the sake of our families and relatives we desire that you will help us conquer the enemy and capture his horses to take home with us. Because they are thankful for your goodness and will be thankful if you grant this request these men promise that they will take part in the next Sun dance. Each man has some offering to give at the proper time.”’ We were successful and returned home victorious. Knowing that these men had vowed to take part in the Sun dance, I saw that their vows were fulfilled at the next ceremony and personally did the cutting of their arms and the suspension of their bodies. J did this in addition to acting as Leader of the Dancers and fulfilling my own vow. The second time I fulfilled a Sun-dance vow I also acted as Leader of the Dancers. At that time I carried four buffalo skulls. They were so heavy that I could not stand erect, but bowed myself upon a stick which I was permitted to use and danced in that position (p. 133). When: the work with Chased-by-Bears was finished he went with the writer and the interpreter to the spot where the final Sun dance was held, a place which had been visited by the council of Indians a few weeks before. The purpose of this visit was that Chased-by- Bears might arrange the ceremonial articles on the ‘sacred place ”’ as would be done in a ceremony. The outline of the “‘sacred place’ was made clear and intersect- ing white lines were traced on the exposed earth. (See page 122.) A buffalo skull had been secured and brought to the place. Chased- by-Bears spread fresh sage beside the ‘‘sacred place” and laid the buffalo skull upon it. He then made a frame tosupport a pipe and placed in ceremonial position a pipe which had been decorated by the woman who decorated the Sun-dance pipe for the last tribal ceremony. The group of articles was then photographed. (See pl. 20.) | Sud- denly Chased-by-Bears threw himself, face downward, on the ground, with his head pressed against the top of the buffalo skull. This was the position permitted a Leader of the Dancers when resting 98 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 during the Sun dance. (Seep. 130.) After a few silent moments, he rose to his feet. The white cross was then obliterated, and fresh sage was carefully strewn over the bare, brown, earth, so that no Fig. 21. Lariat and whistle carried in Sun dance. chance passer-by would pause to wonder. The study of the Sun dance was finished. DESCRIPTION OF A TETON SIOUX SUN DANCE The Sun dance was called by the Sioux Wi wan’yang wadi’pi, which is literally translated ‘‘Sun-watch- ingdance.” It was their only tribal gathering of a religious character and was held every year at the full moon of midsummer, “‘ when all na- ture and even men were rejoicing.”’ The trees were in full leaf and the june berries were ripe. Further, the wild sage was fully grown—a thing especially desired, as the sage was used in the ceremony. The place where the Sun dance was held changed from year to year, but was known to all the tribe. Across the prairie came the little compa- nies of Sioux, some traveling a long distance to attend the ceremony. One band after another arrived and erected its tipis in the accustomed part of the tribalcircle. Each band constructed a vapor lodge (‘‘sweat bath’’) near its camp for the use of those who took part in the dance, also a larger lodge in which the dancers assembled before and after the ceremony. The Sun dance was held in the center of the great circle of tents. The opening of this tribal circle was toward the East, and the tent of the itan’éan‘! (Leader of the Dancers) was opposite. A short dis- tance in front of his tent was the council tent, larger than the others and without decoration. There the chiefs and leading men met to 1 The meaning of this word is “‘leader,’’ and its exact significance is understood from the connection in which itis used. (See p. 70, footnote.) eS ee ee eee DENSMORE] TETON SIOUX MUSIC 99 transact the business of the tribe, and thence the various orders per- taining to the ceremony were carried to the people by the Crier. Members of the tribe did not approach, and children and dogs were kept away from the vicinity because the buffalo skull to be used in the ceremony of the Sun dance lay at the west of this tent. During the four days preceding the ceremony the skull lay on a bed of fresh sage outside the council tent, in a position corresponding to the place of honor inside the tent. The ceremonial lines of red paint had not yet been placed on the skull, but the openings in it were filled with sage. The use of sage around the buffalo skull was in accordance withthe instructions given by the White Buffalo Maiden. (See p. 64.) It was said, too, that ‘‘the sage was used because the buffalo sought for it on the prairie and rolled their great bodies on its fragrant leaves.” Thesage used in this connection was identified as Artemisia gnaphalodes Nutt. A month before the Sun dance the wakay’hay (medicine-men; see p- 245) prayed for fair weather, singing, burning sweet grass, and offer- ing their pipes to the sky, the earth, and the cardinal points. Before burning the sweet grass, a medicine-man prepared a spot of bare ground, placing a few coals in the middle of it. Then, taking a bunch of sweet grass, he offered it to the sky, the earth, and the cardinal points, after which he singed it over the coals. While it was smoking, he offered it again to the sky, the earth, and the cardinal points. It is said that the efforts of the medicine-men were always successful, and that the oldest men can not remember the falling of rain during a Sun dance. The following song was especially favored for securing fair weather; it is one of the songs which have descended from Dreamer-of-the- Sun, who died about the year 1845. (See p. 88.) No. 4. Song for Securing Fair Weather (Catalogue No. 497) Sung by Rep Birp VoIcE ne 72 Drum not recorded , -9- -9-° 9- © 3 2 ae ek oe es ee ee eee ee af ee eee SR eepeehet =i 2524 a fs : An-pe-tu wi tay - yan hi-na- pa nuy - we he EE ees | oe eee [eae he an - pe- tu wi tay-yan hi-na-panuy - ma - Sipe ee eee emer eee ka o-Zal-Zal-yay yan tan-yay hi-na- pa nun-we he 100 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 WORDS (First rendition) anpe’tu wi tanyan’ hina’pa nunwe’... may the sun rise well maka’ oZan/Zanya) tanyan’..-.... may the earth appear hina/pa AW We esos sees eee brightly shone upon (Second rendition) haphe’pi wi tanvan’ hina’pa nunwe’. may the moon rise well maka’ oZay/Zanyay tanyay’...... may the earth appear hina/pa.. MmUpWet sls. 2)o aa: oe ee brightly shone upon Analysis.—Like all the ceremonial songs of the Sun dance, this song was sung with much flexibility of both time and intonation, and therefore can not be fully represented by notation. In the opin- ion of the writer it is not necessary, however, that variations of less than a semitone be represented to the eye, since in this instance they differ in the several renditions, while the larger features of the song do not show a corresponding difference. The same words are always accented, and the general ratios of the rhythm are steadily preserved. Thus a comparison of several renditions shows that the rhythm used in singing the word hinapa can be indicated with reasonable accuracy by a sixteenth note followed by a dotted eighth. E flat above the staff and E flat on the staff were sung with an intonation which was almost correct, showing a feeling for the interval of the octave. B . flat, the fifth of the key, was sometimes sung quite accurately and at other times was very faulty, the same being true of F, the second of the key. It was noted among the Chippewa songs that the octave and fifth were sung with more accuracy of intonation than other intervals. (Bulletin 45, p. 5.) C flat in the seventh measure of the present song was always sung too high, and might have been considered an acci- dental except that the intonation is faulty in the entire measure in which it occurs, some of the progressions in this measure being glis- sando. Thus the character of the song and in many instances that of the singer as well must be taken into consideration in judging the importance of points which appear in the song. About three-fourths of the intervals are Soe saad progressions, and the song is melodic in structure. It has a range of eleven tones and comprises all the tones of the octave except the fourth. The danger from enemies was not forgotten in the season of rejoic- ing. The horses were herded near the camp, and young men guarded them during the day, bringmg them nearer the tents and picketing them at night. There were many greetings among the people. Events of the year were reviewed, and tales of war were told again and again. War was an absorbing interest, and the Sun dance would see the fulfill- ment of many a warrior’s vow. DENSMORE] TETON SIOUX MUSIC LOL When in danger, it was customary for an entire war party to vow that its members would take part in the next Sun dance. The vow was usually made at sunrise and spoken by a warrior who had fulfilled a similar vow. (See p. 97.) If there were time to secure a proper offermg, each man held this in his left hand, raising his right hand as the vow was spoken. It was a rite, which could be varied by the individual. Thus it was said that some made the vow more impres- sive by bowing the head or lowering the right hand slowly toward the earth. A man’s spoken vow was only that he would take part in the dance, but deep in his heart was hidden a private vow concerning the part which he would take.t| Some had left little children at home, or sick relatives or friends whom they longed to see again. They vowed that at the next Sun dance they would dance, or would be suspended by their flesh, or that many gashes would be cut in their arms; they felt that no extreme of heroic endurance would be too great an expression of thankfulness if they were reunited with their friends, yet they knew that their vow must be fulfilled even if they returned defeated or to an empty lodge. During the months which intervened between their return and the Sun dance they prepared for the fulfillment of their vows. Well they knew that if they failed to do this of their own accord it would be exacted of them by the forces of nature. More than one man who disregarded his vow to the sun had perished in a lightning flash; or if he escaped punishment himself, it was known that disaster had befallen his family or his horses. The old men knew of every vow and watched for its fulfillment. The leading men of the tribe belonged to various military societies, as the Strong Heart, the Crow-owners, the Wolf, Badger and Fox societies, or the White Horse Riders. (See pp. 314-332.) During the four days next preceding the Sun dance these societies met together for the purpose of electing the Kuwa’ Kiya’ (intercessor), the Itayn’éayn (Leader of the Dancers), the four young men who were to select the tree for the sacred pole, and the four young women who _ were to.cut it down. The chiefs were also in the council tent when- ever business was transacted. It was generally known in advance who would be chosen Intercessor and Leader of the Dancers. The former office required long and special preparation and was re- peatedly filled by the same man. His duties included the offering of prayers on behalf of the people, the singing of songs as he per- formed certain ceremonial acts, the painting of the cay wakay’ (sacred pole) and the preparation of the oway’ka wakay’ (sacred place). The ceremonial songs must either be composed by the man who sang them, or purchased from some one who had previously 1 Among other instances see Red Fox (p. 376) and Jaw (p. 390). 4840°— Bull. 61—18——-9 102 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 held the office and instructed him in its duties. A large amount was paid for the instructions and songs. The tribe knew when a young man aspired to this office, and if his preparation were complete he was elected as soon as occasion offered. Red Bird made the statement: ‘The tribe would never appoint an unworthy man to the office of Intercessor. In his prayers and offerings he represented the people, and if he were not a good man Wakan’tanka might not answer his petitions and grant fair weather; he even might send disaster upon the tribe.’”? Chased-by-Bears said that no man who had committed a great wrong could act as Inter- cessor, no matter how fully he had repented. The record of an Intercessor must be absolutely without blemish. The Leader of the Dancers was usually the warrior who first re- turned successful from the warpath, stating that he had made a Sun- dance vow and that he wished to act as Leader of the Dancers at the next ceremony. As with the office of Intercessor, the quali- fications were so well known that a man who lacked them would not presume to seek the position. He must have a reputation above reproach and be able to fill the office with credit to himself and the tribe; he must furnish the various offerings placed upon the sacred pole, and the buffalo fat in which the pole was embedded; he was also expected to offer a Sun-dance pipe and provide the buffalo skull upon which it rested during the ceremony, a skull without defect selected by him from the many that strewed the prairie. The Sun-dance pipe (pl. 14), furnished by the Leader of the Dancers, was decorated at his request by one of the most skillful women of the tribe. It was considered a great honor to decorate this pipe, which was prepared some time before the ceremony. There was no prescribed pattern, but the decoration consisted of porcu- pine-quill work and did not cover the entire stem. The men who ful- filled their vows also made certain offerings, which they prepared before the ceremony; these varied in value according to the wealth of the man. Thus a man of large means might give a pipe, a quantity of tobacco, a buffalo robe, and other goods, while a man of small means gave only tobacco. Like the offermgs made during the ceremony by the Intercessor, these were regarded as gifts to Wakan’tanka. — — — WORDS Ola ult ees oes os he 2 2 =~ 2 friends bliheweiyar pee. 2..2.-----... take courage | AS CS) Ui a Ae a right here opku’pi. kin.................. we are coming wanon’yanka pelo’........... they see us 106 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 Analysis—This melody is particularly forceful and direct. It is a song which would inspire confidence, and is also rhythmic for dancing. The tonic triad is emphasized, the song consisting only. of the tonic triad and fourth. In one instance the fourth was ac- cented and has no apparent chord relation to contiguous accented tones. The song is therefore classified as ‘melodic with harmonic framework,” instead of “harmonic” in structure. Descending pro- gressions are used effectively in this melody, the first rhythmic unit containing such progressions in double and the second in triple time. It is interesting to note throughout these songs the effect produced by slight changes in rhythm. For instance, in the first occurrence of the second rhythmic unit the second measure was sung in every rendition with two eighth notes on the second count. It will be seen that in other occurrences of this unit the first note of this measure is a dotted eighth. In all renditions of this song the time was increased with the introduction of the words, and the song closed in the original tempo. The return to this tempo was usually gradual, being made sooner in some renditions than in others. The time of the drum did not change with the increased tempo of the voice, the drum-rhythm being continuous, as indicated. Similar instances were noted among the Chippewa; these are considered in Bulletin 53, page 206. In the present work the following instances of change of time are found: Songs in which the voice changes tempo, the song being recorded with drum, which is continuous and does not change in tempo—Nos. 5, 83, 114, 183, 188. Songs in which the voice changes tempo, the song being recorded without drum—Nos. 55, 58, 88, 137, 140, 145, 153, 156, 166, 170, 171, 174. In this song occurs one instance of the omission of a syllable, the third syllable of bliheiéiya being omitted by the singer. Among other songs containing this peculiarity are Nos. 17; 38. The omis- sion and addition of syllables was frequently noted in the Chippewa songs. Throughout the present work all interpolated syllables are indicated by italics. These cnanges in the words of songs represent an Indian custom and do not in any wise affect the meaning. The following song was also used in the braves’ dance; it is esti- mated to be about 180 years old, as the singer, who was a man past middle life, stated that his father said that his grandfather sang it. The age of a song can usually be determined in this manner with a fair degree of accuracy. DENSMORB] TETON SIOUX MUSIC 107 No. 6. Song of the Braves’ Dance —_ (Catalogue No. 498) Sung by Rep Birp VoIcE = 80 Drum a= 80 See a below Oe Erne - » | -o- ph eS SSS See | = Drum-rhythm a a_ ~— Ja_ \a_ \e_ Analysis.—This song is minor in tonality and contains all the tones of the octave except the sixth and second. In three instances the seventh is raised a semitone. Twelve tones are comprised in the compass of the song, which has a steadily descending trend. The song contains two rhythmic units, each occurring twice. As is usual in such instances, the rhythmic units resemble each other, the second seeming to be an “answering phrase.”’ The tree to be used for the sacred pole was selected and cut, and the sacred pole was decorated and raised on the morning of the day preceding the Sun dance. All the tribe were present when the four young men set out from the camp to select the tree. For some time before their departure the drummers and singers sang the songs of war, for the tree was regarded as something to be conquered. The following song might be sung as the people assembled. This song was composed by the singer, a man who is known in the tribe as a composer of war songs. 108 BUREAU OF AMERICAN ETHNOLOGY . [BULL. 61 No. 7. “With Dauntless Courage’ (Catalogue No. 488) Sung by Lone Man VoIcE = 96 Drom not recorded Nii ah (1) = is ipaetaies ie. al a nn [Se a =a : a = ae ae Ss : ss = 4 ee (1) (1) a a a a rae ee a | =_—__-* SS BE: | 1 = t j= — — = a a. 6-6 = Sa ree EK -¢a o- zu-ye kin -hay tu - we - ni wa - AUST cet qd) ENN )_g- > = ame e__@ @ + “fe —— == | ==S == =a = la-ke Sni Ga bli-he -Gi- ya wa-on we- lo oe @ = -3—]— -— -§ ==] == at an a ———— eg Soe a os a WORDS eéa’ ozu’ye kinhay’........-. on the warpath tuwe’ni walake’ sni éa...... I give place to none blihe’i¢iya wa6n’ welo’......- with dauntless courage I live Analysis —The descending interval of a fourth comprises more than a third of the entire number of intervals in this song. Three rhythmic units appear, and a comparison of them is of interest. The count-divisions of the first unit are reversed in the second. The third unit begins with two eighth notes, like the first, but these are followed by a reversal of the count-division found in the first unit. The ascent of a twelfth, which occurs with the mtroduc- tion of the words, was given quite accurately, but the intonation on the measure containing the words waéy’ welo’ was faulty, approach- ing a glissando in the descent from one tone to another. DENSMORB] TETON SIOUX MUSIC 109 The following song was frequently used in this connection, and was used also before the departure of a party going on the warpath or in search of buffalo: No. 8. ‘The Many Lands You Fear” (Catalogue No. 450) Sung by Srva’Ka Voice Js 104 Drum e — 96 Drum in accented eighth notes* (1) [7 Tl eepeleieaertesca aT peels capt i Sp a at ae oe ce ee oO T a 2 af sl = i ee ee ER “ eas: tae : Soe ee — Ko-la o - te ma-ko - Ge waynko-ya-ki-pa - pi he-na ko- *Drum-rhythm @ o @ @ r o @ @ WORDS Role seer). SIV, clo Fed! bss friends Mite: MARKO CC: soos oe Sk as 3 the many lands koya’kipapi wan..........-. Ee you fear hena’ kok’’pe sni oma/wani.......... in them without fear I have walked ACG Sh 6 SOR OO a the black face-paint (see p. 359.) ai 1S pg RR NR Re ee I seek Analysis.—The principal interest of this song is in the number of minor thirds which it contains. The song contains 23 intervals 15 (about 54 per cent) of which are minor thirds. The minor third E-G is the framework of the opening measures, followed by the minor triad A-C-E; after a single measure of the tonic triad there is a return to the minor thirds A-C and E-G, the latter forming the closing interval of the song. The tones of the melody are those of the fourth five-toned scale, but the tonic triad appears only in the seventh measure. The song contains two rhythmic units, the count divisions of both being the same, but the accent being changed in the second unit. The first part of the song is based on the rhythmic unit, and the latter part on the second unit. 110 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 The relative time-duration of quarter notes in voice and drum, as given in the preceding song, are shown, by means of linear measure- ments, drawn to scale in the accompanying illustration." D 9 9 ld _ Ps Ie A Melody as transcribed above. B Time of melody expressed in quarter notes. C Time of drum expressed in quarter notes. D Drumbeats as given by performer. Comparison of the phonograph record with the metronome shows the speed of the voice to be equivalent to 104 quarter notes per minute (J =104), while that of the drum is equivalent to only 96 quarter notes per minute (J=96). If there were no deviation from regularity, there would be a coincidence of voice and drum at the fourteenth pulsation (quarter note) of the voice; this, however, is entirely theoretical, as a slight variation in either part would change the ratio between the two. In this and many similar instances it would appear that voice and drum represent separate impulses, expressed simultaneously, but having no time-relation to each other. The following song of departure was reserved for use at the Sun dance; this was usually sung as the four young men left the camp for the woods to select the tree which should form the sacred pole . . . No. 9. Song of the Departure of the Young Men (Catalocue No. 480) Sung by Lonz Man VoIcE j= 96 Drum = 104 Drum-rhythm similar to No. 5 aaa ae eee en >a — 1The writer gratefully acknowledges her indebtedness to Mr. C. K. Wead, examiner, United States Patent Office, for suggestions concerning the aboye graphic representation. pENSMoRE] TETON SIOUX MUSIC if | Analysis.—This melody contains only the tones A flat—C—E flat— G flat. These are not the tones comprised in the key of A flat, as the term is used by musicians, but the sequence of the tones is such as to suggest A flat as a satisfactory tonic. + 0 pa eS ey pe SS 9-** 9-8 -9- -9- wat WORDS (NOT TRANSCRIBED) bun ikeaGils so pee- 1... 2. grandfather to/pakiya...................... at the places of the four winds (see p. 120, footnote). wakan’ nila’pi nunwe’......-- may you be reverenced ta’ku koyag’ mayaye’......... you made me wear something sacred oya’te wan wakan’yan yanka’pi the tribe sitting in reverence mIWeeGMp pated: f2)5: =.) ssl ec see they wish to live yet enacted his dream, even as a medicine-man wears an object, or the symbol of an object, which is subject to his commands. Thus No. 41 contains the words, ‘‘a wind wears me’’; No. 98, ‘‘a wind comes to get me;’’ and No. 105, “a hoop (rainbow) wears me.” The term wahu’noy‘pa, or its abbreviation hu noy’pa, literally “‘two-legged object,” is used by those who treat the sick as referring to a human being (Nos. 76, 90) and the term éayte’to’keéa, ‘a heart that iz different,’ is used by them to indicate anger. (Songs Nos. 58, 93.) The phrases ‘‘in a sacred manner,” or ‘‘I have made it sacred,’’ are not unusual and can not be regarded as an adequate translation of the Sioux. In the mind of the Sioux the meaning of the word wakay contains more of mystery and a greater element of the supernatural than we are accustomed to associate with the words “sacred”’ or ‘‘holy,” though these are used as its English equivalent. (See footnote, p. 88.) 122 BUREAU OF AMERICAN ETHNOLOGY i [RULL. 61 Analysis.—Two intervals of a fourth form the framework of this melody, the first being C-F and the second G—-C. The tonic is espe- cially prominent, as it occurs in both these intervals and is frequently repeated. The song is minor in tonality and contains only the tones of the minor triad and fourth. A monotony in the melody is shown by the fact that it contains 27 measures and only 12 progressions. It has been noted that the average number of progressions in this class of songs is 31.3. The rhythmic unit occurs six times and its count-divisions were clearly given by the singer. The sacred pole was placed in such a manner that the crossbar extended north and south, and the earth was packed solidly around the base. The dance enclosure was about 50 feet in diameter, with a wide entrance at the east. (See p.93.) Thesacred pole stood in the center of this circle, and about 15 feet west of the pole a square of earth was exposed, all vegetation being carefully removed and the ground finely pulverized. This square of earth was called oway’ka wakay’, “sacred place,” and no one was allowed to pass between it and the pole: Two intersecting lines were traced within the square of earth, forming a cross, these lines being parallel to the sides of the square but not touching them.? After tracing these lines in the soil, the Inter- cessor filled the incisions with tobacco which had been offered to the sky, the earth, and the cardinal points. He then covered the tobacco with vermilion paint-powder, over which he spread shining white “mica dust.’’* At the intersection and ends of the lines he placed bunches of downy white eagle feathers. Very beautiful was the con- trast of green turf, soft brown earth, shining white lines, and downy eagle feathers. West of this was placed a bed of fresh sage, on which the buffalo skull would be laid during the ceremony. (Pls. 16, 17.) The Intercessor sang the following song as he prepared the square of earth. When this and similar songs were sung by the Intercessor, there was absolute silence in the great gathering of people. 1 Miss Fletcher states (in Peabody Mus. Reps., m1, p. 284, note, Cambridge, 1887): ‘‘The mellowed earth space . . . has never been absent from any religious exercise I have yet seen or learned of from the Indians. It represents the unappropriated life or power of the earth, hence man may obtain it.’’ 2Concerning this outline, which is widely used by the Indians, Mr. W. H. Holmes writes (in Handbook Amer. Inds., pt. 1, p.366): ‘‘Primitive man adjusts himself to his environment, real and imaginary, by keep- ing in mind the cardinal points as he understands them. When the Indian considers the world about him, he thinks of it as divided into four quarters, and when he communicates with the mysterious beings and powers with which his imagination peoples it—the rulers of the winds and rains—he turns his face to the four directions in stipulated order and addresses them to make his appeals and his offerings. Thus his wor- ship, his ceremonies, his games, and even his more ordinary occupations in many Cases arearranged to con- form to the cardinal points, and the various symbolic representations associated with them assume the form of the cross.”’ 3 A specimen of the “‘mica’’ was secured, and was identified as ‘‘Gypsum, variety Selenite,’’ by Dr. G. 8. Merrill, curator of the department of geology of the U. S. National Museum. (LYVAH ON AP ONIMVYEC) SONVG NNS SHL 9L 3LV1d 19 NILS11NG ADSOTIONHLS NVOIYSWY JO NV3AYNS ’ wre we wl are ae ~ BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 1 a AMOENE CO AN THE SUN DANCE (NATIVE DRAWINGS) A. BY EAGLE SHIELD B. BY JAW DENSMORB] TETON SIOUX MUSIC 123 No. 17. Song of Preparing the Sacred Place (Catalogue No. 500) Sung by Rep Brrp Voice g—60 Drum not oe 2 9 »- ~-* 9-0. —~)l To-pa-ki - ya ma-ka-ta Ge-wa-ki ye- lo e to-pa- ki - ya ma-ka- peat ets SS ta Ge-wa- ki ye- lo e o-way-ka ka - gin kta o-ya- te wa1-la-ka pe-lo e to-pa-ki- ya ma-ka-ta ¢e-wa-ki ye -lo WORDS to’pakiyamaka/ta ée’waki yelo’.. four times to the earth I prayed Dd So Ee le ee a place Wale gictaea cs. 3. I will prepare Beeler es We aid. Sarthe Gaia aS 2 O tribe wanlatka: pelo’s.- 25. . boc. 8. 2 ee behold Analysis—All the tones of the octave except the fourth occur in this melody, which is minor in tonality and melodic in structure. A feeling for the tonic triad is evident throughout the song, but there is more freedom of progression than in many of the songs under analysis. The second of the key is unusually prominent, and the progressions in the sixth and seventh measures are interesting, as they include the tonic and the tone immediately above and below it. About two-thirds of the intervals are downward progressions. After the sacred pole was erected and the “sacred place”’ prepared, a shelter, or ‘“shade-house,’”’ was built entirely around the Sun- dance circle, any who wished to share in this work being permitted to do so. Posts about 6 feet high were erected, and upon these were placed a light framework of poles. This framework was covered with buffalo hides and decorated with freshly cut boughs. Beneath this shade sat the old people, the relatives of the dancers, and any who attended the ceremony merely as spectators. On the morning of the Sun dance those who were to take part in the ceremony were allowed to eat a full meal, after which they entered the vapor lodge while the following song was sung: 124 BUREAU OF AMERICAN ETHNOLOGY [RULD. 61 No. 18. Song of Final Visit to the Vapor Lodge (Catalogue No. 631) Sung by Rep WEASEL Drum e = 63 Drum not recorded Sy ae ee eee eee eae: WORDS (NOT TRANSCRIBED ) NO eae Aafia hae elas ‘. a voice Unwaryan ktebe. ect es Towa send MaMa oneness ese ee yee hear me NA kaise Age oe oe ene the land Mio MMLyan).--d--t2 ob e2h) 2 osu) BL OVER Os at Wet ek. tests MO SLL eV OLCO yo: waye los.-22)22..... 225.5...) am sending nama Hons yes... 2.252.002 toe hearmme Wall ntl reset Ue easy dt Sian I will live Analysis.—This song contains 20 measures and only 15 pro- gressions. In its lack of progression it resembles Nos. 14, 15, and 16, rendered by the same singer. (See analysis of No. 16.) Two- thirds of the progressions are downward, the song beginning on the dominant above the tonic and ending on the dominant below the tonic. The melody contains the tones of the second five-toned scale and is melodic in structure. After their vapor bath, the dancers were painted by’ the men whom, they had selected for that purpose. A few of the writer's informants stated that the bodies of the dancers were painted white on the first day of the ceremony, the colors being added on the morn- ing of the second day, but others, including Itun’kasan-lu’ta (Red Weasel) stated positively that the painting in colors was done before the opening of the dance. Red Bird stated that each man who was accustomed to paint the dancers had a special color, which was “ asso- ciated with his dream,’’ and that he used this color first in the paint- ing. The colors employed were red (the “tribal color”’), blue, yel- low, white, and black, each color being a symbolism connected with thesky. Thus, it was said that red corresponds to the red clouds of sunset, which indicate fair weather; blue represents the cloud- less sky; yellow, the forked lightning; white corresponds to the PLATE 18 BULLETIN 61 BUREAU OF AMERICAN ETHNOLOGY eres ow a 3) a : ne oe Ss SUN-DANCE WHISTLE ppNSMORR] TETON SIOUX MUSIC 125 light; and black was used for everything associated with night, even the moon being painted black because it belonged to the hours of darkness. (See p. 77, footnote.) Siya’ka (Teal Duck) stated that when he took part in the Sun dance his face and body were painted yellow, with dark-blue lines extending down the arms and branching at the wrist to lines which terminated at the base of the thumb and the little finger. Similar lines extended down the legs, branching at the ankles. There was also a dark-blue line across his forehead and down each cheek. A black deer’s head was painted over his mouth, the man who painted him saying that this decoration he used because the deer could endure thirst for a long time without losing its strength. On his chest was painted a red disk representing the sun, and outlining this disk he wore a hoop of wood wound with otter fur and decorated with four white eagle feathers tipped with black. (See p. 1389.) On his back was painted a dark crescent representing the moon. Bands of rabbit fur were worn around the wrists and ankles. Those who took part in the Sun dance wore their hair loose on the shoulders after the manner of men who had recently killed an enemy. A lock of hair was tied at the back of the head and to this was fastened upright a white downy eagle feather. Small sticks about 8 inches long were also fastened in the hair, four being the usual number. These sticks were decorated with porcupine quills, beads, and tassels. (Fig. 22.) A dancer was not allowed to touch his body during the ceremony, the decorated sticks being taken from his hair and used for that purpose. No moccasins were worn by the dancers. Each man wore a white deerskin apron (nite’iyapehe), which was fastened at the waist and extended below the knees both front and back; he had also a robe of buffalo skin in which he was wrapped while going to the Sun-dance circle and returning to his lodge. A whistle was hung around his neck by a cord. This whistle was made of the wingbone of an eagle, wound with braiding of porcupine quills and tipped with a downy white eagle feather fastened above the opening so that the breath of the dancer moved the snowy filaments. The mouthpiece was surrounded with fresh sage. The man blew this whistle as he danced. The instrument (illustrated in pl. 18) was decorated by the woman who decorated the Sun-dance pipe.t After being painted and arrayed, the men who were to take part in the ceremony assembled in the dancers’ lodges of their respective bands and awaited the summons of the Crier. 1The bone of this whistle was identified at the U.S. National Museum as the ulna of the golden eagle (Aquila chrysaetus). The specimen is thus described by Mr. E. H. Hawley, curator of musical instru- ments: “ Length, 8 inches; average diameter, ;, inch. It has a triangular sound hole, its apex toward the lower or open end, which is 47, inches distant. To the lower end of the whistle is sewed with sinew a fluffy eagle feather 13} inches long. This feather grows under the tail-feathers of an eagle.’”’ (Cf. p. 98.) 126 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 The Leader of the Dancers was with the Intercessor in the council tent. His costume was not necessarily different from that of the dancers. Chased-by-Bears stated that when acting as Leader of the Dancers he was painted white with black streaks across his forehead and down his cheeks. The deerskin nite’iyapehe which he wore was elaborately wrought with porcupine quills by the women among his relatives, who wished to do the work although such deco- ration was not required. The costume worn by an Intercessor was somewhat similar to that of the dancers, but on his wrists and ankles he frequently wore bands of buffalo skin on which the hair was loosening, and his robe was the skin of a buffalo killed at the time when it was shedding its hair. Bits of hair shed by the buffalo were tied to his own hair (see pp. 64, 458), and he wore buffalo hornson his head, or he might wear astrip of buffalo skin fastened to his hair and hanging downhis back. (See pl. 19.) In contrast to the dancers: his hair was braided, but like them he wore one white downy eagle feather. His face and hands were painted red. The costume of an Intercessor varied slightly with the individual, Red Weasel stating that he wore otter skin around his wrists and ankles, that the braids of his hair were wound with otter skin, and that he wore a shirt of buffalo hide trimmed with human hair, which was supposed to represent the hair of an enemy. On the morning of the day appointed for the Sun dance the Crier went around the camp circle, announcing the opening of the cere- mony in the following words: ““Wana’ u po. Wana’ yuSstanpe. Inali’ni po!” (“Now all come. Now it is finished. Hasten!’’) In the procession which approached the Sun-dance circle the Intercessor was the most prominent figure, the others acting as his escort. The Intercessor held before him with uplifted stem his Fic. 22. Decorated stick worn in Sun dance. BUREAU OF AMERICAN ETHNCLOGY BULLETIN 61 PLATE 19 HAIR ORNAMENT OF BUFFALO HIDE WORN IN SUN DANCE NNS NI SAT uv _L YS IWINOW3Y30 0¢ 31V1d 19 NIL3TINa@ ASOIONHL]E NVOINSWYV JO Nv3auNg pDRNSMORB] TETON SIOUX MUSIC 127 Sun-dance pipe, which would be smoked during the ceremony. The Leader of the Dancers walked beside him, carrying the ceremonial buffalo skull, which had been painted with stripes of red extending from the nostrils to the horns. Near him walked some close relative or friend, who carried the Leader’s sealed pipe, which would be placed with the buffalo skull beside the square of exposed earth. Those who were to fulfill their vows walked on either side of the Inter- cessor and the Leader of the Dancers, and around them were the war societies and other organizations of the tribe. On reaching the entrance of the Sun-dance circle the procession paused. The Inter- cessor directed the attention of the people to the east, and it was nderstood that each man offered a silent prayer; this action was repeated toward the south, the west, and the north, after which they itered the inclosure. Amid impressive silence the procession passed slong the southern ‘“‘side”’ of the circle to the western “side,” where ‘ue Leader of the Dancers, pausing, laid the buffalo skull on the bed .* sage, with its face toward the east. He then placed his sealed pipe in its ceremonial position, the bowl resting on the buffalo skull and the stem supported by a slight frame of sticks painted blue (see pp. 64, 72),. the mouthpiece of the pipe being extended toward t..e Sun-dance pole (pl. 20). When the Intercessor rose to sing ov pray, he held this pipe in his hand, afterward replacing it in its eremonial position; it was also extended toward the sky, the earth, id the cardinal points, but the seal on it was not broken until after tre ceremony. The pipe which was smoked at the ceremony was that of the Inter- cessor. He first burned sweet grass, the ascending smoke of which was said to symbolize prayer.!. Then he lit the pipe, and extended the stem toward the sky, the earth, and the cardinal points. The fol- lowing explanation of this action was given by Wakin’yan-wata’- kpe (Charging Thunder): ““When we hold the pipe toward the sky, we are offering it to Wakan’tanka. We offer it to the earth be- cause that is our home and we are thankful to be here; we offer it to the east, south, west, and north because those are the homes of the four winds; a storm may come from any direction, therefore we wish to make peace with the winds that bring the storms.” After this action, the Intercessor, having first smoked the pipe himself, offered it to the Leader and all the dancers. This procedure was repeated at infrequent intervals during the period of dancing. Beside the Sun-dance pole the men who were to fulfill their vows stood facing the sun, with hands upraised. The Intercessor cried, “Repent, repent!”’,? whereupon a cry of lamentation rose from the entire assembly. 1 See article Incense, by James Mooney, in Handbook Amer. Inds., pt. 1, p. 604. 2 Certain features of the ceremony seem to show the influence of Christian teaching. See footnoe p. 88. 128 BUREAU OF. AMERICAN ETHNOLOGY [ BULL. 61 The opening song of the ceremony was sung three times with a tremolo drumbeat, after which the drum changed to a definite, even stroke, and the men began to dance with faces still turned toward the sun and with hands upraised. No. 19. Opening Song of the Sun Dance (a) (Catalogue No. 453) Sung by Srya’Ka VOICE Ae 144 Drum é = 144 Drum in unaccented eighth notes * ae See a ee | Kerea, holy rane SpE Sees ees A eat i) Se Geen Greens eee atc, Pane VoIcE AS 160 = a“ = Drum a 160 e — ior caer I I ies = ee ~--9--9- -6- 9-9: fo 9 Sree = =: ee = zl ; te eae * Drum-rhythm Bais 0! athe eae Analysis.—This transcription shows the song and also the manner in which it was changed by the singer in repetition. Thus the song itself ends with the third measure preceding the change of time, and only that part of the transcription is considered in the analysis. In DENSMORE] TETON SIOUX MUSIC 129 songs expressive of desire it is not unusual for the tempo to be increased with repetitions of the song (see p. 481). Thus the second tempo in this instance is faster than the first. Comparing the two portions of the transcription, we note a persistence of important and slight changes in unimportant phrases, a peculiarity which has been frequently noted in the musical performances of both Chippewa and Sioux. Contrasted with these instances are those in which many renditions of the song are identical in every respect. This song is transcribed and analyzed in the key of D minor, though the second and fifth of that key are not present. The melody is broadly outlined by the deseending intervals F-C, C-F, F-D, with a return to F at the close. One accidental occurs—the fourth lowered asemitone. The number of downward and upward intervals is about equal, there being 25 of the former and 22 of the latter in the song. The following song also could be used at this time: No. 20. Opening Song of the Sun Dance (b) (Catalogue No. 479) Sung by Lone Man Voice J 80 Drum J 84 Drum-rhythm similar to No. 19 es @ pr aaa 2g Sree sees Sere Analysis.—The rhythmic unit occurs twice at the opening of this song, the latter part of the song showing an accented sixteenth note in several measures but having little rhythmic interest. The purpose of the latter part seems to be merely the carrying of the melody down to the final tone. The range of the melody is 13 tones. Only 11 per cent of the Chippewa songs have a compass of more than 12 tones, and a similar range is found in only 10 per cent of the present series. (See Table 5A, p.28.) This song is minor in tonality, lacking only the sixth tone of the complete octave. During the excitement of the opening dance many gifts were given to the poor or exchanged among the people, and many “paid their respects” to the parents of young men who were taking part in the dance for the first time, e 130 BUREAU OF AMERICAN ETHNOLOGY (BULL. 61 The drum used in the Sun dance was placed south of the pole. It was a large dance drum of the usual type and elaborately decorated, the sides being hung with bead work and fur, and the supports wound with beads and fur. In addition to the drum a stiff rawhide was beaten. This gave to the accompaniment of the songs a peculiar quality of tone, which marked a difference between that of the ordi- nary dances and that of a religious ceremony. ‘The men who had car- ried the sacred pole were seated at the drum and the rawhide, together with special singers, both men and women, the latter sitting behind the men and forming an outer circle. The voices of the women sing- ers were an octave higher than the voices of the men.» The Intercessor was seated west of the ‘sacred place’ during the entire ceremony. The Leader of the Dancers was with the others who were fulfilling their vows, but during the brief periods of rest which were allowed the dancers he lay on the ground at the west of the “sacred place,” face downward, with his head pressed against the top of the buffalo skull. (See p. 97.) The man who had spoken the vow for a war party assumed some responsibility in the proper fulfillment of their vows, and the dancers were attended by the men who had painted them. All who took part in the dance were required to abstain from food and water during the entire period of dancing. At the conclusion of the opening dance the following prayer was sung by the Intercessor, all the people listening with reverence: No. 21. Opening Prayer of the Sun Dance (Catalogue No. 501) Sung by Rep Birp VoICcE aoe 168 Drum not recorded } oS | emai i aN =——= f- ft = = as -9- = a a -96-* -6-¢ “@). @> =) 2220 -f2%6 a rt sath Tuy -ka-si - la ho u- wa - yin kte tuy-ka-Si - la py eee eee ho u- wa - yin kte na-ma-hon ye ma-ka si-to - mni - oa -° fie -8-. es o-. e - ms! eS oe —S yay ho u - wa - yi) na-ma- hon ye Bin same ease ae se tuy-ka - Si - la wa-ni kte-lo e-pe-lo o0 0) DENSMORE] TETON SIOUX MUSIC qeal WORDS tunka/sila.................... grandfather. (See p. 120, footnote) ho uwa’yin kte................ a voice I am going send MAMAHON. VO. .....,. «)2eetoe hear me maka’ sito’mniyay.......:...- all over the universe ho uwa’yin kte................ a voice I am going to send Meg EON. YC. .5.20 2 oe we aten ee hear me Bia SUS: Le Ee See ee? orandtather wan” Kktelot. «194320 ah ee I will live BDO’... .taqsigd Pera eet eae oor I have said it Analysis.—Peculiar strength is given this melody by the fact that a quarter note is the shortest note occurring in the rhythmic unit. The time of the sustained tones was accurate in all the renditions. Two-thirds of the progressions are downward, the melody beginning on the fifth above the tonic and ending on the third in the lower octave. All the tones of the octave are found in the song, which is minor in tonality and melodic in structure. The words are continuous. As already stated, continuous words are found most frequently in songs connected with ‘‘medicine.”’ A man might take part in the Sun dance in one of six ways, accord- ing to the nature of his vow. The requirement of fasting was the same in every vow. The first way of taking part in the Sun dance consisted merely in dancing, the second added a laceration of the flesh, and the other four required that a stick be thrust through the flesh and strain placed upon it until the flesh tore or was cut. The Indians stated that the stick, or skewer, was ‘‘put through the skin,” and probably it pierced also the subcutaneous fascia.!. The two most common forms of this treatment consisted in the piercing of the flesh over the chest with skewers attached by cords to the crossbar of the sacred pole, and the fastening of buffalo skulls to the flesh of the back and arms. The two more severe and less employed forms were the suspending of the entire body by the flesh of the back, and the fastening of the flesh of both back and chest to four poles at some distance from the body, the poles being placed at the corners of a square.” | If a horse had carried a man on the warpath when his vow was made, the man might fasten the horse to the thong by which he was suspended from the pole, thus hastening his release, or he might fasten in a similar manner the bridle and whip which he carried on 1 As the word “skin” is commonly applied to the cuticle, the word “‘flesh”’ is used in this chapter as indicating more clearly the severity of the ordeal. 2 In this connection it should be borne in mind that the present memoir concerns only the customs of the Teton Sioux, as described by members of that tribe who took part in the dance. 132 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 the warpath, or he might hold the bridle and -whip in his hand as he danced. Chased-by-Bears stated that in fulfilling his first Sun-dance vow he caused a skewer to be put through the flesh of his arm and from it suspended the rawhide lariat which he carried when on the warpath, and with which he later captured a horse. (See p. 97.) Women sometimes took part in the Sun dance by fasting and standing beside some relative who was dancing, or by assuming part of the obligation of a vow made by some relative and permitting their arms to be cut. (See p.135.) The gifts distributed by relatives of the dancers and the feasts given in their honor were also the work of the women. Even, the simplest form of the Sun-dance was a severe test of a man’s endurance. He was required to abstain from food and water, to dance with face upraised to the sun from morning until night, and to continue dancing during the night and on the following day until he fell exhausted.' If he had vowed to have his arms cut, he left the line of dancers and seated himself beside the pole for the operation, after which he resumed his dancing. The number of cuts varied from 10 to 100 or even 200, according to the man’s vow, though if the vow required the larger numbers named part of the number was usually assumed by his relatives. The cutting was done by a man of experience, to whom the dancer gave one or more horses. The man had an assist- ant, who lifted a small portion of flesh on the point of an awl, where- upon the man then severed it with a quick stroke of a knife, lifting the first portion which he cut toward the sky, saying, ‘‘This man promised to give you his flesh; he now fulfills his vow.” (See p. 96.) The cuts were usually placed close together. The writer has seen the scars of a man whose arms were cut 100 times—small dots on the upper arm, about half an inch apart, in regular order. Another manner of cutting the arm was by gashes, which left broad white scars. As already stated, the relatives of a man might assume part of the obligation of his vow by allowing their arms to be cut. Thus Lone Man said that he vowed 200 gashes, but his relatives divided half the number among themselves. If a man vowed that he would be suspended from the pole the operation of fastening the thongs to his chest was as follows: The dancer lay on the ground, and the man who performed the operation, bending over him, lifted the flesh of the chest between his thumb and finger; then thrusting an awl through the flesh, he followed this with the insertion of the pointed stick. This stick was painted blue, and the man moistened it with his lips before inserting it in the flesh. He then lifted the man to his feet and tied the thongs hanging from the crossbar of the pole to the sticks in the man’s flesh. Medicine was applied if the bleeding was excessive. In old days the awl used in this operation was of bone. Chased-by-Bears, who performed this 1 Intervals permitted for rest are noted on p. 134, CUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 21 EFFIGIES KNIFE CASE ARTICLES USED IN SUN DANCE KNIFE DENS MORE] TETON SIOUX MUSIC ae office many times in the Sun dance, stated that he used a knife, the blade being ground to a point, and the handle and part of the blade being wrapped with rawhide (pl. 21). The thongs by which a man was suspended were usually of a length permitting only his toes to touch the ground, though the height of the suspension depended somewhat upon the man’s physical strength. When first suspended each man was given a stick by means of which he might raise his body slightly to ease the strain upon the flesh of his chest. After discarding this support any effort at rest or any cessation of the motion of dancing only increased the suffering. The men were suspended soon after 9 o’clock in the morning on the north side of the pole in such a position that their upraised faces were in the full glare of the sun. It was expected that they ’ would make an effort to free themselves as soon as possible. Some- times this was accomplished in half an hour, and according to John Grass and other informants a man seldom remained in that position more than an hour, If he was unable to tear the flesh in that time by means of the motion of dancing, he might give horses for his release, or his relatives might give them in his behalf. In that event the man who had done the cutting was allowed to cut through the flesh either partially or entirely. If a considerable time elapsed and the man could not free himself, and neither he nor his relatives could give the requisite horses, he was jerked downward until the flesh gave way. While suspended, each man held his eagle-bone whistle in his mouth, blowing it from time to time. If a man vowed to take part in the Sun dance by carrying buffalo skulls, the number varied from two to eight. If two were used they were fastened to the flesh of the upper part of the back, near the spine. The flesh having been lifted on an awl, a small stick was inserted. A thong of buffalo hide was fastened to this stick, the other end of the thong being passed through the nostril-openings of of the buffalo skull, suspending it at some distance from the ground. The man then danced until the tearing of the flesh released the skull. If four skulls were used, the additional pair was fastened to the back, halfway between the spine and the point of the shoulder. With six skulls, the third pair was fastened to the upper arm. If more than six were used, the additional skulls were fastened anywhere on the upper part of the back, it being permitted also to fasten more than one skull to a thong. When several skulls were. employed, their weight made it impossible for a man to stand erect, hence the man had to lean forward upon a stick, dancing in a bowed posi- tion. The scales indicated 25 pounds weight for a buffalo skull which was obtained by the writer. The skull was shown to Chased- by-Bears who after lifting it, said that although the specimen was a large one it was not unusual for men to carry such in the Sun dance. 4840°—Bull. 61—18——11 134 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 Buffalo Boy stated that he carried six buffalo skulls for four or five hours, at the expiration of which he was set free by the cutting of the flesh from which they were suspended, the proper number of horses being given for his release. A more severe form of torture was the hanging of the body clear of the ground by means of thongs passed through the flesh on each side of the lower part of the back. Seizes-the-Gun-away-from-Them told of an instance in which a man rode to the sacred pole, and was suspended by his back, after which the horse was led away. The most severe form of torture was the suspension of the body between four poles, by means of thongs passing through the flesh of both chest and back, the body hanging so that only the toes touched the ground. Under these conditions the flesh tore less readily. John Grass stated that a man had been known to remain in that position’ from one morning until the evening of the next day, when gifts were given for his release. While the men were dancing, they “prayed for all in the tribe, especially the sick and the old.’ Red Bird said: The warriors went on the warpath for the protection of the tribe and its hunting grounds. All the people shared in this benefit, so when the warrior fulfilled his vow he wanted all the tribe to share in its benefits. He believed that Wakan’tanka is more ready to grant the requests of those who make vows and fulfill them than of those who are careless of all their obligations; also that an act performed publicly is more effective than the same thing done privately. So when a man was fulfilling his vow, he prayed forall the members of the tribe and for all the branches of the tribe, wherever they might be. As soon as a man enduring torture was set free by the breaking of the flesh, it was customary to apply to the wound a medicine in the form of a powder. It was said that the wounds healed readily, blood poisoning and even swelling being unknown. The writer saw a large number of Sun-dance scars, which appeared slight consid- ering the severity of the ordeal. : After the medicine was applied, the man returned to his place with the dancers, continuing his fast and dancing untilexhausted. During the period of dancing the men who painted the dancer occasionally offered a pipe, holding the bowl as the man puffed; also putting the dancer’s whistle into his mouth, as participants were not allowed to touch any objects while dancing. Each man remained in one place as he danced, merely turning so that he continually faced the sun, toward which he raised his face. In dancing he raised himself on the ball of his foot with rhythmic regularity. At intervals of a few hours the men at the drum were allowed to rest, and the dancers might stand in their places or even sit down and smoke for a short time, but if they showed any hesi- tation in resuming the dance they were forced to their feet by the men who did the cutting of the arms and superintended the fulfill ment of the vows. DENSMORE] TETON SIOUX MUSIC 135 Women whose relatives were fulfilling vows frequently danced be- side them during part of the time. Tasi’na-skawin (White Robe), singer of the following song, stated that she composed it while taking part in a Sun-dance in which her brother was fulfillimg a vow. As the result of a successful raid against the Crows, he brought home many horses, which were divided among his relatives, she receiving part of the number. He had vowed that if he were successful he would be suspended from the pole and would also have 200 cuts made on his arms. She and her sister assumed one-half of this num- ber, each having her arms cut 50 times. She and his other female relatives danced while he was dancing, and without preparation she sang this song, which was readily learned and sung by all the women: No. 22. “Wakan’tanka, Pity Me” (Catalogue No. 688) Sung by TasSr’Na-skawny (WuITe Rose) VoIcE P| = 63 Drum not recorded WORDS (NOT TRANSCRIBED ) yh Ae ee Climbing Eagle (man’s name) PEGE, Ee tie bio wns 2's alee e s said this WSican (takai css. 2h stk Se. “ Wakan’tayka Gly PIMA aaVON YO. 2... pity me iota any es eos... 225.-.- front henceforth te’/han wani’ ktelo’...........- for a long time I will live” Cyl! Dieses etc Me... he is saying this, and telii’ya na/Zin ye.........-...- stands there, enduring Analysis.—The third and second tones of the octave are lacking in this melody, which, as already stated, was said to have been com- posed by a woman. Tho absence of the third in songs composed by women is considered in Bulletin 53 (p..140). Only four other instances of the absence of the third occur in the present series, These are Nos. 5, 42, 99, 131, 169, and the present song is the only 136 _ BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 one of the group which was composed or sung by a woman. One accidental occurs—the fourth raised a semitone. The manner of using this accidental introduces two intervals, one of which seems particularly difficult for an Indian to sing, namely, the minor second. The other interval is the augmented fourth, in the descent from D sharp to A. All these intervals, as well as the ascent of the octave, were sung with good intonation. The song is minor in tonality and freely melodic in structure. The aged members of the tribe were seated comfortably in the ‘shade house” on the outer edge of the dancing circle. There they listened attentively to all that took place; indeed, the utmost rever- ence and respect for the ceremony were shown by all who attended. The spectators realized that when prayer was offered by the Inter- cessor “it was their duty to join in his prayer with their hearts.” Meantime many incidents were taking place in the great tribal gathering. Those who rejoiced were asking others to rejoice with them, while still others joined their friends in lamenting chiefs who had died during the year, or warriors who had been slain by the enemy. The relatives of those who took part in the Sun dance pro- vided feasts, and little groups were seen feasting here and there in the camp while at the same time songs of lamentation could be heard. The following song was used at a Sun dance in commemo- ration of Kangéi’-iyo’take (Sitting Crow), a Sioux warrior who was killed in a fight with the Crows. The words of this song are a warrior’s best memorial. No. 23. Song of Lamentation (Catalogue No. 487) Sung by Lonze Man VoIcE AS 56 Drum not recorded Kayn-gi - i - yo-ta-ke he-éel yuy- Bree eee (eece = gear sea kin kte héin e -éel yun-ka he DENS MORE] TETON SIOUX MUSIC 137 ! WORDS Kangi’-iyo’take ................ Sitting Crow (man’s name) he’éel yunkin’ kte li¢in..--.-- that is the way he wished to lie eéel yunka’ he ...............- he is lying as he desired Analysis.—Five renditions of this song were recorded; these are entirely uniform. The upward progressions in the measure contain- ing the first word are interesting, also the upward progression neces- sary in beginning a repetition of the song. These intervals were sung with good intonation. From the writer’s observation an Indian may vary the pitch of unimportant intervals, but very rarely loses the pitch of what might be called the ‘‘outline”’ of a melody. In structure this song is freely melodic, yet the tonic triad is felt throughout the song. The minor third is of frequent occurrence and constitutes 37 per cent of the entire number of intervals. The melody tones are those of the second five-toned scale. Even the children had a part in the Sun dance, which consisted in the piercing of their ears. Frequently this was done in fulfillment of a vow made by their parents; for instance, in the event of a child’s ilmess the parents might vow that if the child should live until the next Sun dance its ears would be pierced. This was considered an honor, and the gifts which were required made it impossible for poorer members of the tribe. The piercing of the ears was done publicly by any experienced person, in some instances by the In- tercessor, assisted by those who cut the arms of persons fulfilling vows at the ceremony. The parents of the child gave gifts to those who pierced its ears, the gifts varying according to their means. Some gave 1 horse, some 10 horses, and wealthy persons added large and valuable presents of goods to show their affection for the child. A wealthy family provided also rich furs on which the child was laid during the operation—soft robes of otter, beaver, or buffalo, elaborately wrought on the inner side with beads or porcupine quills, and brought a pillow filled with the soft hair scraped from the deer’s hide, or the down of the cat-tail reeds that grow in the marshes. All these articles were left in their places after being used and were appropriated by the poor of the tribe. The piercing of the ear was originally done with a bone awl, this instrument being replaced later by one of metal. After the puncture, a piece of copper was inserted so that the wound would heal rapidly. One or both ears might be pierced, and if desired more than one hole was made in each ear. The children whose ears were thus pierced were considered some- what related in status to the men whose flesh was lacerated in the Sun dance, and feasts were given by their relatives in honor of the event. 138 BUREAU OF AMERICAN ETHNOLOGY [BULL 61 About noon of either the first or second day of the dancing the Intercessor sang the following song, the drum being silent and the entire assembly listening as he sang: No. 24. Noon Song (Catalogue No. 506) Sung by Rep Birp VoicE é: - 58 Drum not recorded WORDS (NOT TRANSCRIBED) (First rendition) OA an eet) Abeer, Ca a ao where WAN) pee ev Nee ue ees ont eat ats Fen holy Wai a Oskeh eee RSE EL PRN Abe od LMA © you behold WidOhi/mape: tasitst. 225s eRe ek in the place where the sun rises Wala (ei e< Stee, ie dees. Pelee d ee4 Speers, Aes holy ayy) lal aera UN) ene eee a may you behold (Second rendition) WOAT yaaa ee are bee ene cece een coe where SAN BUA ne Mors OA Gee be eS ee eds Soll holy WAIAAKO SHS... IEEE See. Ae ee you behold wiyohiAvarve tat sive. fice ena 4 in the place where the sun passes us on his course WAN) te tet o: hci es AEE oes tn Ma te holy Bi 2) otdl ees 8 a he ferent you behold ( Third rendition) OTE Alera Ten ad ent tones where waste 3th eee SA ee ee ey Sy goodness Wal lace 32 225, SA Pere ee ee re you behold Wil OC4caiwill) em ie serena ae ase ea at the turning back of the sun Wastiel: S0y US oo ae ee ane enepeere a ate goodness wa) lake any wes et ce eee ae may you behold Analysis.—The principal characteristic of this melody is that 9 of the 16 progressions are intervals of the miner third. The tones are those of the fourth five-toned scale, and the melody is freely melodic in structure. Several renditions were recorded, each repetition beginning at the point indicated by the marks for repeat. Thus the first part of the song may be regarded as an introduction. — DENSMORE] TETON SIOUX MUSIC 139 The following song was sung by the Intercessor during one of the periods when the drummers rested; the people listened atten- tively. In explanation of this song Red Bird said: This is a song concerning a dream of an Intercessor. In his dream he saw the rising sun with rays streaming out around it. He made an ornament which represented this. At first he alone wore it, butafterward others wore the same ornament. [See p. 89.] It is a hoop with feathers fastened lightly to it. The hoop represents the sun, and the feathers fastened to it are feathers of the eagle, which is the bird of day, the crane, which is the bird of night, and the hawk, which is the surest bird of prey. No. 25. Song concerning the Sun and Moon (Catalogue No. 504) Sung by Rep Brrp Voice J=—58 Drum not recorded = 4 Ay - pe wi kin ko-la wa-ye - lo ay-pe wi kin Op. -. i fice A ee pak 2 ee ee eee ee ee ko-la wa-ye - lo Gan-gle- Ska le ko-yag ma-ye - lo Dey oa r | =r : <= z =" i eee) ie ge eee ee a —ao ——- wan - bli wa - ay ko-yag ma-ye - lo he lo WORDS (First rendition) Ue PWM is 2 ceiver aa. Stee ce the sun » LA (A a a is my friend PACE Meni ON, 2 Foie ue wk te a hoop j hover maye lo: eo kk ee it has made me wear Wat Dikmmonete ose, tS an eagle koyag’ maye’lo.........-- ch it has made me wear (Second rendition) naa ye’- Wi ele ee is the moon ola’ wayelow mies 2. stac 20k tee ok is my friend eral’ WANs sree ie a crane maya’: TAYE les ase 2 2 2, SOLD th it has made me wear Bewi) Wall:. >see anes eh ict T ‘a hawk Kavarna ve/ losses EB it has made me wear 140 BUREAU OF AMERICAN ETHNOLOGY (BULL. 61 Analysis.—In many songs the rhythmic unit is merely a short phrase which lacks completeness in itself, but which appears fre- quently throughout the melody and influences the rhythmic divi- sions of the entire melody. The song now under analysis, how- ever, contains a rhythmic unit which is complete in itself, and which was sung with a distinct ‘‘phrase perception.”’ Repetitions of this unit constitute the entire song except the closing measure. The melody tones are those of the fourth five-toned scale. The only intervals here found are the major second and minor third. De- scending intervals comprise about two-thirds of the entire number. The songs of the hours of dancing are peculiarly rhythmic, the following being examples. These songs were not used exclusively in the ohn Tenis some of them being songs of the various War societies. No. 26. ‘“Wakan’tanka Hears Me’ (Catalogue No. 483) Sung by Lone Man VoIcr Z= 88 Drum = 88 Drum-rhythm similar to No. 6 1 3 oe =aee=e rr eS ar ee Z 5 Sees =e | a s 2 —* —~#-# 9 yap : eS: : a Saas 2 aioe a= ee ees eee rae ee — SSE a (2) Wa-kay - tan - ka éa wa-ki - ya éay -na na-ma-hon e - he ae 9-0 _#_ | 9+ 9» : - 2) (Ce a el a i _»_ =a el bere SLE zs areas Peer ee ta-ku was-te ma-ku we-lo WORDS Walken Ganka: <4: 0: 43seh eee eee Wakan’tanka €3, war kiya Gan/na... io) 2s eee when I pray to him mamaAnonnevessce =< chs fons cis ee heard me bay Waster a. ioc). ss whatever is good maki” welg eet sc. oo. . 5265 see he grants me DENSMORE] TETON SIOUX MUSIC 141 Analysis.—The distinct minor character of this song is of interest. The fourth and seventh tones of the octave are lacking in the melody. It will be noted that these are the tones omitted from the fourth five-toned scale, which is major in tonality, while this song is minor in tonality, the third and sixth being minor intervals. This tone- material is found in four Chippewa songs (see Table 6a) ; it 1s con- sidered in Bulletin 53 (p. 188). Similar songs of the present series are Nos. 73, 89, 115, 126, 194. The interval of the fourth is promi- nent, comprising about one-fourth of the entire number of intervals. Two rhythmic units occur, but have no resemblance to each other. It has been noted that when several rhythmic units appear in a song they usually have some characteristics in common. No. 27. “Black Face-paint He Grants Me’? (Catalogue No. 503) Sung by Rep Brrp Voice Ake 76 Drum mies 76 Drum-rhythm similar to No. 6 A . #& @ » -@_ . oeeaien aie 2 oe ae ee oe ee ee ie 2o05 — et a = — |} fi —-— [Dp oar Sa eee si ee — = pigsig = 5 2 O22 s —— o— “se — »— 0” _e— ey. ee; —_— — | } | Eas = ee fe | cme 2 --- & -» -o- ef oA ae Cee Se ae a ee Bee == ener = Wa-kay - tan-ka éa wa - ki - ya Gay-na_ i -te - sa-bye fp dnigset* —» oe eo Pig —9_—>~___, ——E fg Saeed ma-ku we-lo WORDS NValce aban alhe oe ee eee Se ces Wakan/tanka CowaC ye eat Man toc... when I pray to him MUSIRAMCmerese rm antec. a black face-paint (see p. 359) maku’ welo’.............-...-- he grants me Analysis —This song is major in tonality, yet the minor third constitutes more than half the entire number of intervals. This peculiarity is of frequent occurrence in the present series and was noted among the Chippewa songs. (See Bulletin 53, p. 263.) All the tones of the octave except the seventh are present 142 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 in the melody. An ascent of 10 tones is accomplished in the space of three measures, about midway through the song. It will be noted that a measure division similar to that im the second measure of the rhythmic unit is of frequent occurrence, though the rhyth- mic unit occurs only three times. The following song commemorates a victory over the enemy: No. 28. “I Have Conquered Them” (Catalogue No. 484) Sung by Lonr Man VoIcr a= 92 Drum pie 92 Drum-rhythm similar to No. 19° to No. LO te = f-p--9- -0- -9- Parr: -9- -9- -8- . @-9-9.-9- 9 Saaeer -0- SOT ee ET ete a oes Sa ae pes a — ae SS ie a al + eee RS -0- 2» -0- BE ae = ee gy ED ee ee ——— H-¢a o- zu- ye way he BE a eral u -kte se - ée - lo wa-na hi - ye-lo wa-ka-so - ta he a =. a 2 7 ies ee ieee Re Pear = SSS Se NP eS a 1 eS cae ae ore = = : ee =|" 29 je s|| WORDS e¢a’ ozu’ye way he............ well, a war party ukte’ se’éelo................... which was supposed to come wanaiivelo/s \eit a ay te are now is here waka/sota he.................-- I have obliterated every trace of them DENSMORE] . TETON SIOUX MUSIC ° 143 Analysis.—An interesting peculiarity of this song is the progres- sion E—-D-E, showing a whole tone between the seventh and eighth of a minor key. This occurs immediately before the words and also at the close of the song. The ascent of an octave in two pro- gressions (with the introduction of the words) is also interesting, as these intervals were sung with more correctness than many smaller intervals in the song. All the tones of the octave except the sixth’ are present in the song, which is freely melodic in structure. No. 29. Dancing Song (a) (Catalogue No. 499) Sung by Rep Birp Voice g—80 DRUM a) == 60 Drum-rhythm similar to No. 6 -9-*-0--9 pay SSS ey ee De ae orees ties Pere P| Analysis.—A notable feature of this song is the difference in tempo between voice and drum. Occasionally the two coincided on the first count of a measure, but this appears to have been accidental, the two parts being entirely distinct. (See analysis of No. 8.) The time of the voice is not rigidly maintained, though the variations are neither sufficient nor regular enough to be indicated except on the E which was shortened in every rendition, and is so marked in the transcrip- tion. The structure of the melody is more regular than that of the majority of the songs under analysis. It comprises three periods of four measures each, with one additional measure after the second period. The melody tones are those of the fourth five-toned scale, and two-thirds of the progressions are downward. 144 BUREAU OF AMERICAN ETHNOLOGY ~ [ BULL. 61 No. 30. Dancing Song (b) (Catalogue No. 505) * Sung by Rep Brirp VoIcE o= 80 Drum a= 80 Drum-rhythm similar to No. 8. (1) | = 1 (3) 7, a a le a a eee Se (5) (4) (2) J | i ree plieib Spree.) rd ® 69 2:00 ga) eeaeeeeaee ree —_— anne eee ll —a Analysis.—The count-division which characterizes this song con- sists of two sixteenth notes followed by an eighth note. This is com- bined with other divisions of a quarter note to form five distinct phrases of one measure each. The repetition of these short phrases, or rhythmic units, comprises the entire song except the closing meas- ure. The first rhythmic unit occurs twice, the second three times, the third three times, the fourth six times, and the fifth twice. The irregular order of these phrases prevents their grouping into periods, but the rhythm of the song as a whole is complete and interesting. In structure the song is harmonic, the principal tones being those of the tonic triad. All the tones of the octave except the fourth are found in the melody. An ascent of 11 tones in two measures is noted in theseventh and eighth measures before theclose. The small count- divisions were clearly given by the peculiar action of the throat which characterizes Indian singing. (See Bulletin 53, p. 13.) Half the intervals (19) are major seconds, all but two of which are in descending progression. DENSMORE] TETON SIOUX MUSIC 145 No. 31. Dancing Song (c) (Catalogue No. 482) Sung by Lone Man Voice e — 84 DruM - 84 Drum-rhythm similar to No. 6 Se .. -». Gage a oar ae PC pean BEETS eae ear ——————— |= = a BSS eel ; — > ee — t t z Analysis.—The intonation was wavering in both renditions of this song. Drum and voice have the same metric unit, but the drum invariably precedes the voice. The rhythmic unit, which is short, appears three times. No change of time (measure-lengths) occurs in the melody. This is somewhat unusual, a majority of both Sioux and Chippewa songs containing a change of time. (See Table 17A.) No. 32. Dancing Song (d) (Catalogue No. 485) Sung by Lonr Man VOICE = 176 Drum ye 176 Drum-rhythm similar to No. 19 = feta git ok A aay aa ale ied os SPE PRL on ee SPE) pete tS =i ee os eemeenee as § ; oak = = Be ae eeie ecioe Analysis.—Wide intervals characterize this melody, one-fourth of these being larger than a major third. The compass of 13 tones is somewhat unusual. The song is major in tonality and is especially lively and inspiring. All the tones of the octave are used except the seventh. In structure the song is classified as melodic with harmonic framework. The drumbeat is tremolo in the opening measures and then changes to the indicated rhythm, which was steadily maintained in all the repetitions of the song. 146 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 33. Dancing Song (e) (Catalogue No. 457) Sung by Srva’Ka Voice s= 176 Drum pie 176 Drum-rhythm similar to No. 6 CUAL Ran ay eee eee (3) (2) piss fae eae ease aa || Analysis.—This melody is transcribed in the key of D minor, but in the opening phrases and also near the close of the song there is a feeling of “‘interval formation’’ which is stronger than the feeling for a keynote or its related chords. These parts of the song are based on the descending interval of a‘fourth. (See p. 418 of this work, also Bulletin 53, p. 99.) Tworhythmic units occur in the song, the second reversing the count-divisions of the first. The drumbeat in this, as in the preceding song, is a rapid tremolo during the opening measures, changing to the rhythm indicated in the transcription. About 45 per cent of the intervals are major seconds. DENSMoRE] TETON SIOUX MUSIC 147 No. 34. Dancing Song (f) (Catalogue No. 458) Sung by Srva’ka VOICE a 176 Drum d — 176 Drum-rhythm similar to No. 6 ().. | Analysis.—This melody is minor in tonality and contains all the tones of the octave. It has a compass of 13 tones. In structure it is melodic with harmonic framework, special prominence being given the tones Band F. The principal interest of the song is in its rhythm, which is vigorous and well defined. Two rhythmic units occur, the second being a complement or “answering phrase” to the first. There is no change of tempo in the melody. After singing the song as transcribed, the part indicated as a repeat was sung three times with no break in the time. 148 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 35. Dancing Song (g) (Catalogue No. 459) Sung by Stya/KA Voice - — 84 Drum g= 84 Drum-rhythm similar to No. 19 fs eer - ign ARE +- ++ - ae. Analysis.—This melody contains a large number of progressions (69) and has a compass of 13 tones. The trend of the melody is steadily downward, and the song is peculiar in the wide range which is repeatedly employed within two or three measures; thus the sixth and seventh measures comprise a compass of 10 tones. In the parts of the song having a simple rhythm the drum and voice coincided, but in other parts the drumbeat was hastened slightly and bore no relation to the voice. All night the men danced, with the intervals of rest already described... As the sun rose on the second day, the Intercessor greeted it with the following song: No. 36. Song at Sunrise (Catalogue No. 502) Sung by Rep Brrp VoIcE s= 88 Drum not recorded 2 es - = =. - * f- = irr! o—e- Set ae Seer Saas 5 sPamedimard [eel pee oe [Piteee ares Spies! BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 22 RED BIRD DENSMORE] TETON SIOUX MUSIC . 149 WORDS (NOT TRANSCRIBED) (First rendition) Perv e’ -VOl0’s. 42 on 5 te ae here am I wapma’yankiye’ yo..........- behold me anpe’ wi kon miye’ yelo’..... T am the sun wanma/ yal) ka yor: 23.22 258 behold me (Second rendition) le miye’ seeders Heli ase oy. Chere ami I wanma/yanka yo.......-..---- behold me heya’ UW weld’.......0.. 2-2... - Jb salG.aett rose hanye’ wi ion We miy ie? vale T am the moon Waljmia-yanks yore isos A S24 behold me Analysis.—Beyond a varied use of the sixteenth and dotted eighth note count-division this melody presents little of special interest. The trend is persistently downward without the return to a high note, which usually occurs. The melody tones are those of the fourth five-toned scale. On the second day the men were allowed a brief intermission; they might even return to their lodges, but were not allowed to take food or water. During this day the men, one after another, fell from exhaustion. Red Bird (pl. 22) said that he had a vision in the Sun dance. On the second day, as he was dancing, he noticed that the Intercessor held a small mirror in his hand, and that he threw the light reflected from this mirror into the face of one dancer after an- other, each man falling to the ground when it flashed into his eyes. At last Red Bird felt fie flash of light in his own face and fell uncon- scious. Then he saw something in the sun; it was a man’s face, painted, and as he looked at it he saw that the man in the sun was the Intercessor. It was said that this vision was sufficient to entitle Red Bird to act as Intercessor, after he had received the proper in- structions concerning the faties of that office. As soon as a man fell from exhaustion he was panties into the shade, where he gradually regained consciousness. Those who had taken part in the Sun dance returned to their re- spective lodges at the close of the dancing. Before partaking of food or water they spent some time in the vapor lodge. Their first sip of water was taken in the following manner: A large bowl was filled with water, and beside it was placed a bunch of sweet grass. Having dipped this into the water, the dancer placed it to his lips. He was then given a small piece of cooked buffalo meat, and later sat down to a meal which was spread in his own lodge. When the entire ceremony was finished the Intercessor took from its ceremonial position the pipe given by the Leader of the Dancers, and carried it to his own lodge. There he broke the seal of buffalo 4840°—Bull. 61—18——12 150 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61- fat, and having lighted the pipe, offered it to such of his friends as felt themselves worthy to smoke it. No one who knew himself to be unworthy ever dared to touch the Sun-dance pipe. ~ Among the Indians here dealt with camp had to be broken before the evening of the sec- ond day. The sacred pole and its offerings, the red-painted buffalo. skull, and the bits of white eagle down remained on the prairie. As the last man left the camping ground, he looked back and saw them in their places. Then heleft them with Wakan’tanka and the si- lent prairie. After the people reached their homes the boys of the tribe be- gan a childish enactment of the Sun dance, which continued at intervals during the entire sum- mer. Boys whose fathers or grandfathers had taken part in the ceremony were given pref- erence in the assigning of parts. Mr. Robert P. Higheagle, the interpreter, stated that he well remembered the gravity with which the grandson of an In- tercessor imitated the actions of that official. A fine was exacted from any boy who failed to do his part in the proper manner, or who showed disrespect toward the performance. Whistles in imitation of Sun-dance whistles were made of reeds (See fig. 23), the plumy blossom repre- senting the eagle down, and long red and green grasses be- ing wound around the reed in imitation of the porcupine-quill decoration. Through the summer woods the boys sought for wild grapes and berries with which to color their bodies and their decorations. Fig. 23. Reed whistle used in boys’ Sun dance. DENSMORE] TETON SIOUX MUSIC 151 Removing the outer bark from trees, they took long, thin layers of the inner bark for streamers, coloring these with the juice of the grapes and berries. The tree for their sacred pole was carefully selected, and was brought home with much pomp and ceremony. Boys with good voices were assigned the part of singers and seated themselves around an old pan. A hoop was sometimes covered with a bright handkerchief or cloth; this more nearly resembled the Sun-dance drum in appearance, but the pan was considered more satisfying. The torture was imitated by thrusting a stiff cactus- spine through a boy’s skin; this was fastened to the pole by means of a very frail thread. When his movements in dancing broke this thread the boy was considered released. Thus the boys of the tribe were trained in their play to become the men of the future. The desire of children to imitate the actions of older people is further ilustrated by the children’s Games of War contained in Bulletin 53, pages 137-139. These games included a sham fight on the part of the boys, while the little girls sang of relatives who had been wounded while on the warpath. OLD SONGS! 1. CEREMONIAL SONGS This group comprises such songs of the Alo’wanpi, Spirit-keeping, and Sun-dance ceremonies as are sung only by persons specially qualified to sing them. The song of the Spirit-keeping ceremony (No. 1) is given in connection with the account of the Gift of the White Buffalo Calf Pipe, and its ceremonial use is described on page 82. The Hunka songs are Nos. 2 and 3, and the Sun-dance songs Nos. 4, 11, 12, 13, 14, 15, 16, 17, 19, 20, 21, 36; the latter group being sung only by the Intercessor, and forming part of the instructions which he received in qualifying himself for that office. Metopic ANALYSIS TONALITY J nee | Serial Nos. of songs Major tonality 7? o/s. a2 0. Sr pee eee | 4 | 11,14, 15,36 Minontonalityows: ocii-hcetecce ce eee ee erro ce 11 | 1,2,3, 4, 12, 13, 16, 17, 19,20, 21 dio): Wee 9 tee emo Cme Ac coorc Koseocanec sonar 15 | FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE Beginning on the— Mwelithe cccce sce cae ee sioee semen eieeemane-o/aaies 2 els, 07 WISVenth tee antec ose Ree cee cae ee | 1} 19 Tangled) Tee ye bt ee eens enor ae TN! a8 | 1 | 20 Ocha Os ea ete rel ane Ms 3 | 2,3,15 LO A eMtoee! S Re MUE ge: 5 eb Oe AAS aos Has or eS o a eats 6 | 1,12, 14, 16, 21,36 hts ICE RR Ry eS 0,2 Soe Cen ae a | Math TOMICI se anodes See Seite sine steiner | 14 Total | 15 LAST NOTE OF SONG—ITS RELATION TO KEYNOTE : | Ending on the— | Mafbh 35 5 jcc cee ene ees cee eee eaeeraeeee emia 3 | 1,14, 20 LU this Bee eee AAA sac eos on oqcsecahe~revoaac 6 | 4,11, 12,19, 21,36 TONIC? -..\5 sio- ctw ioecreledce en Sear ct Ee Oem 6} .2,3, 13, 15,16, 17 Total 15 | 1 This group comprises songs a majority of which are believed to be 50 to 150 years old. 152 DENSMORF] TETON SIOUX MUSIC 153 Old Songs—(1) Ceremonial Songs—Continued Metopic ANALYys1s—Continued LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG Songs in which final tone is lowest tone in song... Se Songscontaining a minor fourth below the final tone. .| Songs containing a minor third below the final tone .... MOKAL ck Seyelige A eeeM ei NO Le Sy Number : of songs Serial Nos. of songs 13 | 1,2,3, 4, 11, 12, 13, 14, 15, 17, 20, 21, 36 1 | 16 1 15 NUMBER OF TONES COMPRISING COMPASS OF SONG Compass of— . SEEIVGGERE DOGS star elena = eia cate wisn coe Scie cainsieroee 1} 20 MUWRLV.G LONES es etote (6: sc tnccae sett cw coe otdestscd 1) 13 BlavenGoneswemsstscas. coset ct iocic om anisms sie.maiee 2 | 4,19 DOritoeseeemnetet eee eo icken oes caieeeele ee oe Fawwisie,e 3 | 12, 21,36 INDO Oneseee es. se ta see teen fot ce ee ee 2 | 13,14 : WISH TVONeS ee teeta cfoe dace crib ntsc eceems Cesieoee 6) 15253,015 15516 (Do Gealeeteeeretate asm aecineierere Sac ces Howunthsve-Loned Scales .c-,. a:o.ce ca cls AoGhiace sso 222 ae 3 | 11,15, 36 Minortriad'and fourth). 2 ,0-.0.00 2 jes paces Sosee sacks: 2 | 3,16 WCtA VO COMMDIELE schersepcts ors ae seca oemaee ateaeas sacle 1 | 21 Octave complete except seventh...............---- 1 |.14 Octave complete except seventh and second........... 1} 12 Octave complete except sixth...............-.------ 1} 20 Octave complete except sixth and fourth............-. iN ial Octave complete except sixth and second. ............ 1} 13 Octave complete except fifth and second.........-.... 1| 19 . ‘ Octave complete except fourth...............-....-- 2] 4,17 PGA ie clone wees does Mca eae ae te Beem cept 15 ACCIDENTALS Songs containing— PU OAC IA ONtAIS Meier erties ote vic mn.ce een ceeecmescinise 13 | 1, 2,3, 4, 12, 13, 14, 15, 16, 17, 20, 21, 36 Sixth lowered a semitone..........2...:.:--+-.---- aa! Fourth lowered a semitone........................ 1} 19 otal loc xia, oe sae Rhos dete te dan ct tec she eae 15 STRUCTURE 1 ATG Ne ee edo Oe 11 | 1,2, 4,11, 13, 15, 16, 17, 19, 20, 21 Melodic with harmonic framework................-.-. 3 | 12,14,36 Peres OCHO oS en ee MeO ee oo te i a waar are nietee we Piet PE OTAD Se oes yess pee eee = ioc See cSt te 15 154 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 Old Songs—(1) Ceremonial Songs—Continued Metopic ANALysis—Continued FIRST PROGRESSION—DOWNWARD AND UPWARD pipe Serial Nos. of songs DOWZIWATA | 32:22: See een ee ceo e ee es 14 | 1,2,3,4,11, 12,13, 15, 16, 17, 19, 20, 21, 36 LU fei ArH Beocsmecnecernod JS Sede seecoes: sap etodS sone 1} 14 Totally. 22) Setce eee ee ieee = =e ees aces eee eee 15 TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD WOWIMWANG! 2 cc ciealsomecie een ete nai sbi cease ce ars tee 239 e Wipwarde ot. omen cok teeta eevee conte ce eee ae ae 135 AD OL oes apace coe cts ae ee hd are ter eisle tere es, Ve 374 INTERVALS IN DOWNWARD PROGRESSION Interval of a— JOT Ne haces toa ceca ieee SH aSHSaUnE ts Gear ssoE or aatice 4 RGUTUN asec es Cee ae ee sa ce mte es tare ee Sane 26 AES IOT Uiind an Sosa aes ee ace oes ae eee 23 Mintonmthinds< 2+ s2.h2 sete aces nen seme oe neces 66 Major SC@oNG 255 sa adcace eset. oe ee eee see eseee 94 AENOTISOCONG Ue. suisse ee eee ee oe ee eee 26 Total. =. 0e ch otikce oe oe ee te ee wade wal Seceoeee 239 Interval of— IMS j ON SEXDDcccrese arose seen e seen et ere cee ese MuanorSixthis. £5 knee goes ase ee oo Se ees Daataiaa Major third). io.sccsbe cece pace serene asd eee eee Minor third ...2.s52 002 fetes sess eee Sess eee Major secon des jaececn ssa ee ae ee a citor eecere Minor SeCOnG!. sco esc cee eee eee eer seca sae one eS 16 15 42 37 14 135 AVERAGE NUMBER OF SEMIT ONES IN AN INTERVAL Total number of intervals, ascending and descending. - Totalaumberof semitones... .¢-.ese ese seeee eee Average number of semitones in each interval......-.-- 374 1,101 3.5 | DENSMORE] TETON SIOUX MUSIC 155 Old Songs—(1) Ceremonial Songs—Continued Metopic ANALysis—Continued KEY Number | “IN a of songs Serial Nos. of songs | Key of— PRETIUEA] OL. a: 3 'sa ae aesuce, Samah ae eee ais hee oleic ee aie lee ice 1 | 36 PRO ITLINLOL « os aida cine on pee 2.5 ta etwecit aeltee cee Lek? BRA IN OPE sk See a Stee deh acm opie An AL PAL LEAD TDG Yt) pepe RM a, PON IBY. ahh EO NR dene FER Nap OW cr b ysl sy ey See eS ee Ae Se are 6 ae Be i ee ee 2 | 2,3 IDiflatim sions Ssae sere c etait oe Shr: etre) Ty 15 CG shanp minors. csc. noose coe ones ies oooh 1 | 16 Byres) (6) it a Ee ns hn ee 1} 14 D minor......-- SRR een eed ed Cae 2 | 19,20 DO a ES thee 12 [05 ae oe ga ue a PMA Ole tetete tetas sass owns = Boss afore das Lal sharp minor-.22..=3-- SA EE ta a 1} 10 (Ge OR ACR Mee ee ean een ee ee Ly AIRS) 2] hey eee r tio a 15 . ‘ RuytTHMic ANALYSIS PART OF MEASURE ON WHICH SONG BEGINS Number : — of songs Serial Nos. of songs Beginning on unaccented part of measure............. S | 15:2; 4,13; 16, 17; 1936 Beginning on accented part of measure..............-. Talay lly, 12514 lo 20) 20 Mopalews ie ral (Ls are es Ce Sle —— oe oe ee wan -la-ka-pi kte si - to-mni - yay wa-ku-wa-pi kte-lo he WORDS SA a ee Se eee all these wala wapl kte.:...-..22--.:.<. shall pursue MENON tec ce eo dele ys son. “ELMER waku’wapi ktelo’....5......:. shall pursue wakin’yan oya’te pi éa.....-.- the Thunderbird nation (see p. 162, footnote) PHPIUL. 2 o- cas clea s--aus. Everyone waku’ wapi ja ode ~as-.-.~---) Bball pursue Suifeviar ohh 22) |i ee everyone Walia teu Ete. 222-2... 2... you shall behold BltOMMbya.........-.-----.--, everyone waku’wapi ktelo’ ...........-.. 8 shall pursue Analysis.—The tones of this melody are those of the fourth five- toned scale. It has a range of 14 tones, ending on a particularly low tone. This tone on the phonograph cylinder is not loud, but is dis- tinct, corresponding to the indicated tone on the piano. The adjust- 172 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 / ment of the phonograph is believed to be the same as when the song was recorded, hence the transcription indicates the tone actually sung by the singer. The song is melodic in structure and contains 20 pro- gressions, three-fourths of which are descending intervals. DREAMS CONCERNING ANIMALS A dream concerning an animal was greatly desired by the Sioux. Brave Buffalo (see pp. 207 et seq., 248 et seq.) said: I have noticed in my life that all men have a liking for some special animal, tree, plant, or spot of earth. If men would pay more attention to these preferences and seek what is best to do in order to make themselves worthy of that toward which they are so attracted, they might have dreams which would purify their lives. Let a man decide upon his favorite animal and make a study of it, learning its innocent ways. Let him learn to understand its sounds and motions. The animals want to communi- cate with man, but Wakan’tanka does not intend they shall do so directly—man must do the greater part in securing an understanding. This suggests that a fancy for a certain animal preceded a dream concerning It. Shooter, a thoughtful man and well versed in the old customs, made the following statement, given in the words of Mr. Higheagle, the interpreter : All living creatures and all plants derive their life from the sun. If it were not for the sun, there would be darkness and nothing could grow—the earth would be without life. Yet the sun must have the help of the earth. Ifthe sun alone were to act upon animals and plants, the heat would be so great that they would die, but there are clouds that bring rain, and the action of the sun and earth together supply the moisture that is needed for life. The roots of a plant go down, and the deeper they go the more moisture they find. This is according to the laws of nature and is one of the evidences of the wisdom of Wakan’tanka. Plants are sent by Wakan’tanka and come from the ground at his command, the part to be affected by the sun and rain appearing above the ground and the roots pressing downward to find the moisture which is supplied for them. Animals and plants are taught by Wakan’tanka what they are to do. Wakan’tanka teaches the birds to make nests, yet the nests of all birds are not alike. Wakan’tanka gives them merely the outline. Some make better nests than others, In the same way some animals are satisfied with very rough dwellings, while others make attractive places in which to live. Some animals also take better care of their young than others. The forest is the home of many birds and other animals, and the water is the home of fish and reptiles. All birds, even those of the same species, are not alike, and it is the same with animals and with human beings. The reason Wakan’tanka does not make two birds, or animals, or human beings exactly alike is because each is placed here by Wakan’tanka to be an independent individuality and to rely on itself. Some animals are made to live in the ground. The stones and the minerals are placed in the ground by Wakan’tanka, some stones being more exposed than others. When a medicine-man says that he talks with the sacred stones, it is because of all the substance in the ground these are the ones which most often appear in dreams and are able to communicate with men. All animals have not the same disposition. The horse, dog, bear, and buffalo all have their own characteristics. This-is also true of the fowls of the air, the living creatures in the water, and even the insects, they all have their own ways. Thus a@ man may enjoy the singing of all the birds and yet have a preference for the melodies . O1V4s4dNd SAVE Se ALV1d 19 NILATING ASOTONHLA NVOIMSWY JO NVvVaYNE DENSMORB] TETON SIOUX MUSIC his of certain kinds of birds. Or he may like all animals and yet have a favorite among them. From my boyhood I have observed leaves, trees, and grass, and I have never found two alike. They may have a general likeness, but on examination I have found that they differ slightly. Plants are of different families, each being adapted to growth in a certain locality. It is the same with animals; they are widely scattered, and yet each will be founda in the environment to which it is best adapted. It is the same with human beings, there is some place which is best adapted to each. The seeds of the plants are blown about by the wind until they reach the place where they will grow best—where the action of the sun and the presence of moisture are most favorable to them, and there they take root and grow. All living creatures and all plants are a benefit to something. Certain animals fulfill their purpose by definite acts. The crows, buzzards, and flies are somewhat similar in their use, and even the snakes have a purpose in being. In the early days the animals probably roamed over a very wide country until they found their proper place. An animal depends a great deal on the natural conditions around it. If the buffalo were here to-day, I think they would be different from the buffalo of the old days because all the natural conditions have changed. They would not find the same food nor the same surroundings. We see the change in our ponies. In the old days they could stand great hardship and travel long distances without water. They lived on cer- tain kinds of food and drank pure water. Now our horses require a mixture of food; they have less endurance and must have constant care. It is the same with the Indians; they have less freedom and they fall an easy prey to disease. In the old days they were rugged and healthy, drinking pure water and eating the meat of the buffalo, which had a wide range, not being shut up like cattle of the present day. The water of the Missouri River is not pure, as it used to be, and many of the creeks are no longer good for us to drink. A man ought to desire that which is genuine instead of that which is artificial. [See pp. 205, 330.] Long ago there was no such thing as a mixture of earths to make paint. There were only three colors of native earth paint—red, white, and black.[)] These could be obtained only in certain places. When other colors were desired, the Indians mixed the juices of plants, but it was found that these mixed colors faded and it could always be told when the red was genuine—the red made of burned clay. Four men told their personal dreams of animals and sang the songs which, they said, were received by them in these dreams. Brave Buffalo related his dreams of the buffalo, elk, and wolves; Charging Thunder, his dream of the wolves; and Siya’ka, his dream of the crow and the owl. (Dreams of the thunderbirds by Lone Man and Charging Thunder are contained in the preceding section on the Heyo’ka. The following group comprises, in addition to narra- tives by the dreamers, certain accounts of dreams and their songs which were given by men who had heard them related by others, and also a few dream songs whose history is unknown. DREAMS CONCERNING THE BUFFALO Brave Buffalo (pl. 25) gave the following narrative concerning his first dream, from which he received his name: When I was 10 years old, I dreamed a dream, and in my dream a buffalo appeared tome. I dreamed that I was in the mountains and fell asleep in the shade of a tree. {! See p. 116, footnote, which includes blue, obtained from blue clay found in Minnesota. The above list evidently includes only those colors found in the country of the Teton Sioux.] 174 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Something shook my blanket. It was a buffalo, who said, ‘‘Rise and follow me.” I obeyed. He took a path, and I followed. The path was above the ground. We did not touch the earth. The path led upward and was smooth like smooth black rock. It was a narrow path, just wide enough for us to travel. We went upward a long distance and came to a tent made of buffalo hide, the door of which faced us. Two buffalo came out of the tent and escorted me in. I found the tent filled with buffalo and was placed in the midst of them. The chief buffalo told me that I had been selected to represent them in life. He said the buffalo play a larger part-in life than men realize, and in order that I might understand the buffalo better day by day they gave me a plain stick (or cane) and told me that when I looked at it I should remember that I had been appointed to represent them. The cane was similar to theone which I now carry and have carried for many years. I would not part with this cane for a fortune. [See pl. 25, in which Brave Buffalo is represented leaning on his staff. ] Brave Buffalo said that the following song was given him in the lodge filled with buffalo, and that by it fis rece power to engage in Tie practice of mi gicine: No. 44. “A Buffalo Said to Me” (Catalogue No. 606) Sung by Brave Burrato Voice g—69 Drum = 69 Drum-rhythm similar to No. 19. @- @ @. 9 9° £ O° Pipe imc 2. e fee. Peace erent eee oe Oe 4 re S753 Fao fe —==E | Pap ee | 2b 4 2 eas Wa - hi - na-wa- pin kte way - ma-yay-ka yo he yo Wa- = nd a a Pe bo . ue R= ae a 32 —— San hi- na-wa-piy kteway - ma- yan-ka yo he yo wa - iL Die | g eee i Rae aR Eeck er eae Sas ee De 2 fert pet earaeae = = a a | SE pe == — fs sae ——_- = hi - na-wa - pin kte wan - ma-yan-ka yo he yo ta - tay-ka wan fg I tee ae Soares sre rea a a ee eal he-ma-ki-ya he yowa-hi-na-wa-pi) kte way-ma-yay-kayo he yo WORDS wahi‘nawa/ pin) kte 252 sees eee I will appear wanma/yapka yo............. behold me tatan/ka, wal 2... 262: eee a buffalo hematktyaiy.«. {2155.25 eee said to me DENSMORBE] TETON SIOUX MUSIC 175 Analysis.—This song comprises five periods, four of which con- tain the rhythmic unit while one has a different rhythm. Observ- ing the melodic form, we note that the first period consists of three measures and is based on the minor triad, B flat, D flat, F, the tones occurring in descending order. In the fourth measure the accidental B double flat leads downward to A flat, and for several measures the melody is based on the descending minor third A flat-F. This is’ followed by a return to the minor triad in the upper octave and a descent to A, and a recurrence of the acci- dental, the song closing with the descending minor third A flat—-F. Five tones are found in the melody, which is distinctly major in tonality. The sequence of tones is such as to suggest D flat as a keynote, and the song is accordingly transcribed and analyzed in the key of D flat with one accidental—the sixth lowered a semitone. It is interesting, however, to note the intervals in this song. With the number of their occurrences these are as follows: Minor sixth, 1; major third, 3; minor third, 9; major second, 7; and minor second, 9— a total of 29. It will be noted that about 65 per cent of the intervals are minor. fon) z ac 2) = rk Zz wl = < ra cc [e) ee < ae BUREAU OF AMERICAN ETHNOLOGY BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 28 BENT STICK CARRIED BY WOLF DREAMER DENSMORE] TETON SIOUX MUSIC 179 allowed on the windward side of the person giving the demonstration and no one is allowed to come near him. Brave Buffalo stated that after this demonstration the elks gave him power to find medicinal herbs. At the present time if he is in doubt what herb to use in treating a sick person, he appeals to the elks and they tell him what to use and where to find it. The emblem of the elk is a circle, exemplified by the hoop which an elk dreamer carries in his hand when “acting out his dream.”’ The young men wear a hair ornament consisting of a small hoop wound with porcupine quills and having a downy white eagle feather sus- pended in the center. Such an ornament is shown in plate 27; the eagle feather is suspended by a tiny loop of hide at the end of the quill. This ornament is fastened by a narrow strip of hide to a lock of hair on top and at the left side of a man’s head. The fastening is from the center of the hoop so that the ornament hangs lightly above the ear. DREAMS CONCERNING THE WOLF Brave Buffalo stated that about two years after his dream of the elk he had a dream of a wolf. This dream came to him as he was hunting alone. He had been wandering for several days in search of game when he met a pack of wolves. They formed a circle around him, and as they stood looking at him he noticed that their nostrils and paws were painted red. They came toward him, whereupon he grew dizzy. When they reached him, he was unconscious. They stood around him until he regained his senses; then they moved on, telling him to follow them. They led the way to a wolf den on top of a high hill. While he was there, more wolves came out of the hole, painted like the others. The wolves have always been wanderers, not knowing where they would find food. They knew he had been hunt- ing and had had much difficulty in finding game, and they wanted to help him. They said there was a certain herb which, if dried, would enable him to catch all kinds of snakes. He was told to dry this herb, and put it on the ground where the snakes are wont tocome. He did so and caught a live rattlesnake. The wolves told him to carry this live snake when giving the demonstration of his wolf dream. Instead of the mask of elk hide which he wore in his former demonstration, he used a similar mask of wolf skin, wearing practically the entire hide ! and carrying in his hand a bent stick somewhat resembling a bow, which was painted red. A duplicate of this stick made by Brave Buffalo for the writer igshown in plate 28. Brave Buffalo stated that he carried this and the snake in the same hand, the snake coiling itself around the bow. He held the snake close to its head during the demonstration and let it go after the demonstration was closed. The 1 Cf. the wearing of a wolf hide by warriors, p. 388. 180 BUREAU OF AMERICAN ETHNOLOGY _ (pute. 61 wolves told him that when he was making this demonstration a live owl would alight on his back. Brave Buffalo said that this actually happened. After this dream and its demonstration he “prayed to the wolves’? when he wanted to locate game, and they always told him where to secure it. . The following song, which was taught Brave Buffalo in this dream, is one which Be DP iiciyere used in treating the sick. He said that it was his custom to sing this song every night. No. 47. “Owls Hooting”’ (Catalogue No. 607) Sung by Brave Burrato VOICE e = 92 Drum e = 92 Drum-rhythm similar to No. 8 | See 2» S iuskg eae Se as bea as i a Se eS ase a ee Hiyn-hayn ho-tuy pe - lo hin - hay ho - tuy pe hin - [—~ Oe ES fp 8 ft SSE | hay ho - tun pe - lo hiy-hay ho-tuy pe hin - hay ho - tuy eas age a2) ee oa ese ? = rayr.m = - és pay : ——— =r = a pe - lo hin-han ho-tuy pe hay-he-pi hi-ya-ye - éin hiy - aa 5 vias o- : 2 eae a ieee ee ee Mees Ey t ae ———oe ons Mined al a hay ho-tuy pe hin - han ho-tuy pe - lo hin-hay ho - tu) Bz ei eieeat a a eee Sart iy -hay ho-tuy pe - lo hin-hay ho - tuy pe WORDS hinhan’ .02: 7024 24iee ee owls ho“tun? pelo’. sence eee (were) hooting hanhe’ pl hiya’ yecine. see in the passing of the night hinhan’ =.=)... eee owls ho’tuy — ast 5 20 SEER ee eee hooting , 1 Riggs gives the followi ing definition of the Ww Fon ho. “‘the voice either of a manorof any animalor thing; sound in general.’’ Its exact meaning is understood from its use (cf. itay’éay, p.70). When ho is used con- cerning an animal, itis understood to refer to the peculiar call or cry of that animal. Thus in this memoir, in addition to the present song, it appears as follows: With reference to wolves in song No. 48, to buffalo in song No. 54, toowls and wolves in No. 160, to owls and crows in No. 50, to the bear in No. 84, and to the horse in Nos. 109, 111. 2 The final syllable of this word was often omitted by the singer. DENSMORBP] TETON SIOUX MUSIC 181 Analysis.—This melody as a whole is of unusual interest. Three renditions were recorded on one cylinder; these show no variations. Three renditions recorded at a later time were found to be identical. The intonation is not so good as in other songs by the same singer, an uncertainty, or wavering of the tone, occurring at the same point in all the renditions. The customary ‘‘calls” or “cries’’ were given between the repetitions of the song. About one-fourth of the inter- vals are minor seconds which, as already noted, are found less fre- quently than major seconds in both Chippewa and Sioux songs. Some medicine-men consider the owl especially sacred among birds. Two reasons were given for this by an Indian, who said: The owl moves at night when men are asleep. The medicine-man gets his power through dreams at night and believes that his dream is clear, like the owl’s sight. So he promises that he will never harm an owl. If he did so, his power would leave him. For this reason some medicine-men wear owl feathers. The medicine-man also regards the owl as having very soft, gentle ways, and when he begins to treat sick persons he is supposed to treat them very gently. So in night wisdom and in the manner of carrying itself the owl is greatly respected by the medicine-men of the tribe. Charging Thunder had three dreams of animals. The first was the dream of the thunderbirds, from which he received his name (see pp. 170, 171); the second was a dream of wolves, which is here described; and the third was a dream of buffalo. This last dream occurred about a year after his dream of the wolves. He did not relate the dream of buffalo, but said that because of it he was often sent to look for buffalo, the leaders sending him alone instead of a searching party as described in the account of the hunt on page 439. Charging Thunder said that he had faithfully fulfilled all the obligations of his dreams, and believed that he had received great benefit thereby, but that none of his dreams required him to engage in the practice of medicine. They required other acts, which he had duly performed. In describing his dream of the wolves, Charging Thunder said: When I was about 22 years of age I dreamed that I came to a wolf den and found the little wolves unprotected by either father or mother. They seemed to say, ‘‘We are left here helpless, but our parents will soon return.” ['] I learned their song, which was as follows: {1 A dream similar to this is recorded by J. Owen Dorsey in Eleventh Rep. Bur. Ethn., pp. 478-479.] 4840°—Bull. 61—18——14 182 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 48. Song of the Young Wolves (Catalogue No. 570) Sung by CHarGina THUNDER VoICcE J= 56 Drum not Pe #0 # - ## 0+ 9 #@ Eee - cae) Q_ 9: Dae Soe he med —— =e ee sao ae a | ——— rr eeen mee ——| = 5 4 Ses A-te to - ki-ya ho ku-we-lo i-na to - ki-ya ho aera - lo @éin- ES a Bue i — SS zie =a °— =o +). Fase | rr = ze a EC 4 = Se éa zi wa-ku na i-nato - ki-ya ho ku - we- lo wa- eee ¢ fee aan _9 ban a ESSEa soa ae aes ee ee © 9 6 -6\|e @° ——— te ne a a Se 3 na - a-ka ku - u-we he lo he e Co Camaiie Crd ie ha eS ea dee ~~ =| sae eee eee against the winds Mawa Ml MUN Wes sso sseee ase may I roam Bt) (DAG 4-21 32013 oS oR ee ee at dawn TAWA MBE 2h SSE Dee (may) I roam evap: Sees A 2! ee ee (when) the crow Hogton lan Asse ey Ae eee (is) calling mawacne nun we’. -.6. cEhsceaes may I roam Analysis.—This melody contains only three intervals larger than a minor third, about half the intervals beg major seconds. It is minor in tonality and lacks the sixth and second tones of the com- DENSMORP] TETON SIOUX MUSIC 187 plete octave. In structure it is melodic, and the trend is steadily downward from the eleventh to the tonic. The subdominant is more prominent in this than im many of the songs under analysis. Siya’ka continued: The owl said, ‘‘ Always look toward the west when you make a petition, and you will have a long life.’’ After this the owl commanded me to look at him. Assoon as I did this he was changed to an elk, and at his feet were the elk medicine and a hoop. [See pp. 178, 295.] As soon as I saw him changing, I began to wonder what marvel would be next. Then I heard a song. I tried to learn the song, and before I realized what I was doing I was singing the song. The following is the song taught me by the elk in my dream. No. 51. ‘‘Where the Wind is Blowing”? (Catalogue No. 474) Sung by Stya’Ka VoIcE 2 54 Drum not recorded 9 - £+ £+ + + + ee 2 8° Oe = ——— at —|— + (= fon {—-t-—! rr] : 3 3 SS = z a a= He to - ki ta - te u - ye éiy ta - te 1 - éa - tf Pe s at Bee Se ae ee 2 “8: i #6. eRe ig mee Tr a Bes ca — fe. a ‘To as] i r i imuy-yan na - wa-Zin ye 0 wi - yo-hpe-ya - ta ta-te u-ye oon ee ee ee cat ooo . e. = 108 = 3 — oe ye EO BET Ta Maal c= = =~ == et ———— Q aay aes + =—= = = el — a én ta-te i- éa-hmuy-ya) na-wa - Zi) ta-te to-ki u-ye e= 54 fr ac Oi eT acca & —_— S { = — a ieeEs we —— —— | t = =i a él) ta - te i- ¢a-hmuy-yay na- wa - Zi) ye @) WORDS tea Pe EPPA PTE E USS ey). where Gabonese yn tercyeseyts: sk bees the wind IN EGA 2 a is blowing CBee rete Re so Bde as the wind Ga meapapyane a! eh ol edte is roaring Disiwareineme see. | 2's 22D gtand wiyo hpeyata:..2.............- westward Ch oA Sake 1. the wind TV eC/, MCLs Beet the chars - is blowing 1a ee ee re the wind ECM TON Ri ee a eh is roaring RAW AN) Hr Eiee ehcp ees Sot ue» L stand 188 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis.—Two renditions of this song were recorded, the prin- cipal difference between them being that in the second rendition the half note at the end of the third measure was sung a quarter note and the last note of the following measure a half note, thus comprising five counts in the two measures, but distributing them differently. The intonation was wavering throughout the ren- ditions, making the song especially difficult of transcription. This was undoubtedly due in part to the presence of the accidental. It was clearly the intention of the singer to differentiate the tones transcribed respectively as D sharp and D natural, but the interval between the two was not always an exact minor second. As already stated, the minor second is not of frequent occurrence. It is frequently sung too small, but not with sufficient uni- formity to justify the belief that a definite interval smaller than a semitone is in the mind of the singer. The measure trans- cribed in 3-8 time was uniformly sung in all the renditions. The melody tones are those of the second five-toned scale with the fourth raised a semitone as an accidental. The song is melodic in struc- ture and has a compass of 12 tones. Siya’ka said further: The hilltop where I had my dream was quite a distance from the camp. My friends knew I had gone there, and in the early morning they sent a man with my horse. I came home, and the first thing I did was to take a sweat bath. In the lodge with the medicine-man I told him my dream. I was a young man at that time and eager to go on the warpath and make a name for myself. After this dream, my stronghold was in the east, but the west was also a source from which I could get help. All the birds and insects which I had seen in my dream were things on which I knew I should keep my mind and learn their ways. When the season returns, the birds and insects return with the same colorings as the previous year. They are not all on the earth, but are above it. My mind must be the same. The elk is brave, always helping the women, and in that way the elk has saved a large proportion of his tribe. In this I should follow the elk, remembering that the elk, the birds, and the insects are my helpers. I never killed an elk nor ate its flesh. The birds that continually fly in the air I would not kill. I may kill water birds and grass birds if suitable for food, but only these. Siya’ka was deeply affected by the telling of this dream and the singing of the songs. Shaking hands with the writer, he said that he had given her his most cherished possession.! Two Shields related the following dream, which is a tradition in the tribe, and sang the song which is said to have been received in the dream: Many years ago a war party were in their camp when they heard what they believed to be the song of a young man approaching them. They could hear the words of the song and supposed the singer was one of their party, but as he came nearer they saw that he was an old wolf, so old that he had no teeth, and there was no brush on his tail. 1 Siya’ka’s narrative was given in November, 1912; he died in March, 1913. DENSMORP] TETON SIOUX MUSIC 189 He could scarcely move, and he lay down beside their fire. They cut up their best buffalo meat and fed him. Afterward they learned his song, which was the beginning of all the wolf songs (war songs). After this, too, the warriors began the custom of carry- ing a wolf-skin medicine bag. The writer was told by Looking Elk and others that the wolf-skin medicine bag carried by warriors had been known to ‘‘come to life”’ and walk about the camp, and it had been heard to sing this, the first wolf song of the Sioux: No. 52. “I Made It Walk” (Catalogue No. 533) Sung by Two SxHreL_ps Voice g\— 168 Drum = 138 Drum-rhythm similar to No. 19 pag yp SS Wa - kay - yay ma-ni wa-ye wa - kan- yay ma-ni wa- (pee See ame | Brats = puaee ee vy faa naar! ————— ye Suy-ka o-ya- te way wa - kan-yan ma- ni wa- -®-. poe ee fee ae ine Sea e wa - kay - yay ma-ni wa - ye wa - kan - yay 2: 0h) | = * ots FR C= | a a SR Se 5 4 iy eee —S —_ ==) = i ma- ni wa - ye wa - kan - yay * ma- ni wa - ye WORDS WHAM VAT ooo tous. Soke oat by my supernatural power MAINT WAYC. 0.<25.--2.202-uh<.~) made it walk sun’ka, ovate wal)---+---.-:-.- a wolf nation (see p. 162, footnote) WaeaE) “VAN Os.- 2325 cece tas c-. by my supernatural power WAN Waye’. cols... 23 22.2 ee ce I made it walk Analysis—The same peculiarities of rhythm occur in all renditions of this song. The time is exactly maintained throughout. The melody tones are those of the major triad and second—an unusual tone material. The ascent of a sixth at the opening of the song is also unusual. The song has a compass of 13 tones. Two-thirds of the progressions are major seconds, and a majority of the other inter- vals are fourths. Weasel Bear related the following incident, which he said took place when his father was a young man. His father, whose name was 190 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Metal Knee (Hu’pahu-ma’za), was with a number of men on the war- path. On stopping beside a hill, they heard what they believed to be aman singing. They counted their party, but all were there. One of them climbed the hill and, looking over, saw a wolf sitting with his back to the hill. The wolf was looking away off and singing. The words of the four renditions suggest the change from enthusiasm to caution, and are interesting as being sung by an old wolf to the young warriors. The warriors listened and learned the song, which was as follows: No. 53. Song of a Wolf (Catalogue No. 650) Sung by WeaseL Bear VorcE a= 100 Drum ae 88 Dror ryan ees to No. 19 e+. _ = — Ee are —— a Sa Se ee =e Saal areas are = Le eaema a= — ae = 0! Gan=na ~o - ma, -. “wa = ni’? “ye* RT a - zr _—_@___@____#@ ____@ _—— e 1B fe 2 } = @__® 6 —_—_@+_ | _@ » BEE = See == =e 3 onk oO-ma- wa-ni_ ye eS x —=— =e$ z ier] m3 FE Dey ie} os ee : = a = a aa L o—o—|}+ a —e 6 tome ae : a WORDS (First rendition) 2 PAGWCAD Dae soot Ban ctee cs < at daybreak oma/wani ye.......- eeysdele Sees T roam AG OSGIAV: 1G) Ol ages SN Dees aN SA galloping OMA Wall ayes. sa3 weyers es ae I roam (Second rendition) an’ pad “Cal ae oo. coe eee eee at daybreak oMa/ wan yer- a eee eee I roam kaéan’¢ar. . Sse eee trotting oma’ wall yes22.22 Saeeeeeee a I roam ( Third rendition) an pao Gan na’. :/. ee remoenen at daybreak omla/wani tyete se a2 eee T roam mapa pa -)2- spose ess s ee eee in a timid manner OMaAWalllye ;- .c.c2..- seein ees IT roam (Fourth rendition) a0) pao.Cah’ne: .... .. os eeeee at daybreak OWA WEIL VC. a< <= acetal ep eee T roam waulata/letaren. sc-7's. 0.2, eee watching cautiously OMa*wanl ye.2 s.:. 2222322 __.. Traam DENSMORPJ TETON SIOUX MUSIC 191 Analysis.—An interesting peculiarity of this song is the difference in tempo of voice and drum, the latter being slightly the slower. The song showed no differences in the several renditions. 'The melody tones are those of the fourth five-toned scale. Of the intervals 52 per cent are major seconds and 35 per cent minor thirds; the remaining three intervals are upward progressions of a major third, a fourth, and a fifth. The character of the song is lively and entirely unlike the earlier songs of this group. The followmg song concerning a dream of a buffalo was sung by Old Buffalo. i iis and the Gene succeeding numbers the song remains, but the story of the dream is lost. No. 54. “Toward Them I Walk’ (Catalogue No. 639) Sung by Otp Burrato VoIcE d= 176 Drv not recorded oa one (1) es ee ee ee Ta-tay - ka Ga _ ho - ye wa-ye - ta - tan - PN Ad sauaed Be Hitt ot oT 8 Bs 2 ee eee éa ho - - ye wa-ye - eé - lo nuy-we wa-hpa-tayn - (2) i) 222 ae ree Y¥ore ya Uae WORDS (First rendition) bata kas ees Se oh oye oe a buffalo cr ea oe 2. ee it was 0 V.O> Facet teres ax 25. zhi a voice (see p. 180, footnote) Vea) Gane Se a er I sent forth BRL WO" Steen anne 2 as3 22 be it so wa/hpetanka oya’/te.......... a Blackbird nation (see p. 162, footnote) Be AS. 2 ee RS NS it was CRAY YS... hs ee nt. toward them Pnwey Tl VO. .-wommeb en dal stare oo, I walk 192 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 (Second rendition) [EYL all ke eet ae A cy A a buffalo Gay eto’. oli Ae it was hofye- cus. Mt}. Dee ee a voice We VClO:: S22 22.0 e eet I sent forth MUN WiC coco tae: se eae be it so Ul Zatey OV a, be jaaee i eee a Swallow nation I AN Dal A Bi oh a ag it was LLOV Va Fes eas Ae ee toward them MA WAC Gs! cress. ers ee T walk Analysis.—The tones comprised in this song are those of the second five-toned scale, A being the keynote. The chord of A minor forms the framework of all the melody except the closmg measures, which consists of the minor third E-G. Throughout the melody the minor third is prominent, comprising 41 per cent of the entire number of intervals. Two rhythmic units are found in the song. The time of the sustained tones was uniform in all the renditions. In this, as in a majority of such instances, the long-sustamed tones contair an uneven number of counts. In explanation of the words of the following song Siya’ka said: The reference to the deer and the scarlet object is because venison is red and is the bait. used to catch the eagle. The reference to blue is because when trying to catch an eagle we look at the sky so steadily that everything appears blue. DENSMORE] TETON SIOUX MUSIC 193 No. 55. “An Eagle Nation is Coming’ (Catalogue No. 472) Sung by Srya’Ka Voice g> 132 Drum not recorded Peer ere fie tee meee nee Die ee H Sale a Ta-héa o- ya - te way a - u we-lo wa - lu - e=14 a ipreracrts —\ =e ———- SSeS SSS SS SS =a ie | Sarma ae | ta wal) e ya a- U we wa-yay - ka yo I— 135 | 2 132 i oes 1 wel | oe SSS = = = s Sore orere Fires |e Serie — = 3 — WORDS (First rendition) ta/liGa? ova’ te: walj--.2:.-2.2:: a Deer nation (see p. 162, footnote) Bt WOlOte eee’ 35.23 -- 4223.5 IS coming Walt Wallskeses<.2 5 -y.sse5-2 a scarlet object GN WO. sage cseeee. to ecoeus. .< IS Coming styl) Ka Wow 8 te a ares behold it 1 According to Riggs ta'fiéa is a contraction ot t’liiyéa, meaning ‘‘the common deer, Cervus capreolus.” 194 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 (Second rendition) ad oya’ te. Wale ees an Eagle nation an eve. )..'. ft ee eee '.. is coming maka‘to Wail)i.2s.s-e2seeseeee eee a blue object i WIOS ts Ste ere aan ee is coming Wayal’ ka -YOss=422-. eyes eees behold it 17 tones. Among the Chippewa no songs were recorded which had a compass of more than 14 tones, but three songs in the present series have a compass of 17; the others are Nos. 196 and 202. The final tone is faint, but discernible on the phonograph record. The rapid tempo and wide intervals cause more uncertainty of intonation than is usual in these songs. However, in this, as in No. 58, the exactness of the smaller intervals is of less importance than the fact that 27 of the intervals (37 per cent) are larger than a major third. An equal number of intervals are major seconds, and the remaining 15 intervals are minor thirds. Changes of time occur as indicated. (See song No. 5.) No narrative was given with this song. Four dream songs con- cerning deer were recorded among the Chippewa—Nos. 95-98 in Bulletin 53. See plot of this melody on page 204. No. 56. “A Blacktail Deer’ (Catalogue No. 564) Sung by CHarcine THUNDER VOICE = 84 Drum not recorded 9 pee Fee ParA = Wa- kan mi- éa - ge wa- kay mi-éa - ge sin - te pe - la way wa - kan mi -¢éa - ge wa-kay mi-¢a - a. paraes SSE he-na - ki - ya wag - la - ty - a kon DENSMORE] TETON SIOUX MUSIC 195 WORDS WAIKAN) Cee osc 2 oem Sersicc sc Coates YBACLEC 6b, ee cons eee ree he made for me Walkan? su; . Se eeeee so este oe sacred PO CAPO: ..- = Sseer = 2 Sa o= o c he made for me sinte’ sa’pela wal). .---.-....-.- a blacktail deer ! Ee YN RE sacred SAWS RE 32, EIS = oy Se he made for me hena’kiya..... eres eae okt those wapla’kapi kon.......-....... you had seen Analysis.—The interval of the minor third characterizes this melody and constitutes 41 per cent of the entire number of intervals. The trend of the melody is steadily downward, about two-thirds of the intervals being downward progressions. The compass of the melody is 14 tones, lacking only 1 tone of 2 octaves. Three rendi- tions were recorded; these show no points of variation. See plot of this melody on page 204. SONGS CONCERNING THE BEAR Two Shields said: The bear is the only animal which is dreamed of as offering to give herbs for the heal- ingofman. The bear is not afraid of either animals or men and it is considered ill- tempered, and yet it is the only animal which has shown us this kindness; therefore the medicines received from the bear are supposed to be especially effective. In somewhat similar strain Siya’ka said: The bear is quick-tempered and is fierce in many ways, and yet he pays attention to herbs which no other animal notices at all. The bear digs these for hisown use. The bear is the only animal which eats roots from the earth and is also especially fond of acorns, june berries, and cherries. These three are frequently compounded with other herbs in making medicine, and if a person is fond of cherries we say he is like a bear. We consider the bear as chief of all animals in regard to herb medicine, and therefore it is understood that if a man dreams of a bear he will be expert in the use of herbs for curing illness. The bear is regarded as an animal well acquainted with herbs because no other animal has such good claws for digging roots. 1 This animal was mentioned by Lewis and Clark in the account of their journey on the upper Missouri. In September, 1804, Clark wrote, ‘‘I walked on Shore Saw Goats, Elk, Buffalow, Black tail Deer & the Common Deer.”’ (Original Journals of the Lewis and Clark Expedition, vol.1,p.155.) A footnote on this passage in the Coues edition is as follows: ‘“ Cariacus macrotis, also called mule deer. The tail is mostly white, but tipped with black.’”? (History of the Expedition under the Command of Lewis and Clark, edited by Elliott Coues, vol. 1, p. 122, footnote, 1893.) The common deer is mentioned in Siya’ka’s song, No. 55. 196 BUREAU OF AMERICAN ETHNOLOGY [BULL 61 No. 57. “A Bear Said This’! (Catalogue No. 581) Sung by SHOOTER VoIcE ois 88 Drum not recorded way ya-tin kte ka han-tu e na - Zi) -ye ma - WORDS Peal Mita.“ Wales as sceten ste e t a medicine (root of herb) yatin” Kte.:.....c0-2 9-4-5. - 9 you will eat (to live) Ieathan tsi. aes eee eee eb het place t NAA YVO-.4.10)..ce4 hen eee Ae Bands TIAGO UL Sat a eee eae eae hema/kiye.......-..--...------ said this to me Analysis.—The complex rhythmic form of this song, together with its clearness in repetition, suggests that it is an old song and was cor- rectly sung. Four rhythmic phrases are found in the song. It will be noted that the opening of the first and second are alike, and that the opening of the third and fourth also have a resemblance to each 1Other dream songs of the bear (Nos. 87-89) are used by Eagle Shield in his practice of medicine. (See also No. 58.) 2 This is an expression used by medicine-men. When giving medicine to a sick person they said, ‘‘ You will eat this in order to live, or to recover.”? (Cf. words of Song No. 83.) DENS MORE] TETON SIOUX MUSIC 197 other, the remainder of each phrase being individual. The melody tones are those of the second five-toned scale. There are 52 pro- gressions in the song, 37 (71 per cent) of which are major seconds. Many of the accented tones were given with a peculiar attack, much used by this singer, which consisted in sounding first a tone slightly above the principal tone and immediately sliding downward to that tone. No narrative was given with this song. No. 58. “‘He Comes to Attack” (Catalogue No. 562) Sung by CHarGInG THUNDER ; Voice g— 84 Drum not recorded eae. e: -P- 0 -@- ia e r) ie ee 3 al fad = @ : ® - n : = Y a pags SS ay = = el = CESS = pis Bares aera Sarai tl FG ) = ° oo » a 2° E=== -2Se sos ae a =e 25 5 oe oe ‘ are felon ead Wa-zi - ya - tay na-tan hi-na- pe lo e- ie. Gd ice =z a iim =. * eee = ae 1 = = 4. + = o : , 2 oe = e | f a [3 ! 1 5 ; = _ = - : ———— ee ee ees ee kta e - tol - wij ye ye ye ma-ka we- con na Gay - te to - ke - Ga hewa-u we he ye - lo yo yo yo WORDS wazi’yataj.................... from the north natan’ hina/pe lo-............- he comes to attack Chie fore oe oo SS in that direction @/ ton wil}; Ye. ses. -.-......2.. behold him ici, Loreen hull Sa dust we’ GoDjssc ee oe Pectin e es Ales e I threw upon myself WA. esi minal isimiai= es a 3 | 39, 48, 52 LANG) WONG SEE Gc Seen nan So odcds snidec enced erecase= 2 | 37, 51 PHB VEIMONOSe a= snc ceseen lc qa e eee elena emia ea 2 | 46, 50 ITPA EGS oS SO Geb a8 Se SABA saat consceaaaneee 2 41, 49 INSTIGIEDEOSmtat oar cn sion oatien sae ome Ace Secs cle csseeine'e = 3 | 53, 54, 57. MEN LONeS slates see eee nee ate estes 5 oce 6 | 38, 42, 44, 45, 47, 58 MO UGee 2 sei oa iars ainieibisie siayoislaie = sacle oon a aclaae as 22 TONE MATERIAL anne Serial Nos. of songs. Second tive-toned scale: <... =. <.s5ssha5-Ssscecese ces ase. 2) 51, 54 WOUTEH tve-LOUOG: SCALO seo oreiwie a one wie eln eteal= miei n=l 6 | 38, 39, 43, 44, 53, 57 Major triad and'second -....4. $223.4... @)ii-2ndeek: 2 | 52,55 Minoritrind and fourth... ssc ssscode~ see cssensnses ss Ay 45e OClavelcompletOrses~-ascrn- aoe a eae we ae eis ain 1} 40 Octave complete except seventh........-..-..-------. 2 | 37, 47 Octave complete except seventh and sixth............ 1} 46 Octave complete except seventh and second.......... 1} 58 Octave complete except sixth.......-..............-.. 2] 49, 56 Octave complete except sixth and second............. 1] 50 Octave complete except fourth............----.-.-.... 1] 48 Octave complete except second .......-......-.....2.- 1} 41 Mirst fOurLHe audit estONCS =~ Sac- == 22sec cee cose ~ se 1 | 42 99 200 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 Old Songs—(2) Songs Concerning Personal Dreams—Continued Metopic ANALYsis—Continued ACCIDENTALS recs Serial Nos. of songs. Songs containing— No accidentalsha ses. fee, sae oct Stra cceemateere 19 | 37,38, 39, 40, 41, 42, 43, 45, 46, 48, 49, 50, 52, 53, 54, 55, 56, 57, 58 Fourth raised/a/semitone:-.)-2- eee. se eee 1 || 51 Sixth lowered!a semitone:2-.----s-2s5-- 200-2 eee= 1| 44 Hourth lowered'a semitone:-.-2---c2s-cecce- 2-2-5 1 | 47 Notale soo ccioeelec as cemesek ceseecceeeestcohae 22 STRUCTURE Number - of songs. Serial Nos. of songs. Melo diGe a= ase seat ee ce Me ee es ben es ch tea ae Stars Soe 19 | 37,38, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 55, 56, 57 Melodic with harmonic framework ......-.---.---.---- 2 | 39,54 Tar MOMICT acter ke-po sass en toes enias ae oe ecie memaceeemiee 1 | 58 Motall is Vo eas incall aca ces eeselgseeses cues 22 rIRST PROGRESSION—DOWNWARD AND UPWARD N : ‘ aban Serial Nos. of songs. Downward esech st eee IN NSE ene Minette aie eet, 16 | 37,38, 39, 40, 42, 43, 44. 45, 46, 47, 48, 50, 51, | 54, 57,58 Wipwar dik? <2 sot SS. wannt nema occ ate adn oseee eee 6 | 41, 49, 52, 53, 55, 56 TOAD: |. .Sjca. 2 Neieoseen = sees See ee eee ese ee 22 Interval of a— Minonsixthisse2..<.\2 0. 28 eect eee eee eee 5 RET Le ara ore tore bs obo x ade alec revere lomo ee ee ree eee 4 IROUBG NERS a cieicte sunka/wakan-oya'te-=..5 22% =. a Horse nation (see p. 162, footnote) waki/lowan yelo’!...........-- I sing for them LUCA aT) VAT) vec ote ares ayo hse = out of the earth waki‘lowan yelo’............- I sing for them wama’kagkan ?...............--. the animals wakilowan: yelo-]-0. > 42... I sing for them Analysis.—This melody comprises the tones of the fourth five- toned scale, beginning on the dominant above the tonic and ending on the third in the lower octave, a somewhat unusual melodic out- 1 Tho first syllable of this word was omitted by the inger. 2 One or two syllables of this word were omitted by the singer, 216 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 line. The rhythmic unit occurs three times, and there are two other phrases in the melody which closely resemble it. One of these appears at the close of the song. Three renditions were recorded. Throughout these the time was less steadily maintained than in a majority of the songs under analysis. After singing this song Lone Man bowed his head and reverently made the following prayer. It was not his expectation that this and the prayers which preceded two other songs (Nos. 53, 55) would be recorded, but as he was seated at the phonograph it was possible to secure the records without attracting his attention, and the records were afterwards translated. His prayer was as follows: Maka/’tanhan wiéa’Sa wan wiéo’han wan awa’hiyaya tka hena/’ on on’simala yo, tuwa’ wanka/tanhan in‘itanéan he’éina. ( Translation) A man from the earth I am, I have sung concerning an event, for which have compassion on me, whoever from above, you [who are] the supreme ruler. Continuing his narrative, Lone Man said: Another instruction given me by the medicine-man was that all herbs and roots are made for the benefit of animalsorman. Some herbsand roots vary in color accord- ing to the season of the year, and others do not. All are carefully tested, and if one is found to be a cure for a certain disease, it should be regarded as a gift from Wakan’- tanka, and intended especially as a remedy for that disease. It should be rever- enced, and this reverence should be closely observed, as without it the herb will have no effect. Because of the reverence due to these medicinal herbs certain songs are used expressing this feeling. This, like the preceding song, was used by the man who dreamed of a rainbow. It may have been used when painting a horse on the warpath. [See pp. 350, 353. ] No. 62. ‘““My Horse” (Catalogue No. 490) Sung by Lone Man VoIcE ee 104 Drum Aes 104 Drum-rhythm similar to ee: 6 See Eiveer ses ee Ee Mi - ta - Suy - ke kin - yan ye wa-ye - lo he ee Zu - ta wan ko- yag owa-ki ye- lo kin - yan ye wa-ye Bey eee pees eer eSeee! he mi-ta-suyn - ke kin - yal) ye wa-ye - lo he DENSMORE] TETON SIOUX MUSIC Sg WORDS TATU SUN bese oa ve nec cos owe my horse Rixjyeene: SO fee EUS Tas flying Viemee tees. $90.0. (fue bay hase along NCO ee sei o> says aca ea I have caused MewUstas wale. eee 3 ee a medicine SN DE A es a a to wear WH VGlO oo eee es ee = = I caused my own RANT) Va} = Sea ek Se SEO NSS flying WSs Ses 33 BES aA ee along ees bos abe era o ey7s viet I have caused Hn pug kes. ov: 320 hos 2 es my horse MTV AUT) rs ete te NOI athe flying ies AA 8 AE resale rari oh a age along Weel el: Se hTEPE PSO OE I have caused Analysis.—¥our renditions of this song were recorded. In the first and fourth renditions the word peZu’ta was sung, as indicated in the transcription. This is an abbreviation of peZi’huta, ‘a root of herb,”’ but commonly used in the sense of ‘‘medicine,”’ the herb having either a curative or (as in this case) a mysterious power to benefit by its presence. In the second rendition this word was replaced by maka’gi, “brown earth,” and in the third by maka’to, “blue earth.” Both these earths were used in the making of paint, which was used on horses as well as the bodies of men and on their possessions. (See p- 116.) This song begins with an upward progression of a fifth, which is somewhat unusual, yet only about one-fourth of the progressions in the song are upward. The song is minor in tonality and melodic in structure. The seventh and second tones of the octave are not found in the melody. ae meri pENS MORE] TETON SIOUX MUSIO 991 WORDS Me WEG sO ER SESE TE some one oS: ae Ce, somewhere Rae yelo. fe scA oboe beso Band phew! is speaking WEL VAAN eee eo ee tole a from the north tunkan’ oya’te wan..,-..-.-.-- a Sacred-stone nation Lt eR es pla OP fs is speaking naya/honp kteits 22122 2 2 you will hear torwa! ice eect. « some one Tor lal y Sess fee roy ay 3 Loot somewhere take/viclowe sees oS A is speaking Analysis.—This melody is major in tonality, and contains all the tones of the octave except the seventh. One accidental occurs—the fourth raised a semitone. The 5-8 time is clearly given in all the ren- ditions. This is the only song in the entire work which begins in 5-8 time, but this measure—division is found also in Nos. 41, 68, 125, 169, and 223. Only 19 progressions are found in the song—an unusually small number in a song of this length. About two-thirds of the intervals are downward progressions. No. 65. ‘“‘They Move With a Purpose’”’ (Catalogue No. 567) Sung by Coarcinac THUNDER Voice g— 84 Drom not recorded os » --5-. 4S Sr] Le - na - ke wa - ku - wa-pi kte le-na_ - a cae | Sig) | | ar a al —— = = wa - ku - wa-pi kte-lo e yo tuy-kan o-ya- te way D4 Se B= qe ane 7 veel: al wa-wa-ku-wa-pi kte le-na - ke wa-ku-wa-pi San he WORDS lena Kes eee eee 42 ee all these waku’wapi kte.:.......---..-- move with a purpose lena Ressseecso sa oS... .27: ell these waku’wapi ktelo’............. move with a purpose tunkan’ oya’te wan........... a Sacred-stone nation waku’wapl kteoc. +2225... +. moves with a purpose fone Ke. chk aoe es. Ss all these waku’wapi ktelo’............. move with a purpose ~ 222 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis.—This song, like the preceding, is major in tonality and contains all the tones of the octave except the seventh. The repeti- tions begin without a break in the time. In this, as in numerous other instances, the tone marked -) was similarly shortened in all the renditions. The song is melodic in structure, yet we note that the first six measures are based on the minor triad of F sharp; the melody then ascends to E, and the tonic chord appears in the down- ward progression. A prominence of the submediant triad (minor) at the opening of a song in a major key was observed in the Chippewa songs and is of frequent occurrence in the present series. No. 66. “From Everywhere They Come” (Catalogue No. 565) Sung by CHARGING THUNDER VoIcE AL 76 Drum = 76 Drum-rhythm similar to No. 5 eS = se Ts 2 os - ieee ie ° - -#- : ye 2 SS 7 SS ppt = To-ki-ya - eee =@-al) ke = ya «a = we kin = yay rt ane ae fe » : Seas Sa sae * oem: Era ng agi : (oo I e Wa-zi - ya-tal ta-tu - - ye ma- ka - — ™~ ) ries -@.- ; P e/a eae ee tne ae | 63 me eae en | es ap aia 4 seaman Coote ta i-éas - na ya kin - yan a- u we Saas eS Ss aot ——— = ae ke - ya a - u we hi a hi yo WORDS to’ kiyatan ‘keyal (eis eae from everywhere UGK Wee 5:2 oe oa ee they come Katy yal). = 2's sa anes ois eae SWaZ-Vatal). << = 6s cqcsee eee rom) the north: tat’ye-.. 2... i..beceesee ess pume wand 1s: blowing MAGA bs ook coo Oe eee eee to earth DENSMORR] TETON SIOUX MUSIC 923 JOAR HAS ee saat san se eR ACLS asypyaayt $e ee. Sea flying Be a erste Mois San a ee they come MUCEWE coc isS alk opt one oe they come to’kiyatan keya’............. from everywhere ee Mei tos te. sels hey COME Analysis.—Almost two-thirds of the intervals in this song are minor thirds. In the first part the descending minor third E flat—C forms the basis of the melody. In the eighth measure the descending minor third D flat—B flat is introduced and continues for several measures, followed by the minor third A flat-F, the song ending with D flat—B flat, making a satisfactory close on the tonic. All the tones of the octave are present in this song and the feeling of a keynote is well established, yet it is noted that the tones are not grouped along the lines of triad chords, but of single intervals. This ‘‘interval forma- tion’’ was given extended consideration in Bulletin 53, pages 7-8. (4) In giving a complete demonstration of the sacred stones, it was customary for the man who was proving his power to tell his dreams and sing the songs of the dreams, these being in the nature of creden- tials. The two following songs were used in this manner by White Shield and recorded by Two Shields. The words are obscure, as in the majority of dream songs. . In songs Nos. 70, 71, and 72 the sacred stones address their owner as ‘‘father,” or “grandfather.” 224 BUREAU OF AMERICAN ETHNOLOGY (BULL. 61 No. 67. “A Wolf Nation Called Me ‘Father’ ”’ (Catalogue No. 541) Sung by Two SxHreips Voicr i= 92 Drum g—138 Drum- ny i a ees similar to No. 19 ni aya Ee yey Tu-wa he - ki tu-wa he - ma - ki ye- = =a ————— = eee eee eee SS =| lo suyjy-ka o - te way a-te e-ma - ki ye- Yates _— BE ae == ee = =e ae tu-wa he - ma - ki ye - lo Suyn-ka o - ya - te wa) see a Sere es . a-te e-ma - ki ye - lo tu- wa he - ma - ki“ye- SSS — lo Suy-ka o - ya - te wal a-te e-ma - ki ye- ig WORDS UAW alte Marci as hd Ss atten css Semper saa soe some one nema“ka, yelo?s- 2 to: 2s 2 ve etoldume éun’ka oya’/te wan....--.-.---.- (that) a Wolf nation (see p. 162, footnote) ate’ ema/ki yelo’............. called me “father” Analysis.—It is not unusual to note a song in a major key begin- ning with the submediant chord, which is minor. In this instance, however, a song in a minor key begins with the submediant triad, which is major. The eighth measure introduces the descending minor third A-F sharp, which forms the framework of the melody to the sixteenth measure. This is followed by a return to the subme- diant triad, the song closing with the descending minor third A-F sharp. If these tones (F sharp—A—C sharp—E) were used consecu- tively, it might be said that the melody is based on the minor triad with minor seventh added, but this chord relation is not suggested by the framework of the melody. This song is melodic in structure and lacks the sixth and second tones of the complete octave. The DENSMORD] TETON SIOUX MUSIC 225 rhythmic unit is well defined, and its repetitions comprise the entire song except the closmg measures of each section. Two Shields stated that he had frequently sung at the drum when White Shield used this song, the singers at the drum carrying the song with him. In the second rendition the words ‘‘Wolf nation’’ were used instead of those for ‘‘Stone nation.”’ It was said that on more than one occasion when the words ‘‘ Wolf nation”’ were used a wolfskin medicine bag became alive and walked around. No. 68. “I Have Caused Them to Roam’ (Catalogue No. 539) Sung by Two SHrELps Voice a = 160 Drum a = 138 ca) Saale, ae aes similar to No. 19 Dea iy ere — =e eee Wa- as yal) ma- ni wa-ye wa - ag - yal ima - ni wa - ye tun-kan o - ya - te way wa -_ kay - yan ma - ni wa - Ee 2 ee ay Lei ca ae a i= ane ye wa -_ kay -yay ma- ni wa-ye wa -_ kay = yay ma - ni wa -ye wa -_ kan - yay ma - ni wa- ye WORDS PL 1025 2 cee a ee ee ae in a sacred manner ma’ni waye’ tunkan’ oya’te wan. I have caused a Sacred-stone nation to roam (see p. 162, footnote) WME See o.oia Sc Svante ais oe 5 2 in a sacred manner SILER ERI coe aise Spore ae = I have caused them to roam Analysis.—This is one of the comparatively few songs containing 5-8 measures. (See song No. 64.) The frequent occurrence of the descending fourth recalls the observation among Chippewa songs that the interval of the fourth seems to characterize songs concerning animals, especially men and animals in motion. (See Bulletin 53, pp. 926 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 99-101.) This progression is especially noted in the descent C-G—D, in the seventh and eighth measures from the end. Two-thirds of the intervals in the song are major seconds. The metric unit of the drum is slightly slower than that of the voice and is steadily maintained. See plot of this melody on page 245. (5) Gray Whirlwind also sang a song, which was used by White Shield in his demonstrations. No. 69. “‘These Are My Spies’’ (Catalogue No. 667) Sung by Gray WHIRLWIND VOICE g— 92 Drum ale = 132 Drum-rhythm similar to No. 19 2.2 @. @ @~ ee ome et ee ee na mi-ta toy-we-ya ya ya kin-yayn a-ku we tuy - Se el emesis d erie ere ees Kal) o-ya - te kin a-ku he-na mi-ta to1-we - ya kin - yay WORDS he mare Wer Shes oleae nee 2 .. these (are) Tia" esos SS ee ee my POT NH OG YA orci oo Sendo oe ree co spies Jemyyaly oto Uses Ae hl Se oats flying AOU Wi Sai ae aorta fae ier Sana ae returning tunkan” iova’te-kin. 22255-2205): the Sacred-stone nation (see p. 162, footnote) AGE: Saar Goan hee ene returning he/nal: 25 2 1525 ee ee these (are) mULtal je cease ween ae eos ie IY ton We’ yas... 2. et ee eee eeSasples kin yal)’ .....-\s- soso sede eee flying Analysis.—This song contains only three tones—those of the tonic triad—and therefore is necessarily harmonic in structure. Only four Chippewa songs (1 per cent) in a series of 340 contained this tone material, and it is found in only about 1 per cent of the present series. Only two upward progressions are found in the song. Three renditions were recorded. Between the renditions the singer gave DENSMORE] TETON SIOUX MUSIC 227 prolonged cries or calls. In one of these instances the drum was continued, and in the other it was silent. The usual custom is for the drumbeat to be continued during these cries or calls. In the following song the stone addresses its owner as ‘‘grand- father’’: No. 70. “I Am Required to Roam” (Catalogue No. 668) Sung by Gray WHIRLWIND VoIcE ae _ 69 Drum d= 132 Drum-rhythm similar to No. 19 — = 8 ° a “as eee eee eee ee eet 2D) See eee eee Pe Tuy -ka-Si-la ma-ko-¢e kin i-ye-ki - ya ma - nima-si ye Set 7S te o-@ E [@ @ 2 @ i — = = } =I See! = = Fy Sed WORDS iy 15 1 2 ee i gee Ca grandfather makorGe “Ialy <2 $..2 2 8 22d ‘.... the world ie tony Sh te oo ees s. obseruine eae 2c Sh eke Se roaming IMU Cee foto ie ae See (this) I am required (to do) Analysis.—This is one of the songs in which a single change in the time seems to give a certain ‘“‘swing”’ to the entire rhythm of the song. This rhythmic peculiarity was frequently observed among the Chippewa songs. Thus, in two of three renditions of this song the fourth measure was sung as transcribed, while in the other rendition an additional measure was inserted, the first two counts of the fourth measure forming a measure in double time, followed by B flat (final count of the fourth measure) prolonged into a triple measure. An additional measure does not seem to trouble an Indian singer, as the form of a song as a whole seems to be less definite among Indians than among musicians of the white race. This melody is major in tonality and harmonic in structure. The tonic triad forms the framework of the first four measures, after which the descending minor third B-G sharp appears, the song closing with a descent to the third of the key. This melodic outline is unusual and interesting. The opening of the song has force and definiteness, and the prominence of the fourth in the latter portion 228 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 reminds us that this interval frequently characterizes songs con- cerning motion. The upward and downward intervals are more nearly equal than is oe the case. See plot of this melody on page 245. In this and the following song the sacred stones are addressing their owner. These songs were recorded by Shooter (Oku’te), man who is familiar with the ancient customs of his people. (See pp. 157-158, 172, 173.) No. 71. “‘Father, Behold Me” (Catalogue No. 574) Sung by SHOOTER VoIcE a — 69 Drum a= 160 Drum-rhythm similar to No. 19 ca = Le Ae gs : cham ze ; = aS F «Pp: : 7 = aT) ag ESS a | Nol A -te ma-kaki) o-wa-ki-yi) kte a - - te wWal-ma-yay - ae Sp = =a Saaaee Se Seeeeiacs ka yo a-te ma-ka kin o-wa-ki-yiy kte 1 Silas ey Bae See ! eo 69 ® = a | ae = = —- | ral = = te way - ma-yay - ka yo yo e€ yo WORDS DLO oh aya eee eee A ee father maka kit) ses ee ere ener the earth ofwakayan! kte eile 4 Arte e0 I intend to help ates Rizk ET: Seat eee sae father wanma/yanka yo....--..----- behold me Analysis.—This melody begins on the octave of the tonic and ends on the dominant below the tonic—a somewhat unusual outline. The first. progression is upward, but the trend of the melody as a whole is downward, the tonic being more strongly emphasized than in most of the songs under analysis. The division of the first count in the first measure characterizes the entire song, but there is no recurrent phrase which can be considered a rhythmic unit. See plot of this melody on page 245. DENSMORE] TETON SIOUX MUSIC 229 No. 72. “I Was Ordered to Return” (Catalogue No. 582) Sung by SHoorrer Voice d= 72 Drum ¢— 152 Drum-rhythm similar to No. 19 Seas ee eee eee seeeee , oe pyar sieiaan= Spt Tuy - ka-Si-la e-yaku ma-yay pe- WORDS MUNRO fe EES ose Seas 2 grandfather Pe eens See nc oN nts Sn to return POSTAL Pel 2/2 54S SSS kL T was ordered Analysis.—All the accented tones in this song are those of the tonic chord, showing the song to be strongly harmonic in structure. The melody tones are those of the fourth five-toned scale. The interval of a fourth is prominent in both ascending and descending progression, as has frequently been noted in songs concerning motion. About two-thirds of the intervals in this song are downward pro- eressions. Siya’ka (see pl. 1 and pp. 184 et seq., 439 et seq.) sang three songs of the sacred stones and related instances in which he had heard of their usein locating buffalo and finding the enemy. He first described a per- formance by Crooked Foot (Siha’limin), who died in 1877. Crooked Foot was asked to ascertain by means of the sacred stones where buf- falo could be found. The stone which he used was egg-shaped, and he was said to have found it on top of the highest butte near his home. When giving this performance Crooked Foot had the stone encased ina bag. He said: ‘The stone has now gone to look for the buffalo, but when it comes back you will see it.’ The people then prepared a place on which it was expected that the stone would appear. This was done by pulverizing the earth for a space about a foot square and covering this place with buffalo hide or with part of a red blanket. All watched this place, and after a time the stone appeared upon it. Crooked Foot questioned the stone concerning the location of the buffalo, and the tribe, acting on his advice, found the herd as he 4840°—Bull. 61—18 17 930 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 had indicated. If he had been employed by an individual to locate horses or other property which was lost, the man employing him would have lighted a pipe and offered it to the stone as soon as it appeared. Before passing the pipe to the assembly this man would have questioned the stone. The replies would have been given by the owner of the stone, as he was supposed to be the only person present who understood what the stone said. He repeated what the stone said to him, and the man who employed him received it as the message of the stone. In the words of Crooked Foot’s song the stone is represented as speaking to its owner, calling him “‘father’’ and asking that he will not require of it anything unreasonable. No. 73. “Father, Sing to Me” (Catalogue No. 462) Sung by Srya’Ka Voice g= 126 . Drum not recorded i ue ae ee ae ee = shi ie Peay TS SS E zl = te ma-ki-lo-way yo wa - na hi-bu we a - on a. Fale Me es al! oe ts «2 # » -- eo e- -8- 9 -9 8- -9- Se ——— == a Saas ee te ma-ki - lo-way yo wa-na hi-bu we he ta-ku a -i- a ees ee e- 7 ae ie See “al ye - Gin a-te ma-ki- lo-way yo wa -na hi-bu we te - ki - lo-way yo wa - na hi- bu we PRM SSM YE INES SHAD are @: 8 ogg ttt t Sey he ta-ku a - i-ye- Gin a-te — yo wa-na = eee. ous Sa - te ma-ki- lo-way yo wa-na hi-bu we DENSMORE] TETON SIOUX MUSIC Bou WORDS RIE Ci Sees Cea ae ee emo father maki lows) YO... 2:.2-.--..5..- . sing to me WUE Se: ee Sees. Siac now fsb iby: ih eS: I was required Analysis.—This song is unusual in that it contains only two upward progressions. The melody descends from the dominant above the 934 - BUREAU OF AMERICAN ETHNOLOGY raul tonic to the dominant below the tonic, which is the final tone. In every instance the entire rhythmic unit is sung on one tone. Red Horn then offered the pipe to the little red stone and asked it to go before them as ascout. Hagle Man sang his song again, and the stone disappeared. The war party went on and made a camp for the night. ‘Toward morning Eagle Man said that the stone had returned, and that, on being questioned concerning the enemy, the stone had stated that they would meet the enemy the next day, but did not name the hour, adding that there would not be more than 10 men in the enemy’s party. The stone was left on the red blanket where it appeared after its quest. That morning the war party went on again, and Siya’ka and another man were chosen to act as scouts. They found six men drinking at a _ water hole, whereupon they immediately returned and reported this to the war party. They tried to surround the men but failed, and the an Omaha—coming to uaa this party and killed him. Red Horn shot him, thus securing the first “count”, and Siya’ka secured the fourth count. Kagle Nome sang the following song during this demonstration by the sacred stones: No. 76. “Something I Foretold”’ (Catalogue No. 464) Sung by Sryva’Ka VoicE A = 100 Drum not recorded SRO Eee aS ; -0- 2 © BD oo. sep es rope He tu-wa wa-koy - za ti- ya - hi - na- Zin) wa - ye Poe SS eeee ie he tu-wa wa-koy - za ti-ya - ta hi - na - Zi) wa - ye I ) ere pap eee = rl Ds 2 so a pan ene hu noy-pa_ wa-koy - za ti-ya - ta hi - na - Zin) wa - ye ee ee — : (Sa =H 2 Se eee he tu- wa wa -kon- za ti- ya - ta hi- na - Zin wa- ye DPNSMORE] TETON. SIOUX MUSIC 935 WORDS Bie stan’ Wa. fee Re te ws one whom WAKO) 20... a see ereessetae = I pretend to be tiya’ta hina/Zin waye’........ stands at the place where I have caused him (to stand) ION s DON! [ay Le eee sen se aman wakon/! zat) 2 Sie ee VS ahs I pretend to be tiya’ta hina’Zin waye’.......- (he who) stands at the place where I have caused him (to stand) he tu wa. ss ae vee gree one whom WAKO 28.0 eee sek ee I pretend to be tiya’ta hina’Zin waye’........ stands at the place where I have caused him (to stand) Analysis.—The rhythmic unit of this song consists of five measures, and, as in the preceding song, its repetitions comprise the entire melody. ‘The first note in the second measure of the unit was inva- riably shortened, as indicated. Four renditions were recorded, sepa- rated by calls or short spoken sentences. In tonality the song is minor, the melody tones being those of the minor triad and fourth. See plot of this melody on page 245. A remarkable demonstration of the sacred stones by White Shield was related by Siya’ka. Three of White Shield’s sacred-stone songs have already been given. (See Nos. 67, 68, 69.) Siya’ka anid that on one occasion he had lost two horses and asked White Shield to locate them. Before being bound with sinews (see p. 218) White Shield asked, “‘What sign shall the stone bring to show whether your horses are by a Gk or on the prairie?’ ” Siya’ka replied: “Tf they are by a creek, let the stone bring a little turtle and a piece of clamshell, and if ahiey. are on Lube prairie let the stone bring a meadow lark.”’ White Shield then sent the stone on its quest. While the stone was absent the people prepared a square of finely pulverized earth as already described. It was evening when the stone returned. The tepee was dark, as the fire had been smothered, but there was dry grass ready to put on it when White Shield ordered light. At last the stone appeared on the place prepared for'it, and beside it was a little turtle with a small piece of clamshell in one of its claws. Thereupon White Shield said to Siya’ka: ‘Your horses are 15 miles west of the Porcupine Hills at a fork of the Porcupine Creek. If you do not want to go for them there is a traveler coming that way who will get them and bring them in for you.” This proved true. A neighbor of Siya’ka’s had: been out looking for wild fruit and on his way home he saw the horses at the fork of the Porcupine Creek; recognizing them as s Siva’ ‘ka’s, he brought them back. 1 The full form of this expression is wahu’ noy’pa, “ two- ees object”, used by the Pedicernien to aie nateaman. (Seep. 120, footnote.) The full form occurs in song No. 78. 236 - BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 Mato’-wanbli’ (Bear Eagle) said that he was once leader of a war party against the Crows. One member of the party was Panke’- ska-napin’ (Shell Necklace), who could inquire of the sacred stones. One night in the camp Eagle Man asked Shell Necklace to secure news of the enemy. A place on the ground was prepared and covered with a red blanket. When the stone returned Shell Necklace covered himself with a buffalo robe, head and all, and asked what news it brought. When the usual pipe was offered to the sacred stone a wolf was heard howling in the distance. Shell Necklace said the stone reported that the next day they would meet two men on horse- back and see a large camp of the enemy. The stone told the men to be ready, and they would kill the enemy, who would fall on “ pre- pared”’ or soft ground. Then the stones said that they wanted a buffalo as a reward in the morning, that the men would kill the buffalo with an arrow, and that it would fall with its head toward the south. The next morning the men killed a buffalo as the stone had predicted and put fresh sage in the wound. Beside the prepared ground where the stone had lain was a painted gift-stick with tobacco tied at the top. (See pl. 15.) They laid this stick at the head of the buf- falo they had killed, leaving it on the prairie as an offering. That day they met two enemies and killed them both. The two following songs were said to have been sung by Shell Necklace while giving this demonstration. The first concerns himself, setting forth his qualifications to.ask favors of the sacred stones. ‘The second concerns his power as a medicine-man, which enables him to control persons at a distance. No. 77. ‘In a Sacred Manner I Live” (Catalogue No. 632) Sung by Bear Eacur VoIcE e = 100 Drum not recorded le. fa [choke gage ace os 2 4 - - 2 #. oe. : @ #@ + ee re ee eee Sa ae : Wa -kay - kay yal) wa-oy we _ wa - kay - kay yal) wa - eS = See == we ma-hpi- ya ta wa-ki - ta wa - kay - re Pe? oa eae St eat pig SSeS rr Sell kal) yas) wa-oy we mi- ta - Suyj-ke o-ta ye -lo he ee ee DENSMORE] TETON SIOUX MUSIC G3 WORDS wakan’kan yalj)........--: SE cpse in a sacred manner 0) 0 ae Sl 3 Be I live MISH pi ya. tapes vee cadets do to the heavens Se War Kita YO.useeeeemee. on. cn cits 1 gazed Walkan kan yaineeaaseant 2-02 - 2s in a sacred manner WAGI)( .|: ct). See eels Arb: eis oe I live matta/ Gury ke sates ake ae sie 50 ore my horses arbi, OOS eee eS ae are many ~ Analysis.—The structure of this song is interesting. With one exception all the accented tones are those of the minor triad B flat— D flat-F, and the song is accordingly analyzed as being in the key of B flat minor, yet the progressions in the last four measures are such as to suggest the relative major chord. Sixteen intervals occur in the song, only five of which are upward progressions. No. 78. “A Voice I Sent’ (Catalogue No. 633) Sung by Bear Eaair Vorce 7= 92 Drom not lege STEN ~~ ) LN pate: i oo ane == fo +. i= ——— = = ——— ——— | ee = : aeered eas Ayn-pe - tu eae mi - ta-wa-ye ay-pe - tu kin mi - —— Bae ag a es ie ee wg See 6 er eae aS ee | ta’- wa-ye wa-hu noy - pa wan ho - ye wa -ki-ye Gon a eas See gy Nady ai eines ee aon ene Pariaes = ez = oe = a | — a ——— ma - ya- vue: = . : ay-pe - tu le mi - ta-wa - ye wa - SS a hu noy-pa way ho - ye wa - ki-ye éin wa-na hi ye - lo WORDS AN POH anos a aon to-day Tila Wevioumer meme g 6 ee oie is mine (I claimed) wahu” Ney Pay Wali. .....-2:--: - (to) a man LAYS Co epee INA Tr, nt a a a voice Wald Vier ne too aeeee ees 6S. UL sent éon maya’ku welo’..........-.-. you grant me Spe bere Mee eee as O52. this:day MMe WAV Geom. 2 oe aera aoe a oon is mine (I claimed) 238 BUREAU OF AMERICAN ETHNOLOGY [pun 61 wahu“ non’pa Wa).-.-ces-seees ee (to) a man NO WViR ke ick ons =. eco eee a voice Wwaki‘ye. Cin)... <2... eee T sent WANA! Wi! couse eee see eee now We! Se ace tie a OE eee here VOLO iietsta2 vas eek eee eee (he) is Analysis.—This song begins on the dominant above the tonic and ends on the dominant below the tonic, two-thirds of the progressions being downward. All the tones of the octave except the seventh are present in the melody. One accidental appears—the fourth raised a semitone. The following account of a performance by White Shield differs from preceding narratives in that it took place in a house, and the stone was held in White Shield’s hand instead of being laid on the eround. The narrative was given by Bull Head, who witnessed the performance. He said it occurred when the Government first issued harness and wagons to the Indians. At that time the old people “kept close track’”’ of everything which was issued to them by the Government and prized it very highly. One old man lost part of a harness. Knowing that White Shield often recovered lost articles by the aid of the sacred stones, he appealed to him, asking him to find the missing part of his harness and also a handsome tobacco bag and pipe. White Shield came, and in giving the performance held the stone in the palm of his hand, saying, ‘‘This will disappear.” Bull Head said that though he watched it very closely, it suddenly van- ished from before his eyes. The length of time that a stone is absent depends on the distance it must travel in finding the lost object. In this instance the stone was gone a long time. At last a rattle was heard at the door. White Shield stopped the singing, and said, ‘The stone has returned; be ready to receive it.” He then opened the door, and the stone was found on the doorstep. White Shield brought it in and heard the message. The stone said that the missing articles had been taken by a certain man who, for fear of detection, had thrown them into the river. The stone said further that the articles would be brought back that night and left where they had been last seen. The next morning all the missing articles were found in the place where they had been last seen. Their appear- ance indicated that they had been under the water for several days. The following is the second analysis group of dream songs, com- prising those concerning the sacred stones (Nos. 59-78, inclusive). The aid of the sacred stones was invoked to locate the camp of an enemy (p. 348); also in finding a missing man (p. 496). Other analyses of dream songs are on pages 198 and 278. DENSMORE] TETON SIOUX MUSIC 939 Old Songs—(3) Songs Concerning the Sacred Stones Metopic ANALYSIS TONALITY | Alert Serial Nos. of songs. MalOr tONaLIbY « <<..36.ce oo eee ete s et ann whlcje oe 2 | 8 | 61, 63, 64, 65, 68, 70, 71, 78 Manor tonality oi... 5o- eee ene eens ae | 12 | 59, 60, 62, 66, 67, 69, 72, 73, 74, 75, 76, 77 Totals, < 3 See ee eee Soe o etinciv eeesie nee | 20 FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE Number « of songs. Serial Nos. of songs. Beginning on the— MB GCL D oa, aS ae 6 | 63, 67, 69, 73, 74, 76 VOLES CEUUA TY: sented ee fs a an 1 | 66 STRGT ERLE oe ES eso a 2 | 64, 65 CO NLS ee See eee Oe er eed 3 | 60, 62, 71 HIST 11. 2.0, a2 Cee oS a RP, Se 1 | 59. JOS. et ie ee ey a a A ORE Oe ee 7 | 61, 68, 70, 72, 75, 77, 78 NaN eee ee as aanist Doe exes be dem eae cuore oe 20 LAST NOTE OF SONG—ITS RELATION TO KEYNOTE ape: Serial Nos. of songs. Ending on the— ene Pees ne ee Os ee oS Rene eee 5 | 68, 71, 75, 77, 78 POR eee Sao sa sce: CES hig ema =e 2 | 61, 70 IMB UTEO UO Ms ee oe ie os So Se wee sees ae eee sss 13 | 59, 60, 62, 63, 64, 65, 66, 67, 69, 72, 73, 74,76 BNO Lalerer ee tie ace Sarat aaa s Seen ee fone Sia 20 LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG Number of songs. Serial Nos. of songs. Songs in which fina! tone is— owestitenetm sone. foot. oo cee cas cb ieces= 18 | 59, 60, 61, 62, 63, 64, 66, 67, 68, 69, 70,71, 72, 73, 74, 75, 76, 77 Inimediately preceded by semitone below......-- 1 | 65 Song containing a minor third below the final tone. -- - 1|7 240 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 Old, Songs—(8) Songs Concerning the Sacred Stones—Continued Metopic ANALYsis—Continued NUMBER OF TONES COMPRISING COMPASS OF SONG et Serial Nos. of songs. Compass of— Fourteen toness:25 7-2. Peels Se eek teeten ee ones 1 | 67 Thirteen tonest session test eee ae eee eee 3 | 59, 65, 68 TwelvVe:tOnessty ec. sete sia eee aa Pes 8 | 62, 63, 66, 69, 71, 73, 74, 76 Denstonesiih. aes metiae Sere se eee ce eer 5 | 60, 61, 64, 70, 72 Bight tones\-/25------ see. 2 Bee a ele ae tacit BI 7iy (ils (hss Motel. -cesiciara sletictee ates eis sie mia who sisbeleieloterelee rains 20 TONE MATERIAL Bae Serial Nos. of songs. Mowthyfive-toned' Scales sss. aoe eee cece eee 3 | 61, 63, 72 Minoritriad 4-26 saccce coe sue- se seommaaee eee ee ste ee aan 1 | 69 Minonitriadhandseventhies. ce meee de css 2 ee see Wl edict Minoriniadandfounthieess sass see eee nensee eee 3 | 74, 75, 76 Octavercomplete sis. q....2 inc oas sowrseetiosssueeicsteeees 1 | 66 Octave complete except seventh...........-------...- 3 | 64, 65, 78 Octave complete except seventh, sixth, and fourth. .... 1 | 68 Octave complete except seventh and fourth. .....-.... 1| 73 Octave complete except seventh and second......-.... 2 | 59, 62 Octave complete except sixth and second......-.--... 1 | 67 Octave compkte except fifth and second........--.... 1 | 60 Octave\complete except ftourtheo-s-2 2-22 —- == eee ee 2 | 70, 71 Totals oes a ctas Gee seein eat Secs cies eee cee oe eeee 20 ACCIDENTALS Number : of songs. Serial Nos. of songs. Songs containing— No‘accidentals 322. By sass t eee eee see eel 16 | 59, 60, 61, 62, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77 Pourth raised aisemitone: - .- 5.2. - 2 22- see ==. = 3 | 64, 65, 78 Second raised a Semitonele---- seers soos eee 1 | 63 Total. <2 2.2005 -5225<.5 sa Qa ee eae ie eae 20 STRUCTURE Mee Serial Nos. of songs. Melodic. cpiciciene See chee J c,01clt Ue icloie open ee eee yeaae 13 | 61, 62, 64, 65, 66, 67, 68, 71, 73, 74, 75, 76, 78 Melodie with harmonic framework........-.---------- 4 | 59, 60, 63, 77 PR ATMOMICH Pats cc ce cis ace oe aioe eee eree eek OSes 3 | 69, 70, 72 Totallsat eee ee see sheet oe eee eee eee 20 DENSMORP] TETON SIOUX MUSIC 241 Old Songs—(3) Songs Concerning the Sacred Stones—Continued Mertopic ANALYsIsS—Continued FIRST PROGRESSION—DOWNWARD AND UPWARD Number of songs. Serial Nos. of songs. IG MrENNG ATU =. -\;,. 2 seen ie Sie neal 14 | 59, 60, 61, 63, 64, 65, 66, 69, 70, 73, 74, 75, 76, 78 LUT 0); (23.0 SRP Se Ss 5 2 nO a A ee 6 | 62, 67, 68, 71, 72, 77 Motaliss. os accesories: see ce ee ee eae cs 20 TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD DOWMWARG os se sense nae to sew ee wee Semiaes ons lact 324 Wiper reser cnet aes etaasmale boc Sescestessoces 162 MINOT RE Lo pe = SRS OO or ay 486 Intervals of a— Hatt D ewer 92 sos co ie Sccoeee see sce eet ese soe eee 2 FOUND Sse Ase coro fe faym sisi e aisles Seratine:s « Kicioeeicisiecierstare 23 IMOIOUSUEOL b= on. cdajcme vevecsdeume odoce cee oe ee 30 MINOW THING oo oe sis cass os Ceracte St Ses eee oe ee 106 NUPMENted SCONE. wn. Sagi == | a a aaa f : Aq) - pa - e 2 @ @ aN i= 4 © @ -#- aN | = ee = a es ies a a ee 6 a es — el o way hi- na - pe- lo way - yay - ka yo kt tee otis tertile tec WORDS BI) (P20 AWAD... <-> 22. oc Ae ar oneal Ma pelaMicc cr. .o chee ee appears WAV AD KaeyO-. 2... 22st ures behold it BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 81 (Used by permission. ) GOOSE DENSMORE] TETON SIOUX MUSIC 251 Analysis —Three renditions of this song were recorded, and show no points of difference. Between the renditions the singe gave glissando ‘‘calls’’ or ‘‘cries,” but the repetition began on the the same tone as the original rendition. No change of time occurs in the song—an unusual feature—and the rhythmic unit is more continuously repeated than in a majority of the songs. The first tone of the rhythmic unit was strongly accented. The only tones are those of the minor triad and fourth, and the structure of the song is melodic with harmonic framework, the accented G precluding its classification as harmonic in structure. Two-thirds of the progres- sions are downward, the melody descending steadily from the tenth to the tonic. See plot of this melody on page 283. Goose (pl. 31), a widely-known medicine-man, is what might be termed a specialist in the treatment of consumption and is said to have had no small degree of success in his work. Information con- cerning the Sun dance and the sacred stones was also given by him. (See pp. 90, 210.) Goose narrated the dream by which he felt him- self authorized to undertake the treatment of the sick. It was impossible to record the songs when the story of the dream was given, and unfortunately another opportunity did not occur. In describing the dream Goose said: cc When I was a young man I was an excellent marksman with bow and arrows. After coming in contact with the Army I was given a rifle and cartridges and never missed my aim. One morning I arose before daybreak to go on a hunting trip. As I went around a butte I saw an antelope, which came toward me and stood still a short distance away from me. The antelope looked at me and then began to graze. I took my rifle and fired several shots with no effect. I fired 16 cartridges and won- dered what could be the matter. I put in four more cartridges and fired again, but with no effect whatever. Then the animal stopped grazing and began to move slowly away. Then I heard a voice speaking three times, then a fourth time, and the voice said it was going to sing something, and I must listen. The voice was above me and commanded me to look at the sun. I looked and saw that the rising sun had the face of a man and was commanding all the animals and trees and everything in nature to look up. In the air, in front of the sun, was a booth made of boughs. In front of the booth was a very bright object and between this and the booth was a man, painted and wearing an eagle-down feather, while around him flew all kinds of birds. The bright object was a sacred stone, and it was heated red hot. After seeing this I heard another voice telling me to look and receive what would be given me. Something in the form of a bird came down, and where it touched the ground an herb sprang up. This occurred three times. The voice above me said that I was to use these three herbs in the cure of the sick. The fourth time the descending object started in the form of a bird, but a human skeleton came to the ground. Then the voice above me told me to observe the structure of the human body. I then saw blood run into the skeleton, and a buffalo horn appeared on the back, between the shoulders, and drew the blood out of the skeleton. The voice above me said this was a sign that I would have power more than any other to cure diseases of the blood. The voice came from’ the sacred stone and said I must use the buffalo horn in curing diseases of the blood, a practice which I have followed ever since. I do not consider that I dreamed this as one dreams in sleep; it appeared to me when I was early on the chase. B52) BUREAU OF AMERICAN ETHNOLOGY ~ [ BULL. 61 One of the greatest things it taught me is that the first thing a sick person should do is to take a sweat bath, to take out all the impurities, so that the body will respond to remedies. The booth showed how the sweat lodge must be constructed, and the hot stone showed the use of heated stones in the lodge. The hot stone is taken into the lodge, and water is sprinkled upon it. The oftener this bath is taken, the healthier a person will be. In case of illness, the sick person must take this bath the first thing, and as often afterward as the medicine-man directs. I always prescribe the sweat bath the first thing. I also claim that a sick person can not recover unless the diet is changed. Certain kinds of food and of wild fruit are bad in certain illnesses, and certain kinds of game or venison are injurious to a sick person. The food must be lighter than usual, and the person must avoid unnecessary exertion. My require- ments are the sweat bath, light diet, and rest. JI have treated consumption, and if the disease is not too far advanced the person usually recovers. The treatment depends on the seriousness of the case. All three herbs which I saw in my dream were pre- pared in a certain way and were intended for use in consumption, which is caused by improper circulation of the blood. I do not want the patient to make any undue exertion, but I try especially to keep up his circulation. The sweat bath makes the circulation better. In the-old days a person did not take cold after a sweat bath. The sick person did not jump immediately into cold water, as is sometimes stated, but was covered with furs and allowed to cool off gradually. Many years ago there lived among the Sioux a medicine-man named Ceha’kin (Carry-the-Kettle), who was said to have wakay’ power in a remarkable degree. A gourd rattle ‘ (pl. 32) used by him in treating the sick became the possession of the writer. Such a rattle is called by the Sioux wagmu’ha.? This is, however, not the only type of rattle used among the Sioux in treating the sick, the form of rattle depending on the choice of the medicine-man. Every medicine-man had a bag or case in which he kept his supply of herbs and the articles used by him in treating the sick. In some in- stances the outer case was of decorated rawhide. A man’s medicine bag was hung on a pole outside the lodge and usually brought in at night; it was often ‘‘incensed”’ with burning sweet grass. It was be- lieved that the presence of ‘‘the wrong kind of person” in the lodge would affect the efficacy of the medicine, and that if it were exposed to such influence for any considerable time its power would be entirely destroyed. The writer secured three of these medicine bags. One (pl. 33) belonged to a medicine-man named Wanbli/iyo’take (Sitting Eagle), who lived many years ago. The bag is made of four ante- lope ears. When Sitting Eagle died the medicine bag and its contents passed into the possession of his niece, who emptied most of the small bags contained in the pouch, but kept the pouch and two of the 1 This specimen is described as follows by Mr. E. H. Hawley, curator of musical instruments, U. 8. National Museum: “Total length, 10 inches; body length, 6 inches; diameter, 534 to 6 inches. An irregular gourd shell withashort neck. A wooden handle enters the neck and comes out at the blossom end. Three- sixteenth-inch holes are made in the neck and a strip of leather sewed to the neck through these holes; this leather is brought down over the handle and bound to it by astrip of bright cloth. This givesa firmattach- ment between the gourd and handle. Near the outer end of the handle a groove is cut; in it is tied a strip of twisted cloth so it can be worn on the arm or hung up. The gourd incloses pebbles.” 2 Arattlesimilar to thisis pictured by Skinner as part of a charm used by the Menominito call the buffalo. (Skinner, Alanson, Social Life and Ceremonial Bundles of the Menomini Indians, Amer. Mus. Nat. Hist., Anthr Papers, xm, pt 1, p. 157, New York, 1918.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 82 GOURD RATTLE BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 33 MEDICINE BAG WITH ARTICLES USED BY OWNER IN TREATING THE SICK BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 34 MEDICINE BAG OF BADGER PAWS BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 35 MEDICINE BAG OF MINK HIDE DENSMORE] TETON SIOUX MUSIC ae remedies. The niece’s name was Maka’-pezu’tawin (Earth-medicine Woman). One of her songs (No. 146) is contained in this work. In the pouch were seven empty medicine bags, the entire foot of an eagle, and a small piece of bone of an elk. On the inner edge of each medi- cine bag was a small mark by which the contents could be identified. Earth-medicine Woman said that her uncle used the eagle claw in treating scrofulous sores, especially on the neck. For this purpose he scraped the surface of the claw, mixed a small quantity of the scrapings with hot water, and applied the mixture to the skin. The elk bone was said to be an effective remedy for broken bones. It was prepared in the same way as the eagle claw, but the mixture was taken internally. A medicine pouch made of badger’s paws is shown in plate 34; this was secured among the Teton Sioux, but its history is unknown. Eagle Shield said that he received his knowledge of herbs from the bear and the badger, the former giving him instruc- tions concerning most of the remedies which he used for adults, and the latter telling him of remedies for children. As already noted, those who dreamed of the bear were supposed to have particularly effec- tive remedies. (See p. 195.) Like others who gave valuable information, Kagle Shield at first hesitated, but afterwards became interested, expressing a desire to make his part of the work as complete as possible.t For this reason he sold his medicine-bag and four small bags contaiming herbs which he always took with him when visiting the sick. He also secured !¥¢-2. Bear claw used ; tie, ; in treatment of the sick. fresh specimens of many medicinal herbs which he used in his practice. These were sent to Washington for identification, with a view to ascertaining whether any of them are used in the med- ical practice of the white race. Further, Eagle Shield permitted the photographing of a bear claw which he said had been in his posses- sion 48 years and was constantly used by him in treating the sick. (Fig. 27.) Eagle Shield’s medicine-bag (pl. 35) was made of the entire skin of an animal called by the Sioux 7’kusana, ‘white chin.’? He said that he killed this animal 44 years ago, on the present site of Fort Keogh, Mont. He was hunting large game in the autumn, after the leaves had fallen, and had two antelope on his horse when he killed this little creature near the water. [Ever since that time he had used the hide as a medicine pouch. The matted fur around the neck shows the manner in which it was carried. In this pouch were placed 1 The material furnished by Eagle Shield and White-paw Bear in this section was interpreted by Mrs. James McLaughlin. 2 On examination of this specimen at the U. S. National Museum the animal was identified as a mink, subspecies Mustela vison lacustris. 254 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 small buckskin packets of herbs, the large supply being in a bundle which was placed outside his lodge durmg the day and brought inside every night, being treated with great respect. The number of small packets in a medicine-pouch varied according to the man who used them. Thus the medicine-pouch belonging to Sitting Eagle contained seven small packets, which were said to be only part of the remedies used by him. Eagle Shield had four principal remedies, the most important of which was contained in a beaded case. This herb is described in connec- tion with song No. 81. His four medicine- packets, together with a small spoon of white bone used in giving medicine to children, are shown in plate 36. As already stated, an Indian doctor in the old days did not pretend to have a remedy for every disease. Thus Eagle Shield said that if an Indian were suffering from a malady he would go to a doctor and say, “Have you a remedy for such and such an ailment?’ The doctor had no hesitation in saying he lacked the remedy if such were the case, as he was not expected to have any remedies except such as various animals had revealed to him, unless he may have ac- quired a few from other medicine-men. The herb kept by Eagle Shield in the decorated bag (pl. 36) was called taé’pi pezu’ta, ‘herb for the wounded.’ Many remarkable cures are said to have been wrought by Eagle Shield through the use of thisremedy. . . a on ya-nipi kte - lo WORDS (First rendition) iho’ lena’ wanyan’ka yo......- behold all these things OTS 2 ee something hahia’kase.....-.. Be eat eer oe elklike WalladKkerGIMe! Lis ccsececces ess you behold 121004 77 6 had 2) (OS a ae you will live (Second rendition) iho’ lena’ wanyan’ka yo...... behold all these things Fak Walli-2 =n oo oo = --- something (UE Cony fA Se Fee ee ee buffalolike wanlake. 6in£- 2222 25-Jcb..-..s-..\you behold wiht Pt ctele fou8 sos FFE you will live 956 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis.—More than 60 per cent of the intervals in this song are larger than a minor third. This is an unusual proportion of large intervals. [ifteen of these intervals are fourths, nine are fifths, and one is an octave. Two renditions were recorded; these show no points of difference. The melody is minor in tonality and contains all the tones of the octave except the sixth and seventh. See plot of this melody on page 283. The following song was used with the same herb as the preceding and was sung ion the patient began to improve. No. 82. “I Am Sitting”’ (Catalogue No. 515) Sung by EaAGie SHIELD VOICE ae 184 Drum not recorded Rin a rc) (enareemnn ren rn er ant - + 2 ~» ss Seng Pla dae O° Ne ee Tae See) i aes, STE HDs o — ———— {3 3 —— | —_——B | Bao earn a i Ke] oa Wa-kay-yay ma - ke lo wa - ka) -yal) ma - ke lo ane eS ee Se EN BE EOE nny a | *- » -0- ee [Ue ———— — [3 — ine =e =| 2 aa =e ma- to ti = pi éa wa - kay-yay ma - ke lo a | —_—#—__# 2 aie oe ae er | b cs — al | | ee z Bs han-ya-ke o - ma - ni- yay he- ma-ki - yo WORDS WAKA VAD tee oo keer ee in a sacred manner make Torso. eae 0 Lk ene ee I am sitting TMA tO WG Coben A ee teeeeet a at bear lodge ! Wiakad)“yeiee saute: wise eects in a sacred manner make” ‘lo. fin. .vie aeei Aeeoaee T am sitting hanya’ ke. .202. .-2n 8 weet at night Oma’ Diya. .21 san eee roaming about hema’kiye you. sassesse ase is said to me Analysis.—This song contains only one interval larger than a minor third and is an interesting contrast to. the song next preceding, in which more than half the intervals were larger than a minor third. 1 This probably refers to Bear Butte in the Black Hills. The Teton speak of two buttes by this name, one in South Dakota, and one in Montana which is higher and is probably the one mentioned by Red Fox in connection with his war expedition. (See p. 376.) Concerning the one which seems to be referred to in this song, Rev. J. Owen Dorsey says ( Eleventh Rep. Bur. Ethn., p. 448): “Eight miles from Fort Meade, §. Dakota, is Mato tipi, Grizzly Bear Lodge, known to the white people as Bear Butte. It can be seen from a distance of ahundred miles. Of this landmark Bushotter writes thus: ‘The Teton used to camp at a flat- topped mountain, and pray to it. This mountain had many large rocks on it, and a pine forest at the summit. The children prayed to the rocks as if to their guardian spirits.’”’ DENSMORE] TETON SIOUX MUSIC 257 The first half of this song is based on the triad C-E flat-G. This part includes the repetitions of the rhythmic unit. The latter part con- tains only the tones of the minor third G—B flat, and the song is con- sidered to be in the key of G minor though the fifth of that key does not appear. The rhythmic unit of this song is longer than that of many of the songs and is interesting. The rhythm of the latter part of the song is somewhat similar but does not duplicate any of the count-divisions of the unit. The song begins and ends on the same tone, a peculiarity occurring in only 11 Chippewa songs (see Bull. 53, p- 222). The following other songs in the present series have this structure: Nos. 97, 99, 207, 212, 220, 221, 234, 238. Five renditions of this song were recorded. There was no break between the first and second rendition, but a short pause was made between the others. A remedy used by Eagle Shield for those suffering from loss of appe- tite was called loée’pi §ni pe&i’huta. The plant was said to grow ‘‘near creeks and in gravel.’? The root only was used. This herb was identified as Astragalus carolinanus L. (loco weed). The following song was sung in connection with its use. In a short speech before singing the song Eagle Shield said that it was the song of a bear. 258 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 No. 83. “We Will Eat” (Catalogue No. 512) Sung by Eaaie SHIELD VoIcE o= 63 Drum not recorded 9° 9 9° 2 8 -9°-9 6. He tu-wa hi-yu.- ye e-ma-ki-ya (Ge he tu-wa hi-yu - ye e - ma - ki'- ya he ya ée pe - Zi - hu - ta f= eS he tu- wa hi-yu - -f- 5 z — 0-999 as =e | ———————— SS ye yae-ya ¢e = yo he tu-wa hi- yu - ye e-ma - = ager e eee ee ae = eee Soe: ki- ya he ya Ge ho - Su - pa a ean uy - yu-tin - cena Oo wa ee a o—9 SSS SS 222 ee Salas ex {= ee —— [Ds i aa = Sas ye he tu= wa hi-yu =~ ye WORDS Ine twin eae ete some one hiyu’yeizs............:22..2.. “eome here’. (a command) ema’kiya ée...... 2 Sie ee said to me pez huta. 2.2525 4o232 2 eee ‘medicine (herbs) ay yu tin), ktae sees, ee eee we will eat (together) he tu’ wae 2. osc) oe eae sOmMexone iyi Ve. .2 28 eee ee ‘‘come here”’ Oya COy0’ 1.2 eee ee ee has said LoVe HOMn fe ea goa tL = some one EV IGV.C a = cS ‘‘come here”’ emiagkslivian (CO no. tee, ee said to me OSI PAswal). Sic 450 eee fish intestines unyu’ tin: tka..2.-.. 22: eee ey we will eat NCR GUAW arenes hes loshin some one IW ePrints Os oe ce = epee ‘“come here’’ CV CO VOIs ten. <5 S52 aye ere has sald DENSMORE] TETON SIOUX MUSIC 259 Analysis.—This song is characterized by the interval of the fourth, which constitutes 18 per cent of the entire number of intervals. It appears in the first part of the song as the descending progression E-B, and later as A-E; the ascent of an octave gives a return of the interval E-B, followed again by A—E, descending to the tonic. The melody tones are only those of the minor triad and fourth, and the song is harmonic in structure. The rhythmic unit is short and is a phrase which is not unusual in these songs. For those suffering from headache Eagle Shield had a special remedy—an herb called nasu’la yazay’pi ipi’ya, ‘no appetite medi- cine,’ which grew on the prairie. The root, dried and powdered, was sprinkled on hot coals, the patient inhaling the fumes. This plan was identified as Artemisia frigida Willd. (Colorado sage). Before recording the song Eagle Shield spoke the following sentences: Petu’ta Ciéu’ ktelo’ tka waste’ éa yani’ ktelo’ lena’ke waste’ ke’yape. (Translation) Herbs I shall give you, but (they are) good, so you shall recover, all these (are) good, they say.! The following song was sung during the treatment. No. 84. “‘These Are Good”’ (Catalogue No. 513) Sung by EaGLte SHIELD Voice g— 80 Drom not recorded = 2. = *: p fe 0 #t9 # Le-na-ke was - te ke-ya - pe - lo ho-ye- ; e. pr gree Seas ae ya na-Zin WORDS lena ke. Pein ett et we. ss all these WHNDE =, < poate eS =. (are) good ke’ yapelo.v.cens SO ere | they say HO VCVa "2. arnt eae ie with a noise GAC SAY) 3.2: eee ete Soe ts == (they) stand erect 1 Chippewa doctors also use strong affirmations when treating the sick (Bulletin 45, p. 92). 2 This refers to the sounds made by a bear standing erect, preparatory to making an attack. (See p- 180, footnote. ) 260 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis.—Few songs of the present series have the upward and downward intervals so nearly equal as this song, in which 27 pro- gressions are upward and 32 are downward. The major second occurs 11 times in upward and 11 times in downward progression, and the minor second is found 10 times in upward and 10 times in downward progression, yet the melody is not monotonous, and the intonation on these small intervals was better than in a majority of such instances. The song begins on the octave and ends on the tonic. All the tones of the octave are present except the sixth. It is inter- esting to observe that the interval between the seventh and eighth is in some instances a semitone and in others a whole tone. The transcription is from the ‘first rendition, which gives the entire song, the second and third renditions omitting the first four measures. This is in accordance with a custom which has been noted among both Chippewa and Sioux, that the first phrase of a song seems in many instances to serve as an introduction to the performance. An herb called cante’ yazay’pi iéu'wa was prepared as a tea and used for those suffering from ‘“‘heart trouble or pain in the stomach.” This plant was identified as Astragalus sp. (loco weed). Before singing Eagle Shield said: Te’han mawa/ni kte gni e¢an/ni ke’yagi to’kéa eéa/na maya’‘ni ketlo’. (Translation) A long time before I can walk you may think, but (in) only a short time you shall be able to walk. The following song was sung as the herb was administered. No. 85. “You Will Walk” (Catalogue No. 514) | Sung by EaGLe SHIELD VoIcE q=72 Drum not recorded 9-9-0 0 SS Ta-ku wa-kay ya-tin kte-lo ka - hay-tu- ke WORDS bak walkan (2 238) eee something sacred Vauinktelo’ 0.5. . ...cscr eee you will eat kahanitukes 2.2... 2a now es maemisyeloxa 222). 2. hee you will walk 1 Compare words of song No. 47, Bulletin 45: “ You will recover, you will walk again. It is I who say it. My power is great. Through our white shell I will enable you to walk again.” BUREAU OF AMERICAN ETHNOLOGY SPLINT AND MATTED DEER HAIR USED BULLETIN 61 IN TREATING FRACTURES PLATE 37 a DENSMORE] TETON SIOUX MUSIC 261 Analysis.—The interval of a fourth is prominent in the first part of this melody. It appears, in the opening measures, as the descending interval E flat—B flat; the tone A also occurs, and the descent from B flat to A flat introduces the tonic chord. The fourth then appears as the descending interval A flat—E flat. The subdominant of the key occurs twice and in both instances was sung a trifle sharp, as indi- cated in the transcription. The song is major in tonality and con- tains all the tones of the octave except the sixth and seventh. Four renditions were recorded, which are uniform in every respect. Eagle Shield might be called a specialist in the treatment of broken bones. In this treatment he used an herb identified as Allionia nyctaginea Michx., and called by the Sioux hu'huwelianhan peéu'ta,! which was said to grow in the woods. The dried leaves and root of this plant were mixed with soft grease. When treating a fracture Eagle Shield covered his hands with this mixture and after holding them over the coals until they were warm, he rubbed the flesh above the broken bone. He said the patient often was so relieved by this treatment that he fell asleep. The treatment was repeated three times a day and continued ‘until the fracture was healed.” He said that when an arm or leg was first broken he “‘pulled it until the bone slipped into place,” then covered it with a parfleche case, laced together with thongs. This case was removed for the treat- ment described above, but he emphasized the need of keeping the case firmly laced, and of tightening it whenever the thongs seemed to be loosening. He said the purpose. of the rubbing was to keep the muscles from becoming stiff. He added that he had treated four cases in which the large bone of the leg was broken, and that in each instance the patient was able to walk in a month. One was a frac- ture near the hip. It had been put in iron braces by a white doctor, but the patient, not being able to stand the treatment, came to him. Eagle Shield made a small “splint”? of parfleche, 8 inches in length, saying this was the size he would use for a broken wrist. In it, with Indian accuracy, he put a piece of old, soft flannel, saying that was what he ‘‘would put next the person’s arm.” He sold to the writer a matted portion of soft hair, which he said was the shed hair of the deer; this was thick with grease. Eagle Shield said he had used this in treating fractures for more than forty years, holding it in his hand as he rubbed the flesh. (See pl. 37.) The song used by Eagle Shield in treating fractures was sung four times ‘‘while getting ready to apply the medicine.” 1 A specimen of the same herb was given by Bear-with-White-Paw, who said it was ‘good to reduce swelling.” (See p. 270.) 4840°—Bull. 61—18——19 262 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 86. Song Preceding Treatment of Fractures (Catalogue No. 516) Sung by EaGLe SHiELD Vorcr o=88 Drum not recorded € ~~ @ # # @ f. a = Sfp ee ene Ko -la wa- na ee ma - to ‘o-ma ki-ya - ke et 0. . Dire ey = oe —s egies ie aa Soames ko - la — = ye le-na wa-yayk hi-yu - ye +t = Bares os ae alk eee ‘ ell wa- Es yu - ma - o-ma - ki - ya - WORDS OYE Pee ace rene Cone oR Ee ran & friend DVS Se aaa A foie bare atin eae ai now MUNG Go. eae nce ean tee come MALO sete kee eee UES oes SbeamGwho) oniadeivalee SONA PARSER AS a ee told me this! (said) cola fememe serian\- se igo coer ane libhAliA eee eedodca sane areca san COLI lena’ waren’ <2 287 ee behold all these VW Yel oe sansa ctnn aha ooe te re COME THBUO 2 tee eee eae Pee cree Meal oma’ kiyakess.. 2525 i628 Sees told me this Analysis.—Three renditions of this song were recorded, which are uniform in every respect. The melody progressions are somewhat peculiar, but their exact repetition shows that they were clear in the mind of the singer. There was a slight lowering of pitch in the sus- tained tone which occurs in the sixth and seventh measures. The song is melodic in structure and contains all the tones of the octave except the sixth. .One accidental occurs—the seventh lowered a semitone. See plot of this melody on page 283. Another remedy imparted to Eagle Shield by the bear was a remedy for diseases of the kidneys. This plant, which grew on the prairie, was called by the Sioux azuy'tka yazan’ pi on’ piyapi, and was identified as Lactuca pulchella DC. (wild lettuce). It was dried and prepared in the form of a decoction. Eagle Shield said that not more than three doses should be prepared at a time, as it must not be allowed 1 metening to the manner in which the patient was being treated. DENSMORE] TETON SIOUX MUSIC 263 to stand overnight. This decoction was to be taken three times a day, and the effect was said to be better if it were taken with food. Eagle Shield said: “No matter how much a person is suffering, as soon as this medicine reaches the spot it relieves the pain. This is usually done by the time six doses have been taken.’’ A song was sung four times during treatment with this remedy. In the words of the song the bear is addressed as ‘‘father.”’ No. 87. An Appeal to the Bear (Catalogue No. 517) Sung by Eaaie SHreip Voice eo 84 Drum not recorded ' -9- -9- -9- f # 5 Fe i se ee = Sey Ses SS aes — -2--—|_#_@- _@ _@ = [2 ae ee a ee A-te ho-ye - ya a-te ho-ye - ya i-yo-ti- ye wa-ki- a ae = Be a-te ho-ye ~- ya i-yo - ti- ye wa-ki - WORDS SiG lite et OO Ne a father [act Ce a, Sane ie send a voice CET Phe Mr = ae hh ec AS father ge ater ns fae ems 2 eis oe send a voice WVOMBVG Sah 2. - 2s ~ sbscenes ee. a hard task PUREE ser ee ee aE I am having 21S EEE ne eng OE a 5, ag te ae father HOW OVas soo Saests oes ee oe 2. ND send a voice IGOr TIE o98..cwceas=sasbeeses He ac a hard task * wa‘kiye yo......... eee eh ony I am having Analysis.—This is a pleasing melody, with no striking charac- teristics. Three-fourths of the intervals are major seconds, the remainder comprising a fifth, a fourth, and a minor third; the song is minor in tonality and melodic in structure, containing all the tones of the octave except the seventh and second. Three renditions were recorded, interspersed with the groans as given with songs for the sick. The renditions were uniform in all respects. The following song is that of the bear, which digs roots with its claws. The herb used in connection with this song was identified as Glycyrrhiza lepidota Nutt. (wild licorice). The song and herb were used in the treatment of the sick. Eagle Shield said that when administering the herb the song was sung only three times. 264 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 No. 88. Song of the Bear (Catalogue No. 518) Sung by Eaaire SHIELD fel Voice g=— 80 Drvum not recorded (1) ap o—" =D bpee sh =) bbs a eo 66 ra es as na - pe kin wa - kay ye - lo pe-Zi - hu - ta oO - ta ye - lo ye - lo mi-na-pe kiy pe-zi- hu-ta 0 -ta ye- lo WORDS (First rendition) mina/pe kin wakan’ yelo’.....- my paw is sacred pezi/huta o’ta yelo’........---- herbs are plentiful ‘ (Second rendition) mina’pe kin wakan’ yelo’....-- my paw is sacred ta’ku iyu’ha o’ta yelo’..-.....- all things are sacred Analysis —The fourth constitutes 31 per cent of the intervals in this song. The only interval larger than this is the ascending eleventh, which appears with the introduction of the words. This interval occurs in no other song of this series and is found only three times in 340 Chippewa songs. The interval was correctly sung in the three renditions of the song. - The change of time was the same in all renditions. (See song No. 5.) This melody contains two rhythmic units, both of which are found in the first part of the song. The rhythm of the latter part, containing the words, has no resem- blance to the rhythm of the unit. A remedy to check hemorrhages, arising either from wounds or from some internal cause, was supplied by an herb called by the:'Sioux DENSMORE] TETON SIOUX MUSIC 265 wija’wazi hutkay, ‘root of the bur,’ and identified as Ratibida colum- naris (Sims) Don. (cone flower). This was found in damp places, along creeks. For pain in the side a tea was made of the stalk and leaves of this plant, and for earache a decoction was made of the root and a drop put into the ear. The following song accompanied the use of this herb. No. 89. “Bear Told Me” (Catalogue No. 519) Sung by EaGie SHTELD VoIicr d= 80 (or g. — 160) Drum not recorded Se =e #. Kan -tu - hu-wa lu way) ma - Oo - ma - 2 ee =e wa | to o-ma-ki-ya - kan - tu-hu- wa lu - “Og: ears 5. Brice: — SES p= | = ta wal) ae to o-ma-ki-ya - ka ta - ku si - to - mni Cae EE Pe we °° (ae eS ey re 3 Se os eae me ee | 20 a ee Fa Se = b- a a — o i ———— Ee yal ko. y= yla o-ma-ki - ya - ka ore ——— aes aS ai cee = s -A = FH ——_f iene o—e at kan-tu - hu-wa lu - ta Pa to o- ee ya - WORDS kan’tuhuwa lu’ta wan......-. a scarlet buckbrush mato’. spews Se aise << DEAL oma’kiyaka.. eee old meabout ta’ku sito’ mniyan . fate Ne hati. all things , | 0) Ca See ey 8 ee ee friend oma’kiyaka...............---- told me about kan’tuhuwa lu’ta wan......-- a scarlet buckbrush ra 52. Aree SER SOP: SA Dear GHIS Rivakees ps secu occu. 2 told me about °266 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis.—Three renditions of this song were recorded, and in them all the changes of measure-lengths occur as in the transcription, the time being unusually well maintained. It is impossible to indicate an eighth note as the metric unit of the first and similar measures, as 6-8 time implies a group of two triplets, while the three counts in these measures are clearly defined. The rhythmic unit is interesting, and parts of it are found in parts of the song which do not contain the complete unit. The song is minor in tonality and lacks the seventh and fourth tones of the complete octave. (See song No. 26.) The fourth constitutes 37 per cent of the entire number of intervals in this song, a proportion even larger than that in the preceding song. In the descending fourth D-G the lowest tone was invariably sung a trifle sharp in this song, offering a contrast to the preceding song, in which the fourth was sung with good intonation. Eagle Shield gave the following narrative concerning his dream of the badger, from which he secured his remedies for children. The remedies for adults, as already stated, were received from the bear. Eagle Shield said: A man appeared to me ina dream, showed me a plant, and said, ‘‘My friend, remem- ber this plant well. Be sure to get the right one, as this is good.”’ It was a badger, who appeared to me in the form of a man and said this. It was the first time that the badger came to me, but afterward he brought me other herbs. There were no songs with any of the herbs which the badger brought me. In return for the kindness of the badger I took tobacco, cut it up fine, and dug a hole in the ground. I buried the tobacco and said, ‘Badger, I give you this in return for what you have told me.” When the badger is alive he eats this herb. Whatever herb the badger introduces is especially good. Some consider his medicine stronger than that of the bear, as he digs deeper and farther into the ground, Hagle Shield said that he buried a little tobacco as an offering to the badger whenever he dug any of these roots. He said also that before giving these remedies to a child he always made a supplication similar to the following: ‘‘Wakan’tanka, you have made these herbs. We are going to give them to this child. We hope you will make the child well, and we hope nothing will come to prevent the usefulness of these herbs.” The first remedy imparted to Eagle Shield by the badger was a plant identified as Leptilon canadense (L.) Britton (horseweed). This was used as a remedy for pain in the bowels and for diarrhea. As it is a mild remedy and the size of the plant varies, it was difficult to describe the amount to be used asa dose. Eagle Shield said that if a plant were small it would be necessary to use all the root and a few inches of the stalk, but that if the plant were large it would be sufficient to use half the root for a dose. A decoction was made, and he said it was “‘ well to smell the tea to judge its strength, as it should smell of the root to be right.”” He said it “should be taken before meals, the morning BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 38 BEAR-WITH-WHITE-PAW BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 39 DRUM AND DECORATED DRUMSTICK BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 40 EAGLE SHIELD BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 41 NECKLACE WORN WHEN TREATING THE SICK DENSMORE] TETON SIOUX MUSIC 267 dose being the largest. If a person should take this after a meal it would cause distress, but when taken before a meal it prepares the stomach to receive and digest the food.” A small spoon made of white bone was used in giving medicine to children. (See pl. 36.) The second of Eagle Shield’s remedies for children was identified as Chenopodium album L. (lamb’s-quarters). A decoction of the en- tire plant was used in cases of bloody dysentery. It could be given from the time a child was old enough to drink water, the dose~being increased according to the age of the child. The third remedy was for diarrhea, and was seemingly stronger than the others, as the dose was about a teaspoonful and only two or three doses were usually given. The herb was not boiled, but hot water was poured over it to make a tea. This was identified as Aquilegia canadensis L. (wild columbine). The fourth remedy was for fever and headache. In this instance the herb was to be steeped. Some was given internally, and the child’s entire body was rubbed with it. This herb was identified as Rumezx sp. (dock). Mato’-nape’-ska (Bear-with-White-Paw) (pl. 38) was a man who showed much seriousness in describing his practice of medicine. He said that when treating the sick he wore one side of his hair unbraided, as shown in the illustration. (See p.64.) The drum which he holds is that which he used when singing his medicine songs. The term éay’éega is applied by the Sioux to all drums, the large dance drums as well as the hand drum. The specimen here shown (pl. 39) has a single head of rawhide and is held by means cf two iron wires at the back, which are passed through a short section of iron tubing, thus forming a handle. Thongs or strips of stout cloth are also used for holds on these drums, which are common to many tribes of Indians. (See Bulletin 53, p. 62.) Drums of this type appear in the hands of members of the Kangi’yuha in a native drawing by Eagle Shield (pl. 40). The drumstick used by Bear-with-White-Paw is elaborately decorated with porcupine quills and could be used with a large dance drum as well as with a hand drum. Such a stick might be carried to a gathermg by a man who expected to sing at the drum. A ‘‘necklace’’ which Bear-with-White-Paw said that he had worn for many years when attending the sick is shown in plate 41. He said that when summoned to visit a sick person it was his custom to put on this ‘‘necklace,”’ consisting of a strip of hide to which are attached two small bags of ‘‘medicine’’ and a bear’s claw. He said further that he pressed this claw into the flesh of the patient in order that the medicine might enter more easily and be more effectual. Eagle Shield also used a bear’s claw in treating the sick (p. 253). 2968 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 Like Eagle Shield, Bear-with-White-Paw received his knowledge of healing herbs from the bear. He said, ‘‘The bear is very truthful. He has a soul like ours, and his soul talks to mine in my sleep and tells me what to do.”’ ; Six herbs were described to the writer by Bear-with-White-Paw, and fresh specimens were furnished for identification. Before beginning his account of the herbs and their uses he made the following supplication to the bear, a supplication which he said he would use when treating the sick: Ho mita’kola on masi’ke tanyan’ ana/magoptan yo. . Anpe’tu kin lehanl’ ta’/ku wanzl’ awa’Can mi he o¢i’¢iyakin ktelo’. PeZu’ta lena’ke slolye’ mayaki’yin na ta’ku eéon’ maya’si na wo’yazan wan’Zigziapi’/ye ma/yasi na hena/ iyo’kihe kta ke’he kon wana’ lehanl’ iya/lipe wa’yin kta tka he’¢e iyu’ha owa’kihi kta. Wo/yazan hena/ heyab’ iya’yiy kte. Translated as follows by Mr. Higheagle: My friend, I am poor and needy. Listen well to me. This day I have something in my mind, and I wish to tell you. All these medicines you have made known to me, and you have commanded me to perform certain things in order to attend to cer- tain sicknesses, and you have told me that these medicines have certain powers in them. Now I wish to use them with effect. These sicknesses, I want them to go away. Bear-with-White-Paw said that he had only one song, which he sang in connection with the use of all these herbs. This song is as follows: No. 90. Song of Healing (Catalogue No. 674) Sung by Brear-witH-WaiIrr-Paw ; Voice g— 66 Drum not recorded ee. foe 2. Ae (D2 a Ee = SSE = a Ate hiv=yull- sye a-te hi-yu - ye yo I E ¢ > —# : pees tt pi =e =e a-te hi-yu - ye yo hu noy-pa ma-ka - ta yuy-ka éa ee Se Be ae Eee t Z @ mimic 4 ——o! ae pi - ya - wa-ka - te hi- yu - i | 6-6 ae 3 = = © © La, © cd 2 aa =| sa Sea 2-9—9- = = [34 2» i - ae hi- yu - ye i-na hi-yu - ye yo hu xon- Bee Speen ea fa aeatge = pa ma-ka-ta yuy-ka éa pi-ya-wa-ka - ge i-nahi-yu - ye yo DENSMORE] TETON SIOUX MUSIC 269 WORDS Bite! . 2. UOTE aeemacriaces eta: & father hive: vods sees oes. G come forth INU LON)’ Pa, 3 sc See ta in a two-legged object (see footnote, p. 120) maka/ta ‘yunkamcadess.4e-ce- ccs. - lying in the earth plya’ Wakawe ceeececras + 2-2... I have renewed 7 a es) ah Bg father Hiyn-ye "yorxeeee | ks Re: come forth BTID... 2334. ee ee apt neat ae mother DLV UE VeNVOeeon ss ceeea gas ah, < come forth hu TON piss sere Se eae a two-legged object maka‘ta~ yun” @2. 562 decec. lying in the earth piya wakepercs. Ae ct else I have renewed INAS SE Ek LAS DOE - RISN Te Lt mother BNR b's hc tel eee ge come forth Analysis.—This is the only song recorded by this singer. It is an interesting melody and was sung twice. There is no difference between the renditions, and the singer’s performance was character- ized by a marked degree of carefulness, like that of Brave Buffalo when singing similar songs. The tonic chord (D minor) is in evidence throughout this song which, however, is classified as melodic with harmonic framework because of the accented G, which appears four times. The last tone of the rhythmic unit was slightly shortened in every instance, as indicated in the transcription. The song con- tains 32 intervals, only two of which are larger than a minor. third. The herbs furnished by Bear-with-White-Paw, with the directions for their use, are as follows: (1) Identified as Cheirinia aspera (DC.) Britton (western wall- flower). This was said to be a very rare plant among the Sioux, though it can occasionally be found on level ground or along a river. It was used as a remedy for cramps in the stomach or bowels. The plant has long slender seed pods, somewhat resembling pine needles, In preparing the medicine these seed pods are opened and the seeds removed and crushed. Warm (not hot) water is poured over them, whereupon the water becomes yellow. This mixture is taken inter- nally and also applied externally. It is a very strong medicine, and if the person has been sick only one day a single dose of the remedy is usually sufficient. ; (2) Identified as Heuchera hispida Pursh (alum root). This plant was said to grow on high ground. The root only was used; this is so strong that afragment of a small root about half an inch long was a sufficient dose fora child. Itis a powerful astringent and was used as a remedy for chronic diarrhea. Only two or three doses were usually given. (3) Identified as Lithospermum linearifolium Goldie (puccoon). This was used as a remedy for hemorrhages from the lungs. The 270 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 plant grows on the hills and has fragrant white flowers. Bear-with- White-Paw said, ‘‘The odor of these flowers goes to every plant that brings cure to men. It makes them sweeter and strengthens them as they grow in the field.” He said also that the medicine-men keep this or some other fragrant herb in the bundle with their roots during the winter. (Compare p. 79.) (4) Identified as Echinacea angustifolia DC. (‘nigger head’’). A specimen of this herb was also brought by Jaw (pl. 59), who, like Bear-with-White-Paw, said that he used it as a remedy for tooth- ache. Bear-with-White-Paw gave other uses for it, saying that he used it also for pain in the bowels; that it would cure tonsilitis, and was frequently employed in combination with other herbs. Only the root of this plant was used. (5) Identified as Monarda fistulosa L. (horsemint). This was said to be an ‘‘elk herb” but is not the same variety of plant as that called the ‘‘elk herb”’ in the description of Brave Buffalo’s dream, which was identified as Monarda scabra Beck. (See p. 178.) This remedy was used to reduce fever, and was also said to be ‘‘good for a hard cold.’”’ The blossoms only were used, and Bear-with- White-Paw said they were so strong that ‘‘only a little’? should be used in making the tea. (6) This herb, identified as Alltonvanyctaginea Michx. (umbrellawort), is the same as that a specimen of which was furnished by Eagle Shield and used externally by him in the treatment of broken bones. Bear- with-White-Paw gave the following directions for its use: ‘‘Grate the root, moisten it, and rub it on the skin wherever there is a swell- ing.” He said it grew close to the water and was adapted only for external use. The narrative concerning these medicines was given at intervals through a period of several weeks, as considerable time was required for finding suitable specimens of the herbs. Bear-with-White-Paw understood the purpose of the analysis, and the plants he brought were especially large and typical. When the work was completed he assured the writer of the sincerity with which he had done his part, saying again, ‘“‘These are the medicines which I use for the purposes I have told you, and the song which I sing when I use them.” In addition to the herbs secured from Eagle Shield and Bear-with- White-Paw, two plants were procured from Jaw, one mentioned above and another which was said to be an unfailing cure for rheumatism; this was identified as Parmelia sp. (a lichen). No songs were recorded by Jaw in connection with the use of these herbs. In order to ascertain whether the herbs used by Eagle Shield, Bear- with-White-Paw, and Jaw have a known medicinal line the speci- mens of plants were submitted to the United States Department of DENSMORE] TETON SIOUX MUSIC Agia Agriculture, from which the following report was received.t| The species marked (*), or, in some cases, other species of the same genus, were reported by the late Mrs. Stevenson as being used medicinally among the Zuni.? Those marked (}) have been noted among the Tewa.’ tAchillea lanulosa Nutt -...... Not known as possessing medicinal value (p. 254). *Astragalus carolinianus L ..... None (p. 257). tArtemisia frigida Willd ....... Known as Colorado sage; has considerable reputa- tion as a medicinal herb among miners and others in the Rocky Mountain region in the treatment of their mountain fevers (p. 259). PAAWAPAlNA Hp... ote ete ss Species of Astragalus in this country are best known for their poisonous action upon animals (p. 260). Lactuca pulchella DC.........-.- None (p. 262). yAllionia nyctaginea Michx .... None (pp. 261, 270). Glycyrrhiza lepidota Nutt.....- Has the taste of the true licorice root, but is not used medicinally (p. 263). *Ratibida columnaris (Sims) Don, None (p. 265). *Leptilon canadense (L.) Britton Herb used for hemorrhages of various kinds; also em- ployed in diarrhea and dropsy. Volatile oil, known as oil of erigeron, obtained by distillation of the fresh flowering herb (p. 266). *Chenopodium album L....-.... Leaves said to have sedative and diuretic properties (p. 267). Aquilegia canadensis L.......... Plant said to have diuretic, emmenagogue, sudorific, and tonic properties (p. 267). PPPUIIOR SDs ue at Ss Gus Secs cs The roots of Rumex crispus and R. obtusifolius are employed medicinally for their astringent and tonic properties. Rumex hymenosepalus of the Southwestern States is used for tanning purposes (p. 267). Cheirinia aspera (DC) Britton.. None (pp. 269, 389). Heuchera hispida Pursh........ Root said to be employed by hunters and prospec- tors of the Northwest as an astringent to check diarrhea (p. 269). *Lithospermum _ linearifolium None (p. 269). Goldie. Echinacea angustifolia DC -.... Root used for its alterative properties (pp. 270, 389). {Monarda fistulosa L ........... Leaves and tops sometimes used as a substitute for M. punctata, and employed as a stimulant, carmin- ative, sudorific, diuretic, and anti-emetic. Fur- nishes a sharp and pungent oil (p. 270). *Erigeron pumilus Nutt ......- None (p. 389). {Lacinaria punctata (Hook.) None (p. 389). Kuntze. Panmelia Spots cee oe None (p. 270). 1 The writer gratefully acknowledges the assistance of Mr. Paul C. Standley, assistant curator, Division of Plants, U.S. National Museum, who identified these specimens; also that of Miss Alice Henkel, assist- ant in economic and systematic botany, Bureau of Plant Industry, U.S. Department of Agriculture, who reported on their medicinal properties, as here given. 2 Ethnobotany of the Zuni Indians, in Thirtieth Rep. Bur. Amer. Ethn., pp. 101-102. § Robbins, Harrington, and Freire-Marreco, Ethnobotany of the Tewa Indians, Bull. 65, Bur. Amer. Ethn., pp. 121-123. 972 BUREAU OF AMERICAN. ETHNOLOGY [BULL. 61 The two following songs are said to have been used by Sitting Bull in treating the sick and were sung by his nephew Tatan’kawanzi’la (One Buffalo), literally One Buffalo Bull. (Pl. 57.) see eee my heart mato’ ke¢a¢as y3 Gate ee is different hetya“ye waye’.. 2. -ee ee oon at I have shown it ZA’ Vali eee etoen ice meres from the north tate’ O07 2eSH eA Th eS -... @ wind hiyo* masa" wes scsase eee comes to get me (cf. words of Nos. 41, 105; also footnote, p. 120). Analysis.—This song contains the tones of the fourth five-toned scale. In structure it is melodic with harmonic framework, the tonic chord being strongly in evidence throughout the melody. Concern- ing the change of tempo see song No. 5. In this instance the phrase indicated as the rhythmic unit of the song is long and not accurately repeated. Three reasons seem to justify this: (1) the phrase forms the rhythmic divisions of the entire song; (2) the phrase in every instance opens with the same measure-divisions; (3) the note values of the phrase are in some instances necessarily changed to conform to the words. Two-thirds of the progressions are downward, and the song contains only three intervals larger than a minor third. See plot of .this melody on page 283. In this song we mect a strange phase of the life of a medicine-man. Two Shields, who recorded the song, said that ‘‘ White Shield used to sing this song when he was worried or disappointed.” Strangely human is this little melody. Two Shields said also that when sing- ing the song he would mention the direction on which the wind was blowing that day, as ‘‘every man who performs ceremonies respects the various winds.”’ DENSMORE] TETON SIOUX MUSIC PAL | No. 94. “May This be the Day” (Catalogue No. 540) Sung by Two SxHreLps VoicEr = 176 Drum ¢= 132 lion aban similar to No. 19 BF ee ee eee Ay-pe -tu mi - ta-wa kon le - tu nuyn-we an- pe-tu ot ——— pay 2 eae mi - ta-wa kon le tu nu - we wa - Zi - ya - ta fa e ao er ees ee eS ta-te u ye éiy ayn -pe-tu mi - ta-wa kon le an - pe - tu - ta -wa kon le - ee ates Sees tu nuy -we ayj-pe-tu mi - ta-wa kon le - tu nuy- ee Tae i, REN Ce ] BE) Sans Pra eirse see == e an-pe-tu mi - ta-wa kon le - tu nun-we WORDS | anpe’tu. mita’wa kon le’tu. may this be the day which I considered - nuywe’ mine tlie Oe a from the north Js DR Co Gt OE | a the wind is blowing aype’tu. mita’wa kon le’tu. may this be the day which I considered nuynwe’ mine Analysis. in tempo, the drum beating unaccented eighths ina tempo J — 132, while the tempo of the voice is J = 176. Both are steadily main- _tained. The song is distinguished by the number of major seconds it contains, this interval forming 16 per cent of the progressions. The melody has a compass of 10 tones and is on the fourth five-toned scale. The rhythmic unit is interesting and is continuously repeated. Three 4840°—Bull. 61—18——20 278 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 \ renditions were recorded, the repetitions being separated by shrill cries during which the drumbeat was steadily continued. This is the third analysis group of dream songs and comprises those used in treating the sick. In this, as in the songs analyzed on pages 198 and 239, a large majority of the songs were recorded by those who themselves received them in dreams. The numbers of these songs are 79 to 94, inclusive. Old ei arc! Songs Used in T: Featenent of the Sick Metopic ANALYSIS TONALITY- ne Serial Nos. of songs. Maj ontbomaliittyiese ss ssn- sce =e eae Leo meee eee 6 | 85, 86, 91, 92, 93, 94 Minortonalliittyoe sce saci stoae = Pasest asec Egiscgede 10 | 79, 80, 81, 82, 83, 84, 87, 88, 89, 90 AYO MLR A Sapose eared See SSeSse nase ebete asseenES 16 FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE Bae Serial Nos. of songs. Beginning on the— Mra iss Sets Sen sere cee en AO ee wea eae re 4 | 79, 80, 86, 94 1S Soni Oe a So MSS See aoe eee Se Ae 1} 81 Octdver ees sale aes senna Bee NES he ee ENE 4 | 83, 84, 87, 90 1 DUTTON Ae ce eee ie a See ee eee 4 | 85, 89, 91, 93 GYchite le eer Someones wie EE oe Rene Oe MINE cote 1} 92 IG aya seed nou seenticice se oe Sebiae seosiac ema e ee Shoe 2 | 82, 88 MOC Ae feo Sac ce he ei care e aae ele ele ae 16 LAST NOTE OF SONG—ITS RELATION TO KEYNOTE Number P of songs. Serial Nos. of songs. Ending on the— | TUG Huee ye en oes at ee PAN Ao eR ee 3 | 85, 88, 89 CB YVIn see 6 eet syste am A ee Fo mas 2! 91,93 TRG ym O tO crac ate eee ace ae ae ee ea eats 11 | 79, 80, 81, 82, 83, 84, 86, 87, 90, 92, 94 Total oscesaoehe Secs eee eee roses 16 k LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG | Number of songs Serial Nos. of songs. Songs in which final tone is— Lowest tone in song......-- slit oats ae Awee cB eater 14 | 79, 80, 81, 82, 83, 84, 86, 87, 88, 89, 90, 91, 93, 94 Immediately preceded by whole tone below-....-... 1 | 85 Songs containing a fourth below the final tone. -....-... 1 | 92 Totals oe Se ES aL Ae eae 16 | DENSMORE] TETON SIOUX MUSIC 279 Old Songs—(4) Songs Used in Treatment of the Sick—Continued Metopic ANALYsis—Continued NUMBER OF TONES COMPRISING COMPASS OF SONG Number F of songs. Serial Nos. of songs. Compass of— wel ve. tones: < 2s. vase ocoe eee alt ters se oe ocnee eters 1 | 88 ; Wor tOnes.s.0 2s Pee cee oes ne ee Ae = 6 | 79, 80, 84, 86, 93, 94 Nine LOGS 225 sere seats wee cee eee 2 | 81, 85 j WIPHttoness Jesccue cate ae er eee eee ee tee 5 | 83, 87, 89, 90, 91 Bixlomesz;5 Sh seer 4. eee ek RE eee 2 | 82, 92 ROU S ia gice nace ce wes eee er oeaaing ao ernic crateae oles 16 TONE MATERIAL ea Serial Nos. of songs. ~ MOMENT VO-CLONEd SCBLO .2i.54c05- 62 ci Joes eee: sBikicere - 3 | 92, 93, 94 MEMOTENIAC ANG TOUTED <2... = oe can cco artaine a bialnse a clos 3 | 80, 83, 90 ss Octave complete except seventh.................-.-.. 1} 91 us Octave complete except seventh and sixth.........-.. 2 | 81, 85 Octave complete except seventh, fifth, and second.... 1| 82 Octave complete except seventh’and fourth........... 1} 89 : Octave complete except seventh and second. .......... 1 | 87 Octave complete except sixth........................- 4 | 79, 84, 86, 88 PRO Ge lett cee rete etn ee na ee ia « alsa 16 ACCIDENTALS i ae Serial Nos. of songs. Songs containing— INGIAPCIOSM GALS. ink oc) ncc cc seacetace 28+ an.goreee eas 13 | 79, 80, 81, 82, 83, 85, 87, 89, 90, 91, 92, 93, 94 Seventh raised a semitone..................-.-- nee 1 | 88 Fourth and seventh raised a semitone............. 1| 84 Seventh lowered a semitone........- as Mk Pe 1 | 86 AUD Gta ee Se Se ee ne 16 STRUCTURE _ Pers Serial Nos. of songs. NAS SEI ae ee te so a 1) Gee * 5 | 79, 86, 87, 91, 94 Melodic with harmonic framework...............-..-- 8 | 80, 81, 82, 85, 88, 90, 92, 93 PTARAIOWIC 8. ots seen nae ee Pe ot oe no 3 | 83, 84, 89 en: | bao a cet anE 5. oe oS ee ae a 16 280. BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Old Songs—(4) Songs Used in Treatment of the Sick—Continued , Metopic,. ANALYsIs—Continued FIRST PROGRESSION—DOWNWARD AND UPWARD Seated Serial Nos. of songs. Downward. : << 555 scGene ak eee es ee Oe aha 12 | 79, 80, 81, 83, 85, 86, 87, 89, 90, 92, 93, 94 MOP Ward 22 sais) este sie ere ele ieee eee fence oteat tetera ates 4 | 82, 84, 88, 91 Totals c's }leeeCee banc cetleerieenbersisereeateer 16 TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD OWING es fa acs Eerste raya iwciwtotin deter ee einisiovareats(elers cor 292 Wohi lee cecaborcc cosbosooubsedsocsbosdnasvocsooseane 186 TOA es ore Ao ahi aa BAAR aan eee See see 478 LG H ed carcass te ale ctacateleisth ale ate -re SO eNE Aeibloke re atolefeenteye 3 MOurth. < .scnicdc ase stents ot cee eee ee peicinceise a tinets 53 aT OM GHGs eters erties eine aero aaa 13 Minor third) see nec e sie oat oe oc cee tle meee oe wins 68 Wien yPceabh heen aeeese SHeSomogeascoSspaocdoeasnens 135 Minor S@CONG 22, acs'/ areal ness Stele selec epee teat 20 Motalian se sopevee a eatios fake osaiae ee ee ee ra eee 292 INTERVALS IN UPWARD PROGRESSION ae SE eee Interval of a— Rleventhis 222m sacscto-ene nen ee meee Meseceasoas 1 Tenth sanecc coc ot met le chien one e cee etait seats 1 OGHAV ese eee cis ness he sasccmeemaisiee Soe e seers see 5 Major'sith 255. esos He ee ee tece sient eer 2 Witte O)A hb a9) sgoooeeod se sces sub sapeneeseuasoqac Jac: 1 ifthe ots acansteretece emea ce emeneee See 8 MOUrth: cee eis oe qa a ean eee ace seers 33 Major third! eo cet cca Soe eee ee wees neers 9 Minor third 22cecjs2s-228 oe Poses ee eee oaie esas 45 IMajor'second: «2.225200. jaicceeeeateoen eeeteseeee "66 Minor second... .. epeees he dion sete tiaaetes sesame 15 Otel e's cece a Seiad icclew ee eck eee seae a ee 186 AVERAGE NUMBER OF SEMITONES IN AN INTERVAL Total mumberofintervals:..sce sees eee cee eee 478 Total numberof semitones. Jos -\ oe ee nase aie ale 1, 461 Average number of semitones in an interval .....-...-.- 3.05 DENSMORE] TETON SIOUX MUSIC 281 Old Songs—(4) Songs Used in Treatment of the Sick—Continued x Metopic ANALysis—Continued KEY _ Number P of songs. Serial Nos. of songs. = e Key of— DOTOAIOL «15.5 sine ene eee anion ew oie e eionlosie cee 1 | 93 LEA ities) (0 ee eeegs Seco aco oseeecEen a eee eer acne 2} 91, 92 159 00120 (2) eae et re RS es ine ee 2 | 86, 94 I Disb its) oie Saks Sent SS HE SR ROe Ana ie ame 4 | 79, 80, 84, 90 ASG MINOK:, oc onc nase ee Sd = septa =e re ete 2 | 87, 88 PRON oc aero ae sar ec ciigacine een nes 2 | 81, 83 GOIN crass ec os cote alone taieoialc nes 2 | 82, 89 PVASG HS OFesce cc ccte ne sacs ola stalsaajseeieleele sar-. me 1 | 35 Potala Boo Seoocone sees sons Seecthas Seaehc ake 16 RuyTHMIC ANALYSIS PART OF MEASURE ON WHICH SONG BEGINS | Number . of songs. Serial Nos. of songs. Beginning on unaccented part of measure...........-- 8 | 79, 81, 82, 83, 84, 88, 91, 92 Beginning on accented part of measure...............- 8 | 80, 85, 86, 87, 89, 90, 93, 94 OTA ae Sot Se wees etaic,2. teal Memecis ceases 16 RHYTHM OF FIRST MEASURE Numb : Gieanes: Serial Nos. of songs. First measure in— CLINT aan a Se cee ae eS 10 | 79, 80, 81, 83, 84, 85, 87, 88, 90, 91 Be AILIN Oreo ces aaa tie deisrestac je « wise Siete a/sieme Secs ate 5 | 86, 89, 92, 93, 94 AO ATNG Nelneee tetra wo cine cia s on. ofeeals tales aie to Ce ase 1| 82 LENS) 7 his he AES BAe RS es ee ee Se 16 CHANGE OF TIME (MEASURE-LENGTHS) , N . Staion: Serial Nos. of songs. Songs containing no change of time.........-.....-..-.. 1| 80 Songs containing a change of time...................-- 15 | 79, 91, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94 Li apa de papeip ae Sh o ot ee e 16 982 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Old Songs—(4) Songs Used in Treatment of the Sick—Continued Ruytumic ANALYsis—Continued RHYTHM OF DRUM aoe: Serial Nos. of songs. Bighthinotes unaecented.c eee oe eee ieee 3 | 79, 93, 94 Quarter notes unaccented 25.5.2: so. ee aince == oes 1} 80 Drum not recorded 3. <2--seecesor ee se= = SE io nee 12 | 81,82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92 Total soos oes aresstee scien eee tee cise oe ere 16 RHYTHMIC UNIT OF SONG One: Serial Nos. of songs. Songs containing— No rhythmic unit............-. Bie eens ote tee 1} 86 , A One rhythmic init: 2242 aes3- 5-5: ep sere tote 13 | 79, 80,81, 82, 83, 84, 85, 87, 89, 90, 92, 93, 94 Two chy Um eminits see een cin elses soeiatcian 2 | 88, 91 LOUIS Ss stresses Se eee Se tec ae eeeeeseeiis 16 METRIC UNIT OF VOICE (TEMPO) Number . is ai ae Serial Nos. of songs. Metronome— SBS arose Srdioetere Staab sino s Soe WESEN Melee Seas ere w ees 2 | 83, 91 GB ie acc sncies ae on Seas sate oes See eae oe eee 2) 81, 90 Ue jose eeen cn odbos necasee Hen see ace Se osnameonSce de 3 1| 85 BO een ys ht seh SO ene ere a aloe TEE es 2 | 84, 88 SAi os. cERRr Se eee ABS joerc eee ate aceon sa = 2| 79, 87 5 OR A oc ee ei eet is aoe hae nee cars See Soe tS Rene oh _ 2} 86,89 Ge Ros. a Ae Se Seno can seta eerie mea Semis 1| 92 |B) eee ae ees es Se Eee SSP eee oe 1} 93 1b ee ee ee EO n cues sEacce eae 1] 80 AY Re Baa ASSURO CEOS DOR Orbo bio ca cco cdos.0b 3 ar 1/| 94 1: RPE Sere emot aoe carers acim aooonT cee 1 | 82 Total. < vis)Jccusck Sere ee eee Cen eee aes 16 . METRIC UNIT OF DRUM (TEMPO) igre Serial Nos. of songs. Metronome— Mp2 ice eea esos ob b's Ode Saha Been ORR Reet eck eee 1 | 79 ABDE fo ceiccme cd eis cddlen eset totee ee ae tnee eee 1 | 94 1G ee Ea a se el a 1 | 80 TOGO Fe tee a mae f cisiae con be 0.c/ sla cre che BOE eee 1 | 93 WITT WOU TECOrded ... S50. .c. cece c cee cereale sees 12 | 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92. TRG teller ere aie a =o op Saled os o's doa Ses Cee ae eee 16 | DENSMORE] TETON SIOUX MUSIC 283 Old Songs—(4) Songs Used in Treatment of the Sick—Continued Ruytrumic ANALysts—Continued COMPARISON OF METRIC UNIT OF VOICE AND DRUM (TEMPO) Number oN ak of songs. Serial Nos. of songs. Drum and voice having the same metric unit. ........ 1} 80 forum faster than) vOice sees see eae eee eee eee aes 1 | 93 rtd slower than woice:. 2054252). 228-2 ticks sets 2| 79, 94 rin not recorded? s 5 =H. .4-8.- eee Sea eEue coum 12 | 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92 Motals sie sts 2 Fe EeE Sak ee PAS ok ka 16 PLOTS OF SONGS USED IN TREATMENT OF THE SICK Among the plots selected from those of the preceding group may be noted three which resemble Class A (see fig. 19) but contain ascending progressions; these are Nos. 79, 86, and 91. Examples PSUCCTSUASEERARR Re Ag EE 7“ EEEPSe HH a es auenadil [| \ cy ‘\ [aye 4 LS e/)_I PEE [aj Ht aia] Fic. 28. Plots, Group 4. of Class C.are shown in Nos. 80 and 81, the recurrence and dwelling on the keynote suggesting the confidence which the medicine-man felt in his own power and which he wished to impress on the mind of his patient. The outline of song No. 93 suggests Class C in its repeated tones but bears also a resemblance to Class D. The title of this song is “A wind from the north.” SOCIETIES (OKO’/LAKICIYE) Two classes of societies existed among the Sioux—dream societies and military societies. Both classes are mentioned by Hayden, one of the earliest writers on the Indians of the upper plains. Hayden enumerates the Sioux societies as the ‘‘ Bull Head, Elk, and Bear” (the first being properly translated ‘‘buffalo’”’ and all being dream societies); also the “Scalp, Strong Heart, Fox, Big Owl, and Sol- dier.’? ' In every instance the Sioux equivalent is given, identifying the societies with organizations of comparatively recent times. Societies based on dreams (known as “dream societies’’) were composed of men who, in their fasting visions, had seen the same animal. The common experience of the vision bound the men together and societies were thus formed. These societies had their meetings, to which were admitted only those who had dreamed of the animal for which the society was named. Concerning these so- cieties Miss Fletcher writes: Among the Siouan family of Indians there are societies, religious in character, which are distinguished by the name of some animal. ... Membership in these societies ts not confined to any particular gens, or grouping of gens, but depends upon supernatural indications over which the individual has no control. The animal which appears to a man in a vision during his religious fasting determines to which society he must belong.” Among the Teton Sioux there are some societies which belong unmistakably to one of these groups and others which, according to the writer’s informants, probably had their origin in a dream of the name-animal, but are now open to men who have distinguished themselves in war. Thus the Elk and the Buffalo are distinctly dream societies, and the Strong Heart, Miwa’tani, and White Horse Riders are distinctly military in character, while the great military society of the Kangi’yuha is said to have originated in a dream of an owl. The writer secured an account of a dream of a wolf, but the terms ‘‘ Wolf society” and ‘‘Fox society’? seem to some extent ‘interchangeable at the present time. Mention was made of a Horse society, but no dream of a horse was recorded; it was, however, a dream society, and is included by Wissler in his list of ‘dream cults”’ 1 Hayden, F. V., Ethnography and Philology of the Indian'Tribes of the Missouri Valley, p. 281, Phila- delphia, 1862. 2 Fletcher, Alice C., The Elk Mystery or Festival. Ogallala Sioux, in Reps. Peabody Museum, m1, pp. 276, 277, Cambridge; 1887. Cf. also Wissler, Clark, Societies and Ceremonial Associations of the Teton-Dakota, Anthr. Papers, Amer. Mus. Nat. Hist., x1, pt. 1, pp. 81-98, New York, 1912. 284 BUREAU OF AMERICAN ETHNOLOGY BUFFALO-DANCE SHIELD BULLETIN 61 PLATE 43 DENSMORE] TETON SIOUX MUSIC 285 among the Oglala. Mention of ‘‘horse songs’? is made also by Dorsey.’ It is probable that these societies held no regular meetings, and that no new members of the military organizations had been elected during a period of about 30 years prior to the collecting of this material. It is impossible, therefore, to secure much reliable information on the history of these societies among the Teton Sioux. DREAM SOCIETIES BUFFALO SOCIETY Concerning the Buffalo society Dr. Lowie writes: Among the Santee the men performing the Buffalo dance [Tata”k watcipi] had | had visions of the buffalo, though apparently the sons of such men were also entitled tojoin, Onemanmight dream thathe ... had been shot by an arrow so that he could barely get home. ... Sucha man painted himself vermilion to represent the trickling down of the blood. Another man dreamed of being shot with a gun. Such a one would act out his dream during a Buffalo dance.’ Catlin mentions the Buffalo dance in one of his letters, stating that he witnessed it at Fort Snelling, Minn. The writer saw a Buffalo dance at Bull Head, S. Dak., onthe Fourthof July, 1913. In this dance it is customary for the dancers to wear headdresses adorned with buffalo horns, and to imitate the actions of buffalo. A shield carried in the buffalo dance is shown in plate 43. The following songs were said to have been sung in the Buffalo society. Some of these songs were said to have beet received, or composed, in a dream of buffalo, but the story of the dream had been forgotten, only the songs remaining as a tradition in the tribe. 1Ibid., p. 95. 2In Eleventh Rep. Bur. Ethn., p. 479. 3 Lowie, Robert H., Dance Associations of the Eastern Dakota, Anthr. Papers, Amer. Mus. Nat. Hist., XI, pt. 2, p. 119, New York, 1913. 4Catlin, George, The Manners, Customs, and Conditions of the North American Indian, vol. 2, p. 33, London, 1841. 286 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 95. “Northward They Are Walking” (Catalogue No 663) Sung by Waxkay’-C1Ka’/Na (LITTLE CONJUROR) VoIcE = 96 Drum vl 96 Drum-rhythm similar to No. 6 ef f+ @ og Wa - zi - ya-ta ki - - ni-pi wa-zi - ya - a -0-* -9- ©. 2 -9- ee oie L . = : = a n Zp ——— a == ———— See, ta ki-ya ma - ni-pi tun-kan i-éa - htag i ya ma - ni- ae =e -0-° -o ee see eee i aS pi WORDS pyaimbevata kava. 2 stil, ee northward May MPI oe 6 isch cde avee sb hey ame walking UFLLILE | 21 9 [ge aa ena ee eam a sacred stone PCAMINER GWAC ween th eae cee they touch MIG Mpc met see ek cea ae they are walking Analysis.—This song and the two following songs were recorded at Sisseton among Sioux who belong to the Santee division of the tribe. (See p- 512.) These three songs are characterized by the ascending interval of a major third in the closing measures. In two instances this is an ascent to the final tone, which is usually the lowest tone in the song. ‘Two of these songs are minor and one is major, but this interval occurs in all.’ The song under analysis is characterized by the interval of the fourth, which forms about 28 per cent of the whole number of intervals. Six renditions were recorded, which show no differences. Between the repetitions of the song the drumbeat changed to a tremolo, instead of being steadily maintained, as usual, in the rhythm which accompanied the song. 0 OO DENSMORE] TETON SIOUX MUSIC 287 No. 96. “My Goal’ (Catalogue No. 664) Sung by LirrLe Consuror VOICE J 72 Drum e = 88 Drum-rhythm similar to No. 19 peat epee bee Series! ° —— teste ipeet = Ma - ka o-wi-han-ke ta he o -i - na -Zin mi - éa-ge WORDS maka’ ‘owl’hanke: tas..-2.2.¢.2.22 toward the end of the earth ISTE TE Re ae a my goal EMER SPS oes 2 So he has made Analysis.—Six renditions of this song were recorded, and in each the time of the second and third measures before the close was a little slower than in the rest of the song, the original tempo being resumed with the last measure, and the repetition following without a pause. The song has a compass of only seven tones, and yet two- thirds of the progressions are downward. The first part of the song is based upon the minor triad B flat—D flat-F but the progressions in the latter part suggest G flat as a keynote, and the song is accord- ingly transcribed and analyzed in that key. 288 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 97. “In the North” (Catalogue No. 660) Sung by Maw#pr’ya-to (BLuE CLoup) VOICE = 132 ; Drum e= 92 : Drum-rhythm similar to No. 6 eS coe oo - te u-ya _ : ° Ses saat he See eee a Se at See Se ele 2 ma-ni-pi wa-su. i- bo-a-bdu-ya ma - ni-pi = ining iene: : @ @:-" . ; WORDS MSA yorbaied yas ital ts See Sscfe in the north tate’ ts 2)... 8: Pie ce Moan ae oe ene the wind ay ee pete a PS Se ye oe blows BAA TESS oe sets miko emis they are walking Wid Ulgie rai) aed neice wee te pe the hail ibo*bduyar. fot its OE aS beats Map... ces os. sae Awe MEE they are walking Analysis.—The words of this song are in the Santee dialect, as this song, like the two next preceding, was recorded at Sisseton. This melody begins and ends on the same tone. (See song No. 82.) Although this song is minor in tonality, it contains only two minor thirds, nine of the intervals (31 per cent) being major thirds. Three renditions were recorded, the transcription being from the second ren- dition. The last two measures containing words were sung slightly slower, but without enough change of time to be indicated by a metro- nome mark. The repetitions of this song were less accurate than in a large majority of instances, seemingly because of the personality of the singer. The rhythm was more exactly repeated than the melody, though the changes in the latter were unimportant. For instance, in the first measure containing words the progression B flat-F was sometimes substituted for F—B flat, and in the last measure of the words the tone B flat was sometimes sung instead of D. It will be a ae _ DENSMORB] TETON SIOUX MUSIC 289 readily observed that these changes did not affect the harmonic framework of the measures, but seemed inserted by way of variety. Some indifference as to the form of ending is shown by the fact that in the first rendition the entire section from the tenth to the fourth measure from the end was omitted, while in the third rendition the last three measures were not sung. As stated, the transcription was from the second rendition, which was the clearest in form. The rhythmic unit, which is interesting, occurs three times. No. 98. “Their Voices Could Be Heard’ (Catalogue No. 555) Sung by Gray Hawk (Cetan’hota) ! VOICE j= 116 Drum e= 116 Drum-rhythm similar to No. 6 [ae a wale pat 7 fi: f- # > -- -0- -0-. e. aa O - ya-te way ho tan-in-yay ma - ni - pi Te a ee iy we Sige yp 2 yp o - ya-te wan ho ta)-in-yan ma - pi e - yay-pa-ha ho tan-in-yay ma - ni- pi WORDS Opetecwant at. OL54 25 oR. a tribe evaNs Ove 19.14 5 p74 )- 2:4 xi-o their voices Raa AON Stee Feo ok he od ens 5-2 could be heard “hE G71 VU eee (as) they walk Cae Cut ee oe the heralds (leaders of the herd) lop eo es 5 See aaa their voices Lanincyaneeere tees Bete could be heard Ma MIPLestee Hoss aes cls = ,--- (as) they walk Analysis.—This song contains only the tones of the minor triad and fourth, beginning on the dominant above the tonic and ending on the dominant below the tonic. Three renditions were recorded; 1See pl. 71. 290 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 these show no points of difference. The rhythmic unit is long, but its divisions were clearly given. In the second occurrence of the unit an accent was placed on the final tone, this accent being unmis- takable though the corresponding tone in the first occurrence of the unit is unaccented. The interval of the fourth is prominent, con- stituting 38 per cent of the entire number of intervals. As in many other songs used in dancing, the intonation was wavering. In the first part of the song the drum precedes the voice, but in the closing measures the drum and voice coincide. No. 99. “Against the Wind”’’ (Catalogue No. 556) Sung by Gray Hawk VoIcE JZ 100 Drum = 100 Drum-rhythm similar to No. 6 Je HIN GF i-te ta - te i - ya - pa Wa - ye — _ .o 2 #- oo 2 sieatgiin 3 e = i - a wa-hu-ke-za o- way - Ga wa - ye e , + vag te] WORDS ite’ tate’ iya’pe waye’......- .. I caused the face to strike against the wind wahu’keza owan’éa waye’...-- a lance I sent forth to cover all Analysis.—A free translation of the words of this song would be, ‘‘I drove the tribe against the wind, which struck their faces like a lance.’’ Four renditions were recorded, the time being inter- rupted between the repetitions. In each rendition the drum was with the voice in the last measure, though it had slightly preceded the voice in the earlier part of the song. Concerning the beginning and ending of a song on the same tone, see song No. 82. The tonic chord is felt throughout the melody, which, nevertheless, is melodic, not harmonic, in structure. The melody tones are those of the first five-toned scale, which lacks the third and seventh of the complete octave. (See p.7.) See plot of this melody on page 419. DENSMORE] TETON SIOUX MUSIC 291 The following song is undoubtedly that of a man who dreamed of a buffalo, but the origin of the song was not given: No. 100. “I Come”’ (Catalogue No. 546) Sung by Gray Hawk Voice a 92 Drum = 96 Drum-rhythm similar to No. 19 (1) eo @ @. ae eae ff fee. 0 0.0 2 eae ¢ ie eerie a fee wor : ‘a eee i] Ta- tan-ka-o - hi - ti-ka mi-ye wa-hi- ye WORDS Patan skaroni’ tka <2 -.5.e= aioe Brave Buffalo (a man’s name)! PANO S Spo orale creatinine alwea's 20 Tam Men Vent Sas Soo os I come Analysis.—Three renditions of this song were recorded, the time being interrupted between the renditions. The song is unusual in that: it contains no interval smaller than a minor third. It is characterized by the interval of a fourth, 58 per cent of the intervals being fourths. The melody contains only the tones of the minor triad, a tone material found in only three other songs of this series. Hight tones comprise the compass of the song, which is harmonic in structure. In every instance the two rhythmic units were sung as transcribed, the last count of the second unit being different from that of the first. The tempo of the drum was slightly faster than that of the voice. See plot of bis melody on. page 419. 1 This does not refer to the medicine-man aonueeen in previous nape of this work. 292 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 101. Buffalo Society Song (a) (Catalogue No. 549) a Sung by Gray Hawx VoIcE é = 92 Drum A = 92 Drum-rhythm similar to No. 6 ; Timentin ek oe L | | r= saan : sce toe Analysis.—Three renditions of this song were recorded, the time being interrupted between the repetitions. This is a pleasing and simple minor melody containing all the tones of the octave except the second. It is harmonic in structure, following first the triad of C minor and then the triad of G minor. Two-thirds of the progres- sions are downward and comprise only the minor third and major second. In the first part of the song the drum precedes and seems to hurry the voice, but at the close the drum and voice coincide. The same peculiarity has been noted in some other songs by’ this singer. See plot of this melody on page 419. Ne. 102. Buffalo Society Song (b) (Catalogue No. 550) Sung by Gray Hawk Voice Js 126 DRuM re 120 Drum-rhythm similar to No, 19 Analysis.—This song is characterized by an unusual prominence of the interval of a fifth, about 16 per cent of the entire number of inter- vals being ascending fifths; yet the song has a compass of only seven tones. More than half the intervals are major seconds, and on these the intonation was wavering. The rapid tempo and small count- divisions would make a correct intonation difficult. The drum was DENSMORE] TETON SIOUX MUSIC 293 persistently slower than the voice. This song contains a rhythmic unit which, though short, is interesting. Two renditions were recorded. No. 108. Buffalo Society Song (c) (Catalogue No. 577) Sung by SHOOTER VoIcE Hie 112 Drum g~ 112 See similar to Bi 6 as Analysis.—This song is on the second five-toned scale and is me- lodic in structure. Its compass is small, being only six tones. Two- thirds of the progressions are downward, and two intervals occur which are larger than a minor third. Several renditions were recorded, all being uniform. The rhythmic form of the song is interesting. There are two occurrences of the rhythmic unit, then a pause of one count, after which the unit again appears twice, the remainder of the song resembling the unit but not repeating it. Such definiteness of form suggests that the song is clear in the mind of the singer and is being correctly sung. The interval between B and A etierpy was not alway an exact semitone, but the A natural in the third from the last measure was in every instance given as a much larger interval, showing it was the intention of the singer to sing another tone than that which had been given in the preceding measures ELK SOCIETY The men who had dreamed of the elk (see p. 176 et seq.) banded them- selves together and called themselves the Elk society. Two Shields was one of the singers and drummers in this society, the last meeting of which was held about 30 years ago. He sang the following song, which was used in this society, and which he said had been handed down for many generations. He stated that the song is still sung at dances and must always be paid for by the man who asks that it be sung. | Such a man is usually an elk dreamer. 4840°—Bull. 6 294 BUREAU OF AMERICAN ETHNOLOGY | BULL. 61 > No. 104. Song of the Elk Society (Catalogue No. 538) Sung by Two Sur1ELps Bape } + 4 + ~#-° +1@e -g- -&.-9-° -9- ' 2 ~@ i == =SE= SSS ££ , SL yee p= ee eee Mee aceon = mi- 0-on -Ga - ge wal - yal - al i 0 Bb eee eee eeaeiaas| ka yo e-ye-lo mi-on-Ga-ge le - Ge - ane yo WORDS DONGTACAPC st oem oe ee eee my life levceGaye. 2.55. [2e ee tees oe ee Tee TOON CASE. Lo - te Ne eeeeee my life WEL Aaa) Meet VO)... 22 Caesarea behold me CVO NO. oo ec. o's. UNE a. oe eget MUON CACE?.. 5. 2.5 12 eee eyebe le’ Gacayes. <2 is)... 5 he een wan yan’ka ce eee take behold me DENSMORP] TETON SIOUX MUSIC 297 Analysis.—The first four measures of this song are based on the tonic chord. Among both Chippewa and Sioux it is unusual for the tonic chord to be given out at the opening of a song. In the present instance these measures serve as an introduction to the performance of the song, being sung only once while the repeated part was sung six times without a break in the tempo. The high tones in this song, especially the accented tones, were given with a sharp attack, which began slightly above the tone and immediately descended to it. This was a mannerism of the singer impossible to indicate in notation. An augmented second is found in the song and this, as well as the minor second, was given with particularly good intonation. An augmented second occurs also in songs Nos. 63 and 225. This song contains the tones of the fourth five-toned scale and is melodic in structure. Only two intervals larger than a minor third appear in the song No. 107. “An Elk Am IT” (Catalogue No. 622) Sung by Wi’yaka-waNZI'La (ONE FEATHER) Voice ul = 126 Drom not recorded (1) (1) WORDS GLAS KAL Walleees eee eee 4... all ell PONY S! YOlO . goscese takes oc. am I Mee MON lethins whe agen Saved (a) short life Waal) WEL) .sscesueecias..- L am living 298 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 Analysis.—The fourth constitutes 55 per cent of the intervals in this song, a peculiarity frequently noted in songs concerning animals. Many other intervals in this song are seconds, which form part of the descent of a fourth. An ascent of an eleventh is accomplished in two intervals, with the introduction of the words. This repre- sents the entire compass of the song, which contains the tones of the fourth five-toned scale and is melodic in structure. Two rhythmic units occur, entirely different from each other. It is frequently noted that two rhythmic units in a song have one or more measure divisions alike. HORSE SOCIETY No dream of a horse was related to the writer, but there is among the Teton Sioux an organization called the Horse society. It was said that some of the songs in the following group were used in this society, and were used also on the warpath to make a horse swift and sure. The estimation in which the horse is held by the Sioux is shown by a speech by Brave Buffalo. This speech was made before the singing of his first song, and was recorded by the phonograph. Freely translated it is as follows: Of all the animals the horse is the best friend of the Indian, for without it he could not go on long journeys. A horse is the Indian’s most valuable piece of property. If an Indian wishes to gain something, he promises his horse that if the horse will help him he will paint it with native dye, that all may see that help has come to him through the aid of his horse. Siya’ka said that on one occasion when he was hard pressed on the warpath, he dismounted, and standing in front of his horse, spoke to him, saying— We are in danger. Obey me promptly that we may conquer. If you have to run for your life and mine, do your best, and if we reach home I will give you the best eagle feather I can get and the finest .s¢na’ lu/ta, and you shall be painted with the best paint.' 1 The eagle feather was tied to the horse’s tail, and the sina’ lu’ta was a strip of red cloth fastened around the horse’s neck. (See p. 388.) _ —— DENSMORE] TETON SIOUX MUSIC 299 No. 108. ““My Horse Flies like a Bird”? (Catalogue No. 573) Sung by Brave Burrato VoIcE = 84 Drvm not recorded fa Ot) £9 9 2 ss pig Sey Ko - la mi - ta- Suny - ke kin-yay yay i) - yan-ke ¢ . A gel le Ma : a a ae nate hi a lo == = ih cae eff et Satter WORDS AOA ee ey eee Se ee ie friend THM SUT) KCl. seni Cons = Sc. 2 my horse RAMAN SG VON acto ® cnaeam-.= Se === flies like a bird TU RU ANON O Nee 6 Sst he oto as it runs Analysis.—This is one of the instances in which the signature indi- cates the pitch of the tones as sung by the singer but does not imply a ‘‘key”’ in the musical sense of the term. The song is classified as “irregular.” (See table on p. 305.) It will be noted that the progres- sions of the first 12 measures are based on the major triad B—D sharp-F sharp, yet the presence of E sharp makes it impossible to consider that part of the song in the key of B. The remainder of the song sug- gests the key of B minor. In the first part of the song Brave Buffalo sang E sharp and D sharp, and in the latter part he sang EK natural and D natural, these tones being given clearly and unmistakably. A comparison of the tone C, registered at the beginning of the cylin- der, with C on the piano, shows that the phonograph was properly adjusted when the record was made, so that the change of pitch is not due to any slackening of speed in the recording machine, which might have been the case if the machine had been partially run down. Two renditions were recorded, with a pause and some conversation between them, and the peculiarities of the first rendition were re- peated exactly in the second. The personality of the singer should be taken into account in considering a song of marked peculiarity, and Brave Buffalo, who made this record, was not a man given to 300 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 seeking effects, as some of the young men occasionally do. He recorded nine songs, and his manner of singing was marked by more than usual carefulness.. This was the first song he recorded and he did it quite reluctantly. The transcription has been compared with the phonograph record many times, at long intervals, in order that the test of the ear might be renewed. It is, therefore, the opinion of the writer that the transcription indicates as nearly as possible the song as it was sung by Brave Buffalo. It is a peculiar melody, but Aes purpose of the present work is to ascertain what the singer sang, not to adapt his song to a white musician’s standard, either of time or of key. Of the intervals in the song 60 per cent are major seconds, and the song contains only two intervals larger than a minor third. It has oon noted frequently that an ingen has great difficulty in keeping the adjustment of a melody in which a majority of the progressions are small intervals. No. 109. “When a Horse Neighs” (Catalogue No. 604) Sung by Brave Burrato VoIcE a= 76 Drum a= 126 Drum-rhythm similar to No. 19 o* -9- -#- - +--+ © #& #@ # O23 = a a ee | ee = =RE- pe ioe = i =| Ajj-pa - 0 -9- -0- o- 8 8 8- -9- . +t fe # @- # + 8 yp» E: - : — ———— hi - na - pe ¢in - han o §uy-ka- kay way ho-ton - we gt eee pea see re We re — S55 = I WORDS ANP BOs 225 ./= <2 5c ol. poe daybreak 1 Vtot\4 0) noe mma. Lo appears éinhan’. eels of Ee ae eL suynka/ baal Wid): se.) See a horse hoton’we...... Les neighs (see p. 180, footnote) 1 This is a shortened form of the word éuyka'wakap. DENSMORP] TETON SIOUX MUSIC SOL Analysis.—lIt is interesting to compare this with other songs con- cerning the horse, not only in this grqup, but in the songs of war (Nos. 138, 139, 140, 145). The tempo is slower, and the rhythm is not the galloping rhythm of some of the other songs. There is in it a little of the dignity and solemnity which seems always present in the mind of the Sioux when he sings of the dawn. The drum is a rapid tremolo. Two renditions were recorded, which are identical in all respects. The song contains only the tones of the minor triad and fourth. Of the intervals 65 per cent are major seconds, and the trend of the melody is downward from the twelfth to the tonic. No. 110. ‘“‘Horses Are Coming” (Catalogue No. 605) Sung by Brave BuFFALO VOICE vie 72 Drum g= 132 Drum-rhythm similar to No. 19 eae 0 6 3 ~# 9- a= ———— o_o | == a —=— op SS = (ae: aetna | = Sa a! eS Ta-te o-m - ye. to-pa kin Suyn-ka - wa-kal) wan-Zig - Zi Sars ro ————— t a roe sey ll we - lo a= U we -lo e a-u a = ae Z se aN SS Ee se —— i Ee $$ ee ee WORDS tate’ oti’ye to’pa kin........... the four winds are blowing Sunka/wakan wanZig’Zi......... some horses Be WelOe sae scee oaces ws. sea - -, Bre Coming Analysis.—Two renditions of this song were recorded; these are alike except that the second is slightly lower in pitch. It has been noted that some singers will pause after the first rendition of a song, and then begin a second rendition on exactly the same pitch as the first, while others will begin slightly higher or lower. This song con- tains no rhythmic unit, but the song as a whole has a rhythmic com- pleteness, which is interesting. The first and last phrases resemble each other in some of the count-divisions, notably in the first triple measure. 802 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 No. 111. “Prancing They Come” (Catalogue No. 537) Sung by Two SureLps VoIcE = 104 Drum sl 104 Drum-rhythm similar to No. 6 (1) (1) i ay res PSs Baie if = ee ==) He- na wa- Ci a-u_we he- na wa- ¢i a-u we (1) (2) ih era wir oN nCMai iM. ce hh orci en oT SS he - na wa- ¢i a-u we ho - ton a-u_ we- lo he 0 Si eae TE 4. ———————— {_—_T : eae §uy - ka -wa-kal o-ya-te way he - na wa - ¢i a-u we (1) sts (2) NN ——————e—————EEE soy 2S Se he - na wa- ¢i a-u we ho-toy a-u_ we-lo he WORDS hema soe ae ae ee a _... see them WRT ork eens a ae prancing BWC she Se. ee Ne en they come ULOUZS See eect: oe aa neighing (see p. 180, footnote) all wwel0’ So. 2252 2k eee 4) Eneyicome éun/kawakan oya’/te wan........ a Horse nation (see p. 162, footnote) NGG aie BS See eee AE Sree Sees ia see them WHICH Oise Sis oo aut a eee prancing BU WE SA Se ae ee oe they come oto’: i ecets P54 ee eee neighing all’ uwelo?¢s-2 S52 eee they come Analysis.—This is a peculiarly rhythmic melody, which was sung four times. Drum and voice have the same metric unit, but the drum- beat follows the voice. The song is strongly harmonic in feeling, but the accented E classifies the structure of the song as melodic with harmonic framework. The compass of the song is an octave, and the trend of the melody is steadily: downward. The melody is very bright and lively, yet more than half the intervals are minor thirds. See plot of this melody on page 419. ys oS DENSMORF] TETON SIOUX MUSIC ' $08 No. 112. “Chasing, They Walked’? (Catalogue No. 470) Sung by Srya’xa VOICE a= — 116 Drum - -116 Drum-rhythm similar to No. 6 la ae >= aaa =. =. a el ere foe a ee ee = = Sy Se == : Wa -ku-wa ma-ni - pi wa - ku-wama-ni- pi__le ~~ ) _g-- -- ges : LE Sun -ka - wa-kay 0 - ya - te le wa - ku - wa —— -* : == | arm TT a Lares ma-ni - pi wa - ku - wa ma-ni - pi yo hi yo WORDS WUE Wilbs= as aninie Ba: ches chore Ree: chasing eT 01 Sept ee eae they walked [Des Sere SS on en ee Re this gun’/kawakan oya’te............ Horse nation (see p. 162, footnote) waku’wa....-..- be Bath ay Be pe ek chasing MM eDise.. oc se yee oe they walked Analysis.—The words of this song refer to the free, almost play- ful, action of a herd of horses. This melody is especially rhythmic. Three double renditions were recorded, which show no differences except a slight lowering of pitch. All but three of the intervals are major seconds. Difficulty in keeping the adjustment of a melody containing small intervals has been frequently noted. The song has a range of 10 tones and is based on the fourth five-toned scale. Before beginning to sing, Two Shields beat the drum in a rapid tremolo, the indicated time of the drum not being fully established until the first few measures of the song had been sung, after which it was steadily maintained. 304 ~ BUREAU OF AMERICAN ETHNOLOGY [BULL 61 No. 118. “A Root of Herb” (Catalogue No. 467) Sung by Srya’Ka Voice g= 138 Drum not recorded = Ae = aos 2 22 i iE Pe-Zu - ta wa-ka1) éa wa-wa - ku-wa ye " ~ pe-Zu - A eee I ei eS ep 3 oe) a 13) , He ——— p a is ta wa-kal) éa wa-wa-ku-wa ye hu noyjn - pa o -ya - eae oO. & « #. nS ——_# _#__== Lf = ee ~ SS te yuy-kay hel i - to - he - wa-wa -ku-wa ye w (2) -0- 0- -o- ‘@-. -p28- Ee ej ==. =e = (a t =a aa pe-Zu - ta wa-kay éa wi wa - Wwa-ku-wa ye. ae - -~0-° -9- -0- @ @ @ SS -o- 9=p—e ES ———{_ =H SSS = pa o-ya -_ te yun-kay hel i- to - he : wa- wa - (1) core es ee ee eee ku- wa hel i - to- he-ya ¢a wa -wa-ku-wa ye WORDS pezu’ta (contraction of peZi’/huta). a root of herb wakan/.. i 2)cit. ee) ieee eee sacred (meter mrt yt: it is wawa’ Kuwa: yes..4.52.. eee (that which) I have used nu’ non’ pa soya tel. 2 eee the tribe of men WUD Kan! 3-2... ee 5 eee ee erelonre hel-ito‘heya:. .s- 3 [2902 eee toward them So ee ras ss oat ee it 1s Wawa Kwa’ ye.....~ i... sates I have used it Analysis.—This song contains two rhythmic units, the opening measures of the two being alike, but the first having four complete meas- DENSMORE] TETON SIOUX MUSIC 305 ures and thesecondsix measures. The repetitions of these units com- prise every note in the song. In tonality the melody is distinctly minor, but only one interval of a minor third is found in it; a descent from Ii flat to C occurs several times, but always with D as a passing tone. The song contains only the tones of the minor triad and second—a somewhat unusual tone material. The interval of a second is especially prominent in the melody. Two renditions were recorded; these are alike in every respect. This group comprises the songs of such societies as are composed of men having similar dreams, the name of the society indicating the animal which appeared in the dream (songs Nos. 95-113). Undoubt- edly many of the songs in this group are songs which were ‘received in dreams,”’ but the names of the original owners are forgotten and the songs are now the common songs of the societies. Old Songs—(5) Songs of Dream Societies . Metopic ANALYSIS TONALITY rier Serial Nos. of songs. Sie Jt : [ee ra) | ee a eee ee eee NEAT UEON Aen tet oe. aOR ne oe eee ses aS SE see AS x. a:5 7 | 96, 99, 102, 104, 106, 107, 112 IMMTTOTERGHAMGYjete son = Soe eo i See Se ae | 11 | 95, 97, 98, 100, 101, 103, 105,.109, 110, 111, 113 dr Sprslanwere she nee eee Nae SS ee TNE ees 8 eo. Se 1 | 108 LICE) £5 LS 55 Ap Ra SS ee Se a eo 19 FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE aches Serial Nos. of songs. Beginning on the— | SURO LEUEE a ree tse oe cee aot = Mere gst cto tacos bret 1.} 109 Milgvanihsaeeeeen tet cee Sie sats Be Se 1 | 105 Meri nese s eee ae can teste tse oe ae = nim Ne eee SHB Nin thesauri see tee lan ee 2 | 104, 110 WCLEVOnsasste a sncea press - ates. s ce sec os- seat cke | 1 | 101 SSVPNtOe sacar cares ee See nas Se 1 | 102 1) 1 OR Ae SACO 55 Se Pee i ee eae 7 | 98, 99, 100, 103, 106, 107, 114 STi oe ey eee ee ge hy 2 | 96, 112 SOCOM: 2 ears a weet ete cee «= eae See oa ca oe 1 | 95 Wee ymote. - o.oee keer ae owe nce nce ec cee eck 1 | 97 LITRE EGH | Semen SSeS ican =f eae Ra ee 1 | 108 LOCAL 0 oc oe eRe es acl wesc sj. 19 306. BUREAU OF AMERICAN ETHNOLOGY Old Songs (5) Songs of Dream Societies—Continued Metopic ANALysis—Continued LAST NOTE OF SONG—ITS RELATION TO KEYNOTE [BULL. 61 Number of songs. Serial Nos. of songs. Ending on the— BUG. s iis =i aero sarees els sere aes ae aes al eto tree 8 | 95, 98, 99, 100, 104, 107, 110, 111 PDI sc: Ss ace see eee ee Ree ee See 1 | 106 Kieynotec sha 2e oem neces mer seas eee eriae ° 9 | 96, 97, 101, 102, 103, 105, 109, 112, 113 Irregular Xeno seem eeeee eo ees eee Sees 2 eee 1 | 108 Motal asec oe Aeeereeeee eee best eee eee einer 19 LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG Number of songs. Songs in which final tone is— MOwest/LONOAN | SONG a: secs Sone = eee ena ne ee eee 5 Immediately preceded by semitone below-.....---- 1 Songs containing a major third below the final tone. -- 2 Irregular s-de.eeeaae se cee Oa oon a eke eet bees 1 Mota 2 o- tajAe cise slot sates Seeman cnies < - ease 19 Serial Nos. of songs. 96, 98, 99, 100, 101, 102, 104, 105, 106, 107 109, 110, 111, 112, 113 103 95, 97 108 ? NUMBER OF TONES COMPRISING COMPASS OF SONG Compass of— Twelve GONGSsaen eae e nose eee eee a eee Hightitones=.. sean cect eee eee eR Rae eee Soevenitones ee 255 ese ee hee ee cape ae Six'tones®=2.62 Seneca ee eee co Number of songs. HK wore ee Serial Nos. of songs. 104, 105, 108, 109 106, 110, 112, 113 95 97, 98, 99, 100, 101, 111 96, 102, 111 103 DENSMORE] TETON SIOUX MUSIC 307 Old Songs—(6 ) Songs of Dream Societies—Coritinued Metopvic ANALYSIs—Continued TONE MATERIAL Number ; of songs. Serial Nos. of songs. Hecond Nve-toned: Scales «3... fas scceni teases wae sen eos - 2 | 103, 111 repunaTy @-LONO, SCSIO. «© oes oar Steers how a sae lew 4 | 104, 106, 107, 112 LLU TP EG oe A ee ie a yt One eee eee 1 | 100 Minor tuad and fourth. Sascee eases Soohe ca ene 3 | 98, 105, 109 Octave complete. 2.55. -facssacte oes seeds see 1} 113 Octave complete except seventh. ...................-. 1] 97 Octave complete except seventh and sixth. .........-- 1 | 110 Octave complete except seventh and third.........-..- 1 | 99 Octave complete except fourth................---.----- 1 | 95 Octave complete except fourth and second.......-...-- 2 | 96, 102 Octave complete except second.........-...----------- 1 | 101 Other combimations of tones:. - =: -..--.2.-23..-22-+--- 1 | 108 Dame te eo) AT Loe cece ad sees 19 ACCIDENTALS Number : of songs. Serial Nos. of songs. Songs containing— No‘accidentals. .... =. ---=:2:- re: Sats cinerea NaC 15 | 95, 96, 97, 98, 99, 100, 101, 102, 105, 107, 109, 110, 111, 112, 113 Seventh raised a semitone........--......----- -+- 1 | 103 Second raised a semitone.........---- soot ase nese 1 | 106 - Sixth lowered a semitone.............-.-.-.-- ee 1 | 104 3 PERU ATE ts tie anes anata aioe Bela coc es we otc bas 1 | 108 U5) 1 Ae eee ee Ty a eet ih ee rae 19 | STRUCTURE Number r . of songs. Serial Nos. of songs. - Melodic. ..........-...-.----+--2--2-+2! Bem ysatee aot ae 15 | 95, 96, 97, 98, 99, 102, 103, 104, 105, 106, 107, 109, 110, 112, 113 Melodic with harmonic framework. ..............--.-- 1) a EES TIO MCs eee see cee 842 Sols ae fo. ete 2 | 100, 101 Teniageteg UE ENR SSL ls 2 a 8 ag ee ee 1 | 108 308 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 Oid Songs—(5) Songs of Dream Societies—Continued Metopic ANALYsIs—Continued FIRST PROGRESSION—DOWNWARD AND UPWARD adele Serial Nos. of songs. \ Mowilward=ws525 eee Sieh ed a Scie el creed at at aa ep 13 | 95,98, 100, 101, 102, 103, 104, 106, 108, 109, AT, 112 03 Wpward. 2.4 -...2 3.02224 eee saan Bea 6 | 96, 97, 99, 105, 107, 110 A oy 3) (pee ei eRe ote e-em Dr ee Cr 19 TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD IDO walwandectnsin saa. poet ees aceon tele emis cede 295 AUN ight hee eo oMne Sone See rectors Dosa hace ae Sere 169 MDL oS 31] Is So RO Se SN tea metre EN A Area et een 464 INTERVALS IN DOWNWARD PROGRESSION Interval of a— BLU NS eee atk yen Beep os aera ee eee eae 2 MoOUnthSSs 22. hasadee oe cee ets de a eee ees ee 34 Ma joriihindes. 4 ceen come cise eke uate eee 39 ; Minor thing pee hee «tan eee eo ee ee ee 73 VATIPIN EN TAd*SeCOnUeLe AN: ee. esas eee see ee 1 Majorsecond Se teltee conus tere eae ce ae soe 132 IMNOniSCCON Gy: son sc eae see Sosa Sao arene panes 14 ROTA Bee eis at Sees ee eee eae 295 INTERVALS IN UPWARD PROGRESSION 5 Interval of a— Mentha: Bases ee oo eae eae ates ee eco ee crea 1 Octave: [oasis Sate be oS sees eee ree eee omen 3 Seventies ee ae OS Ce eee ee 1 Minor Simtlic.s. cis 222 See ose rn Cee eee ne ate ane 2 Matthies}. 28 aoe eee teeta ere 16 MOUrih: 2.2 52.5 Sate lsctes | eee ase eee eee eee 5 Bl Major third: 2) 72f2 ete aye aoe eee eee 15 Minor third 2... tess see tee ee ee oe 22 Major'second:... .{2- : 222222822 eee eee 70 Minor second !......-:2 22 - Lest aoe. ae eee TOGA ee eicie oe oc Sse SAC ce eee ee ee 169 AVERAGE NUMBER OF SEMITONES IN AN INTERVAL Total numberotintenyvals.:. -.....--.ose sees eeeee | 464 Notal:numper ofisemitones. ....-.---. 722 eee een nee | 1, 436 Average number of semitones in an interval.......--.- 3.09 DENSMORE] TETON* SIOUX MUSIC 309 Old Songs—(5) Songs of Dream Societies—Continued Metopic ANALYsis—Continued KEY Number of songs. Serial Nos. of songs. Key of— PROITENOY + 3 2s «aio. «Saw RRA a eased Jo saree aes 1 | 109 EAL IAI OF - oo.:c). e. e O s o Maens 1 | 100 Benatiminor..2 2529-5 ok ea ses bots ec a newts 2 | 97, 98 15/0212 5 (0) Sane earns Sr: ) ta SR ens Sere 1 | 99 PSION. 2 So sei ee aa tn hs ac ee eee ae aes 3 | 103, 105, 111 (Grea t-\ (0) paaNR eee tt ans Sac ce iene mit Copy oth yA A 1 | 106 Otminor=.csa2--. 22 SR Rees See eee eres 1 | 113 i flat Maj Ores toes ett na ee ane ae Ne ee ae 1j 112 IK flat: minors. 24209. (62928. oe Shc oe, oan aie 1 | 95 BCAA era 00) ce RR Tate i te ag ee eee eR AR i male SS SO 1} 110 IY Oe a5 soe eee alee en So emcees ieee == = 2 | 104, 107 COMED NTS (Ol et nae See Ser Se eee ac ae 1 | 96 (OUTTIM (Se GHEE See ness ore per aces Sane eee 1 | 102 RRREITTIIOD 3 eo niet noo Ae A sts vaccine Aceon s a ome asic bere 1 | 101 (0=(1 Ce ee Se ae 1 | 108 POtalereee cetee s oden ns te ee AE oo Faces Ses ease 19 RuytHMic ANALYSIS PART OF MEASURE ON WHICH SONG BEGINS eee Serial Nos. of songs. Beginning on unaccented part of measure..-.......-... | 4 | 95, 96, 107, 113 u Beginning on accented part of measure..............-- 15 | 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 108, 109, 110, 111, 112 GGA sec toe ee ke Seeks sincwes sowie sey tee 19 RHYTHM OF FIRST MEASURE First measure in— Number of songs. Serial Nos. of songs. 4840°—Bull,. 61—18——22 a Naat oo Ce ee ne a ae ne 12 | 96, 97, 99, 101, 102, 103, 105, 106, 108, 110, 112, 113 Bahari ee oe Oe a Sa A 7 | 95,98, 100, 104, 107, 109, 111 WMObalacesme ie esa ee ee ant pita Sais eae a cenbas 19 CHANGE OF TIME, MEASURE (LENGTHS) Number / of songs. Serial Nos. of songs. Songs containing no change of time................ *....| None. Songs containing a change of time.................... 19 | 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113 Wotalerceio se Sh eee Se ROE oe woe voc Sse: 19 Petes P 310 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 . in Old Songs—(5) Songs of Dream Societies—Continued Ruytumic Anatysts—Continued RHYTHM OF DRUM eee Serial Nos. of songs. Bighth notes unaccented care -e ss. aeee eee ee eerie 3 | 100, 102, 104 Quarter notesmnaccentedee ses. = see eeeee eee ee ee eee 9 | 95, 96, 97, 98, 99, 101, 103, 111, 112 Eighth notes accented in groups of two--........--.--- 3 | 105, 109, 110 Motels seen aaa ceases seca niee soe ee aera aie 15 RHYTHMIC UNIT OF SONG ppd Serial Nos. of songs. oes . Songs containing— Norby thimichiniteasscne-scss—reee se eee cee 6 | 95, 96, 99, 108, 109, 110 Onerhyihmicunit snes ese eee ee eee 10 | 97, 98, 101, 102, 103, 104, 105, 106, 112, 113 ~ Mworhythiie ini tisess: ee seses es eae eee ie 3 | 100, 107, 111 1 i ACORN ie i RY Wa ; 19 METRIC UNIT OF VOICE (TEMPO) Lee Serial Nos. of songs. Metronome— QOL 2G RIVE. Be Decrees San ee ee eee se 1 | 106 [Reet aly Mean aire Sarg sof. Sain Sen YT 2| 96, 110 CORRE R Re See RL een wean Retake. See tlie sh at 2 | 105, 109 BO ood cerita se tere lee ce OIE en Oe ol 1 | 104 ye ae eee ee ee a 1 | 108 2. 2 ie OS. Pe EAU See ee ee oe ani 1} 100 OG) nj os ch eshte et aes pen oe oe ee ee 1 | 95 TOs ce ook eA 2 See ens Cle 5 ee 2| 99,101 - 04S cSe.o cc ate nce te see ere ee CE ee eee 1 TAQ 2 PYLE AS sh ee eee eee eae 1 | 103 : PGs soc es 32 gece ceed Soe ee ee eee 2 | 98, 112 : i 1 a Rie ae 5 AN 2 | 102, 107 | 1S PO eee meee Sree As See = BS eae none 1 | 97 WBS. wtainnyoes sw cc os tes siicoe oe ee eee 1 }.113 TOGA Sg 5 Ko-la tu -wa na-pe-¢i-na - ha) o-pa kte Sni WORDS (0) k: nM ai friends HWh. ..0 0... eee eee whoever mape’ éimahan’ 2!) .. See runs away ops Kte6ni ye ......0s. sone shall not be admitted BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 45 STRONG HEART SOCIETY RATTLE DENSMORE] TETON SIOUX MUSIC 323 Analysis.—This melody has a compass of 12 tones. This range is not so unusual as is the frequency with which large intervals are spanned. Thus an ascent of 12 tones is accomplished in two progres- sions at the introduction of the words, and in two instances a descent of a seventh is made in two progressions. Of the iatervals 22 per cent are fourths. The song contains all the tones of the octave except the fourth and in structure is classified as melodic with harmonic framework. No. 117. Song of the Strong Heart Society (b) (Catalogue No. 544) Sung by Gray Hawk VoIcE ies 88 Drum zs 88 Drum-rhythm similar to No. 19 f ft # are e oe oe fo. Analysis.—This song is minor in tonality and progresses largely by intervals of a major second, this constituting about 64 per cent of the entire number of intervals. Four renditions were recorded, uniform in all respects. The final tone was sung slightly flat, but the repeated part and the repetitions of the melody always began on F sharp. The song contains one rest. (See analysis of song No. 79.) The triplet divisions of the count were given clearly. In structure the song is melodic, containing all the tones of the octave. This and the four songs next following were recorded by Gray Hawk (Cetan’-hota) (see pl. 71), a well-known member of the tribe, who also contributed interesting material concerning the buffalo hunt (p. 436). 324 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 No. 118. Song of the Strong Heart Society ' (c) (Catalogue No. 548) Sung by Gray Hawk Voicn 3 104 + Ah.) Drum g=— 104 Drum-rhythm ‘similar to No. 8 Analysis.—The rhythmic form of this melody is clear and inter- esting. Two rhythmic units are present, the first count in .each having a triplet division. The melody tones are those of the minor triad and fourth. About 31 per cent of the intervals are minor thirds, and one-half are major seconds. The song is harmonic in structure and has a compass of 12 tones. No. 119. Song of the Strong Heart Society (d) (Catalogue No. 557) Sung by Gray Hawk Voice e — 88 Drum = 96 Drum-rhythm similar to No. 5 Se ar ge ee ie ae Sate ated Ue lear ae Ee ———— | ae et Ltt » sy) pees ree Fae eee r i. ipl daa Seg 2 ir ¢ Analysis.—This is a simple melody and three uniform renditions show that it was clear in the mind of the singer. The tone A in the first triple measure was sometimes sung below pitch, but the intona- 1 An additional song of this society is No. 231. ee DENSMORE] TETON SIOUX MUSIC 3825 tion of the remainder of the song was excellent. The melody tones are those of the minor triad and fourth, yet about one-third of the progressions are major thirds. The drum was slightly faster than the voice and was beaten steadily while the shrill cries were given between the renditions of the song. BADGER SOCIETY The fourth Aki’Gita society, according to Wissler, was the Badger society. This is noted by him among the Oglala Sioux,! also by Lowie among the eastern Dakota? and the Mandan.’ It is said to have become extinct about 20 years ago. Two songs of this society were recorded at Standing Rock. No. 120. Song of the Badger Society (a) (Catalogue No. 553) Sung by Gray Hawk Voice ni 89 Drum ape 80 Drum-rhythm similar to No. 6 2 £. #. fo--0- i # # Analysis.—This song is minor in tonality and contains the tones of the second five-toned scale. The tones transcribed as C natural and C sharp are clearly distinguished in the three renditions, the semitone at the beginning of the second measure being sung with particularly good intonation. The minor third is of frequent occur- rence, constituting 40 per cent of the intervals. The rhythmic form of the song is good and the rhythmic unit, though short, is interesting. The drum was slightly behind the voice in all the rendi- tions. See plot of this melody on page 419. 1 Wissler, Clark, Societies of the Teton-Dakota, op. cit., p. 31. 2 Lowie, Robert H., Dance Associations of the Eastern Dakota, op. cit., p. 109. 3 Lowie, Robert H., Societies of the Crow, Hidatsa, and Mandan, op. cit., p. 322. 4840°—Bull. 61—18 23 326 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 121. Song of the Badger Society (b) (Catalogue No. 554) Sung by Gray Hawk Voice e= 104 Drum g=— 104 Drum-rhythm similar to No. 19 Analysis.—This song is distinctly major in tonality, yet one-third of the intervals are minor thirds. Five renditions were recorded, the song being sung three times without a break in the time, then a short pause being made, after which it was sung twice. These repeti- tions are uniform throughout. The tonic triad forms the basis of the melody, but the accented A makes it necessary to classify the song as melodic with harmonic framework. The triplets of eighth notes were clearly enunciated. This count-division is frequently found in dancing songs. About two-thirds of the progressions are downward. The drum slightly preceded the voice, though the metric unit of the two is the same. MIWA’ TANI The Miwa’tani was an important military society among the Teton Sioux, the members of which were exempt from aki’¢ita duty. Charg- ing Thunder said that he belonged to this society, that it was originated long ago by a man who dreamed of an owl, and that the society was sometimes erroneously called the Owl society. The word miwa’tani is not fully explainable, as it is not found in the common speech of the Sioux. Two informants said it is not a‘Sioux word, and that they thought it meant ‘‘owl feathers.’’ Wissler says:! According to one informant, this society, which by the way, is regarded as a very ancient one, was so named because an owl-being in conferring the ritual said, ‘‘My name is Miwa‘tani.’’ Our informants are all agreed that the term is associated with no concept other than that of a particular society. It is also their name for Mandan, the tradition being that the latter were named because of some resemblance to the Miwa’ tani society. The Omaha word for Mandan is Mawa’dani,? and a “ Mandan dan- cing society”? among the Omaha is mentioned and one of its feasts described by Rey. J. Owen Dorsey.’ 1 Societies and Ceremonial Associations in the Oglala Division of the Teton-Dakota, op. cit., p. 42. 2 Fletcher and La Flesche, The Omaha Tribe, op. cit., p. 102. 8 Omaha Sociology, Third Rep. Bur. Ethn., p. 273. See also Dorsey, Eleventh Rep. Bur. Ethn., p. 463. DENSMORE] TETON SIOUX MUSIC 327 Wissler! states that the organization of the Miwa’tani consisted of: 2 leaders x lay members 2 sash bearers, or bonnet men 1 drum bearer 2 whip bearers 8 singers 1 food passer 1 herald Charging Thunder said the Miwa’tani society, besides being one of the most difficult to enter, was one of the most exacting in its requirements. Each member pledged himself to sacrifice his own life in defense of a wounded member, if such sacrifice became neces- sary on the warpath. When anything was needed by the society the principal officer appointed some one to collect what was required, and the demand was never refused. The collecting was usually done at a public meeting of the society and formed one of the tests by which the leaders of the tribe determined which men were qualified to be useful to the tribe. If an officer of this society saw in the camp a supply of provisions which should have been donated to the society, he could take it, either for the use of the medicine-men who conducted the ceremonies or for the use of the organization as a whole. He had the right to do this, and it was even expected that he would do so if donations were wilfully withheld. According to Charging Thunder the purpose of this society was to promote friendliness and helpfulness among its members. The more important of its meetings were for the initiation of new members. Any member of the tribe could apply for membership, and if his application was accepted he was notified by the crier. Before a meeting for initiation the candidates as well as members of the society were required to fast partially for four days. They assembled in their lodge, and once each day the leader brought in a pail of water, and after dipping into this a bunch of sweet grass, handed the latter to each member, with a very small piece of buffalo meat. This was all the nourishment they were allowed, hence the end of the four days found them greatly weakened. Two old men, after consultation, described the initiation to the writer. On the day of the ceremony the officers of the society, wear- ing headdresses of owl feathers (hiyhay’ suy wapa’ha), took their posi- tion in the place of honor, opposite the entrance of the lodge. In their hands they held the owl-feather headdresses which the new members were to receive. All the members.of the tribe were gathered to witness the installation of the new members. It was required that the newly elected men should show that they were qualified for the honor which had been conferred on them. Back of the fire was a 1 Societies and Ceremonial Associations in the Oglala Division of the Teton-Dakota, op. cit., p. 42. . 828 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 “mellowed-earth space” (see p. 122, footnote), and the men were re- quired to carry live coals in their hands and put them on the earth. Each man, rising from his seat, took coals in the palm of his hand, and turning to the left, walked slowly around the lodge. After the first round of the lodge, pausing at the mellowed-earth space, he pretended that he would place the coals upon it. This was done three times, and - after the fourth round of the lodge, slowly lowering his hand, he gently rolled the coals to the softened earth. (See p. 74.) If he could do this without being burned he was considered qualified to be a member of the society. As already stated, a headdress of owl feathers had been prepared for each of the new members. These headdresses were long, like war bonnets, but were made of owl feathers instead of eagle feathers. Quite a heap of coals lay on the mellowed earth after all the men had made the circuit of the lodge. Sweet grass was placed on this heap, and the headdresses were held in the fragrant smoke, after which they were placed on the heads of the newly installed members. The following ceremonial song was sung as the headdresses were placed upon the heads of the men, who were understood then to be fully received into the society. No. 122. Ceremonial Song of the Miwa/tani (Catalogue No. 572) Sung by CHarcina THUNDER VoicE a 66 Drum not recorded ys The Ses ——__ é Se Sor cE SEE ie Cia = eee 2 ¢a - ge Tu-wa wa-kaykon le mi - gf a eel tel Wii Rae, sae 2) ee ee ee ee WORDS tu’wa wakan’ kon............. the one who is holy le mi"Gave.' 2... Fee ee has made this for me Analysis.—This melody contains the tones of the second five- toned scale, with G sharp as a keynote. The accidental (F double sharp) was clearly given in all the renditions. The song is harmonic in structure and has a compass of 12 tones. Three-fourths of the progressions are downward, the trend of the melody being steadily downward from the twelfth to the tonic. The time in the first two measures is peculiar and was maintained less steadily than in the latter part of the song. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 46 DANCE RATTLE MIWA’TANI SOCIETY RATTLE RATTLES DENSMORE] TETON SIOUX MUSIC 329 After a man was admitted to this society he donated his best horse to the society, no matter what its value might be. He also hired a man to make his paraphernalia, usually giving a horse as com- pensation for this service. One of the articles with which he provided himself was a whistle made of the wing bone of an eagle; this whistle was closely decorated with beads (fig. 30), and hung around his neck. Each member had also a rattle fastened to a wand (pl. 46) which he carried during the dances of the society. This rattle was made by boiling the hoof of the deer and cutting the hard, outer part into pieces of the desired shape and size. All the feathers used in adorn- ment by members of this society were owl feathers, tipped with red down. The feathers of the owl were used also on their arrows. Two of the dancing songs of this society (Nos. 156, 165) oc- cur in connection with the per- sonal war narratives of Eagle Shield and One Feather. A rattle of dew claws (pl. 46) was used in many Sioux dances. WHITE HORSE RIDERS (SUN K’SKA-AKAN’YANKA) The White Horse Riders were not considered a tribal society, like those already described, but were ‘an old organization which, in the opinion of some informants, was Idcal in char- acter. The term ‘‘ white horse riders” Fic. 30. Miwa’tani society whistle. is not an exact translation of the Sioux designation, the first word of which means “white horse,” 830 BUREAU OF AMERICAN ETHNOLOGY — EBULD, 61 while the second is a compound word indicating age and experience. One informant said: The White Horse Riders were principally the old warriors. Those older people had a special liking for painting their horses on parades or on the warpath, as by that means they could show that the horse’s owner had done some brave deed. They rode white horses for two reasons. They liked the white color, because it was regarded as a genuine color [see pp. 173, 205], and also because a white horse was the only one on which the paint would show well. The usual decoration was a horse’s hoofprint and a hand, the hand being understood to represent the hand of the enemy. To people with an understanding the arrangement of these designs told the story of the man’s brave deeds. (See p. 77, footnote.) The parade of the White Horse Riders was greatly admired in the camp. It is said that if the White Horse Riders came to the tent of a man who had been wounded in war, they fired their guns into the air, whereupon the women of the family cooked a quantity of food and placed it in the middle of the camp circle. The custom was that ‘‘those who had no one to cook for them went and ate this food.” The songs of the White Horse Riders were favorites among the Sioux, and the words of these songs were often changed. Thus No. 225 is a song of this society in which the name Ptesan’-non’pawin has been substituted for another name. No. 128. Song of the White Horse Riders (a) (Catalogue No. 534) Sung by Two Suretps Voice g—66 Drum = 66 Drum-rhythm similar to No. 6 -0- -9- -©- -9- DENSMORE] TETON SIOUX MUSIC aol Analysis.—This song contains an unusual number of progressions. There are 52 intervals in the song. It has been stated-that the aver- age number of progressions in comparatively modern songs is 31.3. Thirty (58 per cent) of these intervals are thirds, 18 beimg major and 12 bemg minor thirds. It is interesting to note the large number of minor thirds in a song which is distinctly major in tonality; these intervals, however, are usually part of the tonic triad, which forms the framework of the melody. Two rests are found in the song. (See No. 79.) The two renditions show no points of difference, the small count-divisions being clearly given. Drum and voice have the same metric unit and were coincident. No. 124. Song of the White Horse Riders (b) (Catalogue No. 535) Sung by Two Suieips Voice g—76 Drom P = 63 Drum-rhythm similar to No. 6 (1) (1) b b. 2. = a Soe co P: 0. #--. g= =f == SSS SSE Analysis.—Two renditions of this song were recorded, in both of which renditions G in the upper octave was sung G flat, and in 332 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 the lower octave G natural. This was probably because the higher tone was above the compass of the singer’s voice. Two rhythmic units are present, their repetitions comprising most of the song. The melody tones are those of the major triad and second, a tone material found in only 3 of 340 Chippewa songs, and in 8 songs of the present series. About 38 per cent of the intervals are fourths. The average interval is not large, but a compass of 13 tones is accomplished in three measures, about midway through the song. The tempo of the drum is slightly slower than that of the voice. WAR SONGS (OZU’YE OLO/WAY) CoNsECcUTIVE Sones or A TypicAL WAR EXPEDITION War expeditions were of two kinds—tribal and individual. In the former the tribe acted as a unit, as they did on the buffalo hunt. Thus, if the tribe as a whole needed horses, the only way to secure them was by stealing them from the enemy. The matter was dis- cussed either in the tribal council or in the council of the chiefs. Scouts were selected by the council, or each military society could choose some of its members to act in that capacity, the procedure of selecting and sending the searching party being similar to that which preceded the search for the pole to be used in the Sun dance or a buffalo hunt. (See pp. 109, 439.) The scouts started at night, having been given instructions where to go, and also what to do if they saw the enemy. When the scouts had returned and made their report, the tribe took up its journey. The organization was similar to that of the buffalo hunt, the men being restrained by the aki’¢ita from any individual action until the time came for the tribe to act as a unit. An individual war party could be organized at any time when the tribe was not on a general expedition. A man desiring to organize an individual war party called on his relatives and friends at night, explained his purpose, and asked them to join him. If they were willing to do so they smoked a pipe in token of their acceptance. Such an invitation could searcely be refused, and the man who gave it became leader of the party. Everything concerning the expedition was carefully discussed before starting. The country through which they would pass and the enemies they would meet were somewhat familiar to the warriors, so that the leader could explain verbally the route which he proposed they should take. It was not uncommon, however, for a map to be sketched on the bare ground, and quite customary for a war party to leave behind a “map” on buckskin, showing the hills and streams they expected to pass, so that other parties could find them if desirable. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 47 2 Copyright (909 DE. she (Used by permission. TWO SHIELDS DENSMORE] TETON SIOUX MUSIC 833 It was not considered a great honor to be asked to join a war party, and no demonstration was made when they left the village. As an old warrior said, ‘‘the honor was in coming home victorious, and the demonstration was reserved to see whether it would be needed when we returned.”’ The following section presents in consecutive order certain songs which might be sung on a war expedition. Many details of descrip- tion are omitted, as they are comprised in the personal narratives which follow this section. The next 10 songs are common war songs, or ‘wolf songs,” which were sung in the societies or other gatherings before the departure of a war party. Many of them mention the wolf, as the life of a warrior was supposed to be like that of the wolf. Two Shields (pl. 47), who recorded several of these songs, is a leading singer at every tribal gathering. 834 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 125. “Those Are Not My Interest’? (Catalogue No. 528). Sung by Two S#HIEeLps Voice e= 96 (or Pe = 192) DruM = 96 (See drum-rhythm below ) ce tg 2Pe fe 2 2? 0 Sniye - lo — oa 3 3 DENSMORE] TETON SIOUX MUSIC 835 WORDS oles pila... aca vat Seer eee ote friends Bpecon: 1. Ae eee ee I have said Ry kéeya... i2cke en in common life pace han kin ceeds aceeots F the customs Sata Velo’ :....-2. ees acess are many OIA"... . tk Ae ee Soe friend Bera.» . tk Pees eset haste those BSN 2. oa..2 Sat ae oe eee are not (do not interest me) VOLO! Ope os ee er es I have said Analysis —This song was recorded by the same singer on two occasions. The duplication was accidental, and a comparison of the result is, therefore, the more interesting. Both renditions were transcribed and are herewith presented. It will readily be seen that the points of difference are slight and unimportant. This is usually the case when a song is repeated by the same singer or sung by two equally good singers. The rhythm, which is peculiar, was exactly repeated. It has been frequently noted that the rhythm of a song is more accurately repeated than the melody progressions. The foregoing transcription was from the second “recording,” in which the song was sung three times, while in the first recording it was sung only once, with a repetition of the first part. The tran- scription which follows this analysis is from the first recording of the song, in which the pitch was slightly lower, and the tempo slower, than in the second. Probably it was because of this low pitch that the singer closed both parts of the song on the third instead of on the tonic. The drumbeat was alike in both recordings, but was specially clear in the second, as is shown in the foregoing transcription. It is not customary to vary the rhythm of the drum as in this instance, but Two Shields is a particularly efficient smger at the drum when large gatherings are held, and such ‘‘leading drummers”’ frequently elaborate their part, especially in songs of this kind. It is prob- ably unnecessary to state that the writing of the drum part on a staff does not imply pitch. Drum and voice coincided throughout the performance. Between the three renditions recorded at this time the drumbeat was continuous. The pause in the voice was about equal to two measures, but was not exact; in one instance it was interrupted by shrill cries. The time in the five—eight and three— eight measures was absolutely exact, and the triplet and couplet groups are indicated according to the rhythm in which the passage was sung. The melody contains the tones of the second five-toned scale. About one-fourth of the intervals are minor thirds, but the melody progresses principally by whole tones, the major second forming 49 per cent of the entire number of intervals. 1Contraction of epe’éi kop. 836 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 The words of the following are identical with those of No. 125: Duplication of No. 125 Sung by Two Suxre.tps Voice g=88 (or g\ =176) Drum a 88 Drum-rhythm similar to No. 5 #. # -» #-9- -9- f. , ——— lo oe aed . OQ -=hA =——6~ eae es D222 eee egg ee 7 iam leas fore oe “. # -» # Ko-la- pi-la e- pe-¢i kon he “est #- -9- =f =e = a hi ye ti i - kée-ya wi- Go- ha) kin o-ta ye- manme - ko - la he-na Sni rire e - pe - lo An Indian warrior wanders like a wolf, and his life is expressed in the following song. No. 126. “Like a Wolf I Roam” (Catalogue No. 656) Sung by One BurraLo (TATAN’KA-WANZI'LA) VoIcE oon 80 Dreum not nat Poe oe See ae ae, | Su) -ka i-Sna-la mi-ye - lo Ga ma-ka o-ka win-hya o-ma-wa- Daye | ee || ni koy he - Gi-ya ta-moy-ka Sni ye- lo DENSMORE] TETON SIOUX MUSIC 337 WORDS sun’ ka aéna/ladere es sa 52 3 lone wolf mye lo. Co ., teed bees ane Tam wanka’ oka. Wit RYA:---.<2+-«- - in different places OMA! WAT. - na Reet seine sai. T roam | (0) PRR oS reel BS but Hecl’Va.o. -. see ee as: oe there tamon‘ka ent yelo”-2--...-..-. - Tam tired out Analysis.—Considering F sharp as the keynote of this song, we find the melody tones to be those of the second five-toned scale. The basis of the melody is the minor triad with minor seventh added. (See analysis of song No. 49.) Nearly half of the intervals are minor thirds. The song is melodic in structure and has a compass of 10 tones. No. 127. “Watch Your Horses”’ (Catalogue No. 582) Sung by Two Suteips VoIcE ie 92 Drum ee 92 Drum-rhythm similar to No. 5 ~~ @ -#.- 2 p< Za), comes Se Se a eee. : SES SS sae Kan-gi wi-éa-sa kin gunk a - way-gla-ka po : et. aE eee e ya sun) - ka wa-ma -noy sa mi -ye ye - lo WORDS Hanes nyitea Be aie). 2. 1: - Crow Indian kin sunk awan’glaka po......-- you must watch your horses S)’KA WaAmAnGn 4.25... =... =. a horse thief =" onl . T | — ‘= ——$g@——s—____-_ Ko-la-pi-la i- ya - ae —~ ina k = ain ee aaa al ar ¢ fs aa: comeal) ya - pi ye ya sun - ka - ku kon zu - ya WORDS Kola pid soo he ee eee friends LVS YELPER cm ts in Seine you go on sip kav koniaee c= oeeeeecee even that younger brother REV A! Wh Velen cee = see is coming on the warpath Analysis.—The framework of this melody is one which is familiar in these songs. The submediant chord forms the basis of the opening measures, followed by a descent from the dominant to the mediant, a descent of a minor third; after this the melody returns to the subme- diant chord, and the song closes on the mediant. Comparison with the preceding song will show the same outline in that melody. About half of the intervals in this song are minor thirds. The intonation is good, and the melody contains all the tones of the octave except the seventh. The rhythm of the drum is one found frequently in the Chippewa songs, but is much less common among the Sioux. eT Ee ee ae DENSMORE] TETON SIOUX MUSIC 339 No. 129. “‘A Wolf I Considered Myself”? (Catalogue No. 547) Sung by Gray Hawk Voice ¢—104 Drum IZ 104 Drum-rhythm similar to No. 8 Suy -ka mi-¢i - la yuy-kay ta -ku wa- te Sni yuyn-kan (2) (3) ——e-. . A Ss ee) REE Ay PA 0a SEES Bhs Ee : SS Ses Shas een eee eee ; na-Zi) wa-ka - pin ye-lo WORDS (First rendition) RIMM Act sao tenes ctele © mc clarc a a wolf rT tal b NR a Se I considered myself Tha aeons (by) streams yuy ke’ Gin aa¢ esics abc) eee that are henay: si. ss e2oe Uses. ot eee there OyUnk’ Ya. se ioe ce oo oe = my bed is ‘ oma’ Watll YOnsd.=. 22> aoe eee I have roamed ae. S ores We Weber again mivye’ Cy. ..-t22. -ecue eee eee I myself hibu’ welo. 20220842 pees come In this instance the words are slightly different from those sung by One Feather with the same melody. DENSMORE] TETON SIOUX MUSIC 845 No. 133. Wolf Song, (Catalogue No. 524) Sung by Two Surextps VoIcE g= 96 Drum ¢— 96 + similar to Bvarnete 19 egret ee ee ei anieeee _> a aoe. SSS es oI ta-ku wa-te Sni yun-kanna-zin wa-ka - piy ye WORDS CEA hoses eo ete ead es well RU) Glens SO eee ees Me res a wolf BRIO eycksrohk a, eee a aes I considered myself 5 LITT 2h Ss ee ge a ie a and yet tafeamwarte Sol. 222: 2i=< seae=s I have eaten nothing Vay alo") bemerntws ae ose and na’Zin waka/pin ye........-.... I can scarcely stand Analysis—The words of this song are the same as those of the first rendition of No. 129, embodying an idea which was commonly expressed in connection w ith the warpath—that the life of a warrior was like that of a wolf. On examining the phonograph records it was found that the same melody had ‘been recorded by Siya’ka, different words being used. It is probable that the words used by Siya’ka are also very old. Both transer iptions are given for the pur- pose of comparison. It will be readily seen that the differences are about the same as in other duplications: the actual comparison, how- ever, can be made only by means of structural analyses. On com- paring these, it is found that both renditions contain only the tones of the second five-toned ‘scale, have a range of 12 tones, and are harmonic in structure. The rhythmic unit is the same in each, also 346 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 the rhythm of the drum. The tempo is slightly different and the key is higher, which suggests a difference in the adjustment of the phonograph. It is found that the rendition by Two Shields con- tains 53 progressions and that by Siya’ka 59; the former contains 18 and the latter 20 minor thirds; the foitiat 25 and the latter 29 major seconds; the former 5 and the latter 6 ascending major thirds. The differences are therefore shown to be slight and unimportant. A change of tempo occurs in the rendition by Two Shields. Duplication of No. 133 Sung by Srya’Ka VoIcE ae 108 Drum d= 108 Drum-rhythm similar to No. 19 E-éa wi o-blu-spa yun - kay $un-ka - wa-kan ¢ -O_- @ e_ e SS SSS ni ni -éa e-ma - ki- ya ca ma-ka si - to - mni WORDS O68 oN came hia Oe eee well wi oblu’spa yun’kap.....-.--- when I was courting sSunka/wakan ni niéa’..-......-- ‘horses you have none” @mig/ Kiva... 2... -.. Jacnc eee ee to me was said Ger ho. cle lee therefore mgka’ pito’nini: 52. Soe over all the land awn’ Wan ye .....i0: PLieeE ae T roam aw DENSMORE] TETON SIOUX MUSIC 347. This is not entirely similar to the preceding songs, as it is a per- sonal rather than a society song, but is placed here as it may be supposed to have been sung prior to the departure of a war party. In some respects the words of this song resemble those of Red Fox’s war song (No. 155), yet the idea is ee the opposite, for in this song a reluctant boy is being urged to bravery by his older brothers. No. 134. “It Is Difficult” (Catalogue No. 611) Sung by Usrp-as-a-SHIELD VoIcE see 80 Drum not recorded pe p D Pe 2@.0 @ 2 eee aes A Se cEreuzy E [s | ¢ 9 seeaee ie Zu-ya wa-u ktayun - kay Gi-ye he-ya - pe - lo ta- ku' wan-la - ke Gin a- pe - wa - ¢iy yo 2 @+ -» -» Se oe ae ei Gi-ye he-ya-pi tka ta-moy-ka Sni ye - lo WORDS CHL Ee St Se on the warpath TEL INAS Sa een are = I was coming yey ies 4 te eee when Cie ena eer, eee... brothers heya’ Palos son). 5 ee) SCR eee said lerdcilt susan se ee ae el a). anything (see p. 349, footnote 2) WA Laken Gin) cere = Fe. you see ape’wadin yo...............---- try to strike it (see p. 359) GLY <0 aa Ree eee. S >< brothers tie ian said this ie pee Tas app 5 aes. 2) hence tamon’ka Sni ncibg pas Aiae ot) Fors I realize difficulties Analysis.— structure as well as in idea this song closely resem- bles No. 155; indeed it was said by some Indians to be the same 348 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 song. On comparison of the two transcriptions it is noted that 53 instead of 75 per cent of the intervals are thirds, the major and minor thirds being equal in number. The rhythmic unit is shorter but has the same division of the first count. The compass is the same, but No. 134 contains all the tones of the octave except the seventh and second, while song No. 155 contains only the major triad. The warriors carried extra moccasins, and each man took his own cup or cooking utensil, these features of the preparation being indi- cated in the personal war narratives which follow. The war party took also a supply of medicines for the treatment of the wounded. The leader usually carried the skin of a wolf with the head pointing in the direction they were going.. When the party camped he laid the wolfskin on the ground with its head toward the enemy’s country, and when they resumed their journey the head still pomted the way. No drum or rattle was used, the men walking silently. If there chanced to be a man in the party who had dreamed of a wolf, he was asked to perform certain ceremonies. For instance, as the warriors approached the camp of the enemy they desired bad weather, espe- cially a drizzling rain, to cover their attack. Thén the medicine- man would sprinkle water on the wolf hide, smg his personal song, and offer a prayer, saying that the warriors wished for a storm in which to attack thei enemies. It is said that a storm usually followed this procedure on the part of a medicine-man. If they had difficulty in locating the enemy because the latter’s camp had been moved, they again called on a medicine-man to search for the enemy by means of his power. If he were able to command the sacred stones, he would use them for that purpose. From an old warrior the writer secured a decorated shield which, he said, he had carried in wars against the Crows (pls. 48, 49). The shield is made of rawhide stretched over a hoop and laced with a strip of hide. The greatest diameter is 16 inches. The decoration on the shield was said to refer to a dream of a bear. The eight seg- ments were painted alternately red and yellow, the painting on the yellow segments, in black, representing bears’ paws, while the space below the paws was white. The warrior said that the decoration commemorated a fight with the Crows, and that certain features of the painting showed that the fight, though in the Black Hills, took place in a level, open place. He said that he was “‘in the middle of the shield and the enemies were all around him, but the claws of the bear were on every side to protect him,”’ hence he was not hurt in the battle. A typical Sioux war bonnet is shown in plate 50. These head- dresses were made of the tail feathers of the eagle, and many of them were tipped with horsehair or white down. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 48 WAR SHIELD (OBVERSE) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 49 WAR SHIELD (REVERSE) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 50 SIOUX WAR BONNET 4 DENSMORE] TETON SIOUX MUSIC 349 Men on the warpath sought the highest points from which to spy the enemy andestimate distances; they often piled up stones to shield them from the sight of the enemy. Many of these heaps of stones are still seen in the Sioux country. Some of them are said to have been erected as landmarks to guide the members of a war party back to their rendezvous. This statement, however, is erroneous. The place and time of meeting were understood before an attack was made on the enemy, but the men were obliged to find their way to it as best they could. Sun’ka-wanbli’! (Dog Eagle) said that when he went on the war- path this song was sung at night in the camp to “‘strengthen their hearts.” They sang very low, and sometimes imitated an owl. No. 135. Song of the Camp (Catalogue No. 657) Sung by Doa Eacuie ; VOICE pis 80 Drum a — 80 Drum-rhythm similar to No. 5 Ta -ku le - Ge - Ga he 2.2. Se es pee Eee ee to-ki i-huyn - nia ka e-ha - han pe-lo Sun-ka - wa-kay he hi-yo et Aa a o— cares WORDS fa At Fee She? Bid fine 7 something (referring to a person) le/GeGahenet sce apse 22 .. like this fo ka sha e282 is not likely to reach anywhere eha’ han pewhye ons ane pee 2. you are saying Ath kawalen 2 aes. eee horses hiyo’ wat’ welo’ 2. 9)22652.2 I am coming after 1 The word suy’ka may be translated either ‘‘wolf’’ or “‘dog,’”’ but in proper names the latter meaning is commonly used. 2 The word taku when used in this manner is an expression of contempt. A free translation of the words is as follows: ‘‘ You are saying that such a person as I will never arrive at anything, but Tam coming after horses.”? Cf. taku in songs Nos. 134, 156. 850 ? BUREAU OF AMERICAN ETHNOLOGY [ BULL, 61 Analysis.—This song contains only the tones of the minor triad and fourth. The melody progresses largely by whole tones, as 56 per cent of the intervals are major seconds. The interval of the fourth also is prominent, comprising 20 per cent of the progressions. Several renditions were recorded; these are uniform in every respect. The rhythm of the song is such as to suggest the presence of a rhythmic unit, but it will be noted that no rhythmic phrase is repeated in the melody. When the warriors were acting as scouts or wished for any reason to be unobserved, each wore a white cloth arranged like a blanket and frequently having eagle feathers fastened at the shoulders. Sometimes a separate cloth covered the head, as shown in the draw- ing by Jaw (pl. 59), but the hands were always covered. It was said that on seeing an enemy in the distance the warrior strung his bow, making ready to shoot. As he came nearer the enemy he took an arrow from his quiver, and putting the quiver close under his arm- pit, held the bow below it with the arrow in position, so that in a moment he could throw open his blanket and send the arrow on its way. Plate 51 shows two Sioux in this costume, enacting the part of scouts. This was a feature of a celebration of the Fourth of July, 1913, at Bull Head, S. Dak. If an open fight was expected the warriors put on their gayest regalia. Feather ornaments had been carried in a rawhide case and these, with the decorated war shirts, were donned by the warriors. Sometimes the men wore little clothing and rubbed ‘‘war medicine”’ on their bodies. It was said that they mixed earth which a mole had “worked up,’ with a powdered herb, rubbing it on their own bodies and on those of their horses. A specimen of this herb was secured, which was identified as Gutierrezia sarothrae (Pursh) B. & R. This specimen grew close to one of the old buffalo wallows on the prairie. Some warriors preferred to be painted by the medicine-men. Little Buffalo (Tatan’ka-¢ika’la) was a man who ‘‘made medicine” for the warriors. Using blue clay mixed with ‘‘ medicine,” he painted a band across the man’s forehead with a branching end on each cheek bone, the painting being done only in war. In addition to this the ‘‘medicine”’ was rubbed on the body and limbs of the warrior. Bear Eagle (Mato’-wanbli’), who had been painted in this manner by Little Buffalo, recorded the two following songs. He said that the first one was sung by Little Buffalo alone as he painted them, and the second by the warriors after the painting was finished. He said further that they did not sing in a loud voice, but that, having mounted their horses, they sang this song of the man who had painted them. SLNOOS 4O AWNLSOO NI NAW 16 3LlV1d 19 NILS1ING ADOTONHLA NVOINSWYV SO NVAYNA DENSMORF] TETON SIOUX MUSIC 351 No. 136. “Clear the Way, I Come’ (Catalogue No. 634) Sung by Bear Eacie Voice g—112 Drum not recorded TERA AS rea ee Pe i a ee een pee Peg, é oo —- ES EE ea Se Hay-ta yo wa-kay-yay hi - bu we- lo e ) hay - ta aL os i Wee : 2 ene Oo 0 0 0 oo a yo wa-kan-yan hi - bu we-lo e ma - ka a Uh Gas J ; tt i @ = 7 FI f 2 rd . e Se a. oi Cee es ee eS a a kin mi-ta-wa éa wa-kay-yay hi- bu we-lo e hay - ta ean — i . - aa Sa = SE eee Se e - yo 2S ee a a yo o wa-kay-yay hi - bu we - lo WORDS Rieu ah, Oss foe SS css ok clear the way WnUicanr) yay =o eee ye ee ces in a sacred manner [aN] OAUES 9/755 (0 raps eee eet a I come Miaka KIM) ck sec a see the earth Tent iy? (as cs ana aa Ae (is) mine Ape arg SP Sth TG Nannie bind hence wakal’yal)....--......-.:..... Ia sacred manner iibusewelon ss. So ou ae I come HAN te VO. = 26555222. 2522.2 -. clear'the way wakan/ya)........---.......... Ina sacred manner Inipuaawmeloess 585. he. I come Analysis.—This melody is based on the minor triad A-C-E, though D and G frequently appear as accented tones. The song has a com- -pass of 12 tones, beginning on the twelfth and descending steadily to the tonic along the tones of the second five-toned scale. It is minor in tonality, and about one-third of the intervals are minor thirds. The intonation was particularly good in this and the following song by the same singer. Three renditions were recorded, which are uni- form throughout. See plot of this melody on p. 419. ‘ 352 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 137. “At the Wind Center I Stand” (Catalogue No. 635) Sung by Bear EaGie Voice o= 80 Drum not recorded Ma - ka kin Go-ka-ya na-wa-Ziy -ye Wan-ma-yan-ka yo ta- te- yo éo . ka-yana-wa-zin-ye walj-ma-yan-ka yo ee pe- gb eee eee == PSS pal Zi-hu-ta ¢a na - wa-Zin-ye ta-te-yo na - wa-Zil-ye WORDS maka’ kin; ¢oka“ya..2822- be at the center of the earth Nawal Ain yes 40 ox sts eee I stand wanma/yanka yo.....-.-.--.-- behold me tabe you Gokn yar. 22.8 oss at the wind center (where the winds blow to- ward me from every side (see p. 120, footnote) nawa/Zinye.....!...-. 382.20. .< Dstand wanma/yanka yo.....-....-.--- behold me peal’ Thutaecad ics. es See a root of herb (medicine) CO aia we oe = ate che ora therefore Mawar Zi yew ase 2 eee I stand tA YO sr. ccc tebe ees at the wind center mnawa’ Zin yes. 475. 5S. 0 eer stem, Analysis.—Two renditions of this song were recorded, both con- taining the change of tempo indicated in the transcription. This change is sudden and definite, but the second tempo is not sustained to the end of the song, the first rendition closing in almost the original tempo. (See song No.5.) Throughout the renditions there are varia- tions in time too slight to be indicated, but the rhythmic unit is clearly given, showing that the song had a rhythmic clearness in the mind of the singer. The intonation was good. The song is analyzed in the DENSMORE | TETON SIOUX MUSIC 353 key of C major; the minor triad A—C-E, however, is prominent in the melody, and about 52 per cent of the intervals are, minor thirds. A somewhat similar description of war painting was given by Siya’ka, who said that he and four others were in a war party and that their horses were painted by a man named Holy, Horse (Tasun’ka- wakan’). He painted the horses with white clay, drawing zigzag lines from the mouth down the front legs, branching at the hoofs, and the same on the hind legs; there was also a band across the fore- head and spots on the chest. All the horses were painted alike. The four men had their faces painted brown with a white line across the forehead extending down the cheeks and forked at the end. Their hair was tied in a bunch on the forehead and in it was tied some of the same “medicine”? which had been put on their bodies. When the men were ready to start they mounted their horses with their faces toward the east and walked single file in a great circle, Holy Horse following close behind them. The three following songs were said to have been sung by Holy Horse and the men whom he had thus painted. It seems probable that, as in the preceding narrative, the first song was sung by Holy lee alone, as he painted the men and their eat ede the others by the warriors after the painting was finished. No. 188. Song Concerning War Paint (Catalogue No. 465) Sung by Sryva’Ka VoIcE ols 69 Drom not recorded -.- ED eee Saas = Le ma- ka - Gi - Gon kin on ya - te i - ni - hay wa - ss eae eee Sa ye - lo he le ma- ka - Gi - éon kin on ya - ee - ni - hay wa - ma SSS Se Gi- Gon kin oy ya-te i-ni- hay wa-ye- lo he 354 BUREAU OF AMERICAN ETHNOLOGY _ (BULL, 61 WORDS Neate. RO! «iis: Sea this aA osu. 5 soe ee earth WAC CIGOD), Kinin a> oc.aee ae pee TI had used as paint OD) e oe, onc Be eee eer causes Goya’ te). .-. . Agee ee ee ee ee the tribe (of the enemy) ini‘han “wayelocs.2-:4---4--e oe much excitement Analysis.—The repetitions of the rhythmic unit constitute the whole of this song, these repetitions differing only in the lengths of the last two tones. One-third of the intervals are minor seconds, this being an unusual proportion of this interval. The major seconds are almost as many in number, and the remaining intervals comprise four minor thirds, four fourths, and an ascending fifth. The song is minor in tonality, melodic in structure, and contains all the tones of the octave, The two following songs were sung after a horse had been painted for the warpath: No. 139. “Tremble, O Tribe of the Enemy” (Catalogue No. 466) Sung by Srya’Ka Voicr = 144 Drum not recorded Wa-na-ka ho hi-yu-wa-ye si - to-mni-yan ni-hiy-Gi- ya yo o0 =~ — Ieee Se eS oe -— @ @ + 4 + + - pt fe + 7 e YF Eh i i} ey LY ro aes oe oe (ear = oa ST Ss zen 9 Oo | ee = ———— yo ee tear eT oe ye 0 wa-na-ka ho hi-yu-wa-ye si - to -mni-yay | -o- S\—_ = - & : a —— =e aoe ae | 4 = ni-hin - éi'-ya yo he o-ya - te wa-kan - i — _ = pasta a ESET yan ya))-ke-Giy si - to - mni-yal) ni-hiy -Gi-ya yoyo he yo 1 The first syllable of this word was omitted by the singer. DENSMORE] TETON SIOUX MUSIC SDD WORDS wana/ka /:*Sieesreve ergs So now at this time HOS... 3... oe ie Ss a voice EVI’ WAY Coe eee eet = Soe cis I sent forth pit Minty anaes Ses hoya all nuihin’ étya) ydeemeee 2 es.c--. tremble Oya’ te...) eee fe co O tribe (of the enemy) waka! yan seme eee ci: 5. in a sacred manner ‘yan ke‘ Gigjeaeeee ee a es: sitting Sito’ MM yaN sees ee yo gain all nihin’Gigaryouee ee os. ase tremble Analysis.—This song is divided into three rhythmic periods, the third of which differs slightly from the others in the division of the opening measure. The tempo was slightly slower on the word sito’mniyay, but not sufficiently so to be indicated. Three renditions were recorded, which are alike in every respect. The melody tones are those of the minor triad and fourth, and the song has a compass of 12 tones. Only five intervals occur which are larger than a minor third, yet the melody is interesting and not lacking in vigor. No. 140. ‘“‘Behold My Horse’’ (Catalogue No. 468) Sung by Srva’Ka Voice g= 69 Drum not recorded Peete a ee ws wt Pe ele aan ee ae = Fs aS = De — [=F ———— itee soa C Le - na way - la - ka nuy - we le - na wan-la - ka nun-we mi - ta- : |__ 99 Sr tee 0. 8p Ee ze ee 2 = = 2 == Sun - ke wa- kin -yan i-ye-¢e - Ga wan - la - ka nuy- a =a Se animeenieee! - na way - - ka nun-we yo WORDS lena See sae eet oie these (the painted horse and the herbs) wala? ka munwe’< 224). 2.20.4. may you behold IMita? GUAGE to maa ei... _my horse wakin’yan iye’éeéa............- like the thunderbird wapla’‘ka nunwe’............-. may you behold 356 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis.—In every rendition of this song the tempo was hastened in the latter part. (See song No. 5.) The song is minor in tonality and contains all the tones of the octave except the sixth. In structure it is harmonic, the accented tones descending along the intervals of the chord of B flat minor. One-third of the progressions are minor thirds. Before entering the camp of the enemy a warrior might strike another member of the party as a sign that he was willing to die in that man’s place if such a sacrifice became necessary. No. 141. “See My Desire” (Catalogue No. 616) Sung by Usgep-as-a-SHIELD 4 Voice g—48 Drum not recorded ls, Abee oa eel re ed Fe ee Ta - ku wo-wi-tan o- ya-le pi-i-é¢a ko - la- pi-la mis-e-ya wan- a -) aT Tee 95 gps Pe ee ak) Oy eee) Os =—h—+ —+—_ 2 | & al ++ = SS aS oe Se ae ee ee ee *): 5 ae — —. a Pa eee yan - ke Wwa-Gay - mi wa-na ti-ya-ta wa éa - Ze ma-ya-ta pe-lo WORDS taki: WOW Lalicsio. see ee some honor OYi le GniGat. 32 os tds ert n at you seek Ro larnae ie ae pees ee friends RUE Va eet Sao ae oe [, myself WH) Yan) hes ten ae oo see WOMCAT M525). SME e tee my desire Wah) assec sence ee ee ore now flay GAP pes cers. we a el ee at home éaze” mayasta pelo’ss 2-2-4. 4. (it) is mentioned Analysis.—This song contains only two intervals larger than a. minor third, these being an ascending fourth and a descending major third. Half of the intervals are minor thirds, with the result that the melody has a wailing effect. Four renditions were recorded, the first and second being without a break in the time, as indicated in the transcription. The song contains all the tones of the octave except the second, and in structure is melodic with harmonic frame- work. The following song was sung during or after a fight: DENSMORE] TETON SIOUX MUSIC 35% No. 142. “The Earth Only Endures’’ (Catalogue No. 617) Sune By Usgp-as-A-SHIELD Voice g= 63 Drum J: 63 Drum-rhythm similar to No. 6 -. ° ——— i a ae || ries Pig eg. o -2- ©- oe = B29 eee BEE F = = ss - -g- A i. -p- » = ines ea ee ae = eon ee : ee -— =I —_, = eee | aS aL. aa -0--® -- Sa ee eeeee == Sy Wi-Ga-héa-la kin he -ya === Sisese = aa as ma-ka kin le - Ge - la te - han yuy-ke-lo e - ha Biase (ee eee ee pe - lo e-han-ke-¢on wi -¢a - ya-ka_ pe-lo WORDS Wiest Gala rtkAn f=. oes et erent the old men Heys Spal... 5-222 ae Fe say Mia ay aicliyec: oe Sst Senet ace 2 ones the earth POE Ae teats Sqn ts ete eek ae only tation ain Ke lon..22 1 eee ce endures BEDI OMO eo eric ot aise wo = 6.55 5'= © you spoke ean Kecony’; . 2. -.,.-5-25--2--2-- truly WHCH, Va MIClO’..-. 2 n-ne e- +s you are right Analysis.—This song contains the tones of the minor triad and fourth, and the effect of minor tonality is very strong, yet the major and minor thirds are almost equal in number, there being 16 major and 15 minor thirds in the melody. The song is harmonic in struc- ture, the accented tones following the intervals of the tonic chord. Not all who went on the warpath were impelled by love of war. It is said that a young man once went because some one told him that the girl he expected to marry was untrue to him. The report 4840°—Bull. 61—18——25 858 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 was false, but he went with the warriors. Before a fight he asked his comrades to tell the girl, when they returned, that he hoped he would be killed. This was his song. No. 143. ‘‘Tell Her’ (Catalogue No. 621) Sung by Usrp-as-a-SHIELD VoIcE = 76 Drum a—i6 Drum-rhythm similar to No. 6 a ‘ae 5 ae 5 ied -»- Eu sees | Sees eee die ees = od -o-- # -9- 3 : 4 ) = SP Se Coe ae = a D) — a) FE BPS beste atsaes ea aa eae In-¢in ya-ki ki-na - hay -o-* -#- : ae he o-ki-¢i-ya - ka yo e - han-na- héi e-na wa-ki- ye - lo Se ee ——= peesdied seed | arr = = i ae WORDS in¢in’ “yaki” ki nahan 22.2.) .26.. when you reach home he oki’ Giyaka. yoo. ..-2- 5... tell her ehan’nallén,’ 2.2.1. seers long before then ena’ waki’ yelo’.............. I will have finished Analysis.—This song contains two sections, the latter parts of which are alike. Words are found in the second but not in the first. There are in the song 65 progressions, almost 62 per cent of which are minor thirds and major seconds. Two renditions were recorded, which are alike in every respect. The song has a com- pass of 12 tones, and contains all the tones of the octave except the second. A phrase consisting of two eighth notes followed by a quarter note appears frequently, but is not marked as a rhythmic unit because it characterizes the song less than the dotted eighth and sixteenth count-division, which occurs in various combinations ——————oooooorrerrere eo DENSMORE] TETON SIOUX MUSIC 359 The latter, however, is so short a phrase, and is used so diversely, that it can not be said to constitute a unit of rhythm. A triple measure followed by a double measure is an interesting peculiarity of this song. The purpose of a man in going to war was to gain honor and to capture horses. The honor could come to him either from loyalty to his comrades or from conquering the enemy. If a man carried either a wounded friend or a captive on his back, on his return he could place a certain decoration on his tobacco bag or on his blanket. (Fig. 31.) By this sign everyone knew of his act. If two relatives were together on a war party, and one was wounded and deserted by his kinsman, a stranger who saved him was accorded special honor. Thenceforth he was called Wawo’kiyapt, ‘Helper of the help- less.’ To desert a wounded friend on the warpath was considered the greatest perfidy. (See song No. 167.) The custom of wearing feathers and’ painting the face, as well as that of ‘‘counting coup,” probably differs among various tribes or bands. The following was given by the writer’s informants as the custom of the Teton Sioux on that reservation. It was said that if a party of warriors attacked the enemy and killed several men, the first warrior who killed an enemy had the right to wear the “black face "4 paint’; thus many of the war songs contain the words ‘‘the black face paint I seek.” (See songs Nos. 8, 11, 27, 171.) This paint was worn by the man in the dances which followed his return from war. Usually it covered only the face, although a man might paint his entire body if he so desired. The second warrior to kill an enemy might “‘strike the enemy,” for doing which he might, on his return, let his hair hang loose, but not paint his face. The time for continuing this practice varied according to the individual, but was usually about a month. If a war party defeated the enemy without loss to themselves, it was permitted to the first four who killed enemies, and also to their women relatives, to use the black face paint. In such an event special songs would be sung, and at any large gathering these four men would appear, the tribe considering them all to be equally entitled to the honor of using the black paint. If a man had killed an enemy without injury to himself he was entitled to wear a feather erect at the back of his head. If he killed two or more he could wear a corresponding number of feathers, but the enemies must all have been killed in the same battle. If he succeeded in striking an enemy he could wear a feather horizontally at the back of his head. Four men could “count coup” by striking the same enemy. (See an instance of striking an enemy, p. 376.) Fig. 31. Decoration denoting bravery. 360 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 At the final camp a returning war party prepared the scalps which they had taken for use in the victory dance. Eagle Shield said: They selected a man who had dreamed of a carnivorous animal which attacks human beings, if such a man were in the party. This man scraped the flesh from the inside of the scalp, and having mixed the fat from it with gunpowder, rubbed it on his face and hands, He did this because of his dream of an animal that devours human beings. Then, making a little hoop, he sewed the scalp inside it and fastened it at the end of a pole. Plate 52 shows a scalp captured by a Sioux warrior. This seems not to have been placed in a hoop, but dried by stretching with two short sticks, the mark of one being clearly discernible. The texture of the skin made it possible for this specimen to be fully identified at the United States National Museum as a human scalp. A dance ornament made of human hair (pl. 52) was obtained among the Sioux, but does not represent a custom of that tribe. This ornament is said to have been worn by the Crows in dancing. It was later used by the Mandan and Hidatsa, with whom the Sioux were frequently at war and from whom this article was undoubtedly taken. When among the Mandan at Fort Berthold the writer was told that ornaments of this sort were frequently seen in the old days, and that they were made, not from scalps of an enemy, but from hair which had been cut or had fallen out and been kept for the making of the ornament. The strands of hair were secured at intervals with spruce or other gum, and the ornament was fastened to the wearer’s head, the hair hanging down his back. A victorious war party approached the village on its return, bear- ing the scalps aloft on poles. Dog Eagle said that he sang this song when he came in sight of the camp on his return from war. It was used also in the dances which followed. 1 Concerning the usage of the Chippewa in preparing a scarp see Bull. 53, p. 118; of the Menomini, see Skinner, Alanson, War Customs of the Menomini Indians, A mer. Anthr., xm, No. 2, p. 309, Lancaster, Pa., 1911; and of the Osage, see Eleventh Rep. Bur. Ethn., p. 526. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 52 SCALP DANCE ORNAMENT MADE OF HAIR DENSMORE] TETON SIOUX MUSIC 861 No. 144. “She Stands There Smiling’ (Catalogue No. 658) Sung by Dog Eaaie Voice = 69 Drem not recorded Ko -la-pi-la na- tar) a-gliya-ku kte- lo ko-la e - ha - pi = oo Oo a = $ ——s —e 0-2 - pe Sel eee [el Galy-na ko-la wi-yal) kon i- ha-na-zin ye WORDS 5011249) 0111+ Qe a iy A friends natay’ ! agli’ ya’ku ktelo’..... the attacking party will return RO estes eee eee os friend ebstpi ean Ma. 22-225 $e whenever you said this jo] 2 es Ss ee ea ne eee friend Wiljyon, (KON): 2 2-1: 2 ie) NVWOM LN31S SONSYMV1I SILLVH “SYN S$ 31V1d 19 NILB71NG ADOTONHLS NVOINSWV JO NV3AYNE DENSMORE] TETON SIOUX MUSIC 865 of the men thrust skewers through the flesh on the outside of their legs. It was the custom for them to go around the village circle dis- playing these signs of mourning, and as they went they sang a song in which they inserted the name of their dead relative, or they might compose an entirely new song in his honor. The following song was sung by Mrs. Hattie Lawrence (pl. 54), whose Sioux name is Canku’lawin (Road). Mrs. Lawrence has been a student at Carlisle, but retains an unusually clear knowledge of old war customs. She assisted the writer at McLaughlin, 8. Dak., by acting as interpreter for part of the material furnished by Jaw, Old Buffalo, and Swift Dog. Mrs. Lawrence said that when she was 10 years of age her cousin, named Kimi’mila-ska (White Butterfly), was killed by the Crows, and that she remembered hearing her aunt sing this song when the war party returned with the news of his death. No. 147. Song Concerning White Butterfly (Catalogue No. 686) Sung by Mrs. LawRENCE VoIcE = 56 Drum not recorded ka -la to- ka-he kon wa - na ku Sni ye e - ha-pi - -@- -@- = — = S 1 = Fai Sase tee eet eae 2 ee yuy-kay Ki-mi-mi-la-ska konheya-ka~= - - pi i-éin-ke-yas ~ @ Poe o # » - pg Ey 3 SSS SS he- éa o-le-ya - Ga _ he-éuy we WORDS Tokatla tokw le: kon..<...-.-.-.- that Fox leader A POY een Aa be Sa now Kuysnl verse eee =... did not retum eha‘ pl, yu’ Kan eocseec52-0..... you sald Fam mil}a-ak ato ee ee ss Se White Butterfly koy he -yakapis eee es es: is whom you mean 1Gin’ Keyes ss 26 Abie Marr yo but then he’éa ole’yaéa he’éuyn we. ..--- he went looking for this and it has come to pass 866 BUREAU OF AMERICAN ETHNOLOGY (BULL. 61 Analysis.—This is a strange melody. The tonality of the song as a whole is minor, the tone most satisfactory to the ear as a keynote, being C sharp, yet the major third occurs six times and the minor third only twice. A wailing effect is given by the prominence of the minor second, which appears 18 times, comprising 46 per cent of the intervals. It will be recalled that this interval is entirely absent from a large majority of these songs. All the tones of the octave except the fourth are found in the melody, the seventh being sharped as an accidental. Two renditions were recorded. In both the acci- dental was clearly given, but the intonation as a whole was somewhat wavering, owing doubtless in part to the large proportion of semitone progressions. . Mrs. Lawrence said that her aunt lost another son in addition to White Butterfly, and that she sang this song as she went around the village, mourning his death: No. 148. ‘“‘He Lies Over There’’ (Catalogue No. 687) Sung by Mrs. LAWRENCE Voice hes 66 Drum not recorded 2 F. ee ! Pe Soe reer eer eipeei ere Hun-kpa-pa - ya ho-ksi - la ta-ku ku-wa - a Gay - na Ta-tan-ka-han- ska he i-yo - tan wa-C¢in e ha- pi ye-lo € - Gi-ya- na yun-ka ke-ya-pi yo WORDS Hun’kpapaya hoksi/la.......-- boys of the Hunkpapa band ta’ku kuwa/’pi can’/na......... whenever you pursue anything Tatanka-han’ska. -...-.cckese ss Long Buffalo SONIMVYEG HLIA GAaLVYOOSC SSSYd Si(NVWOM ove 41NOuS Sg 31V1d 19 NIL3T1ING ADSOIONHLS NVOIYSWY JO NV3SHNs DENSMORE] -TETON SIOUX MUSIC 367 he iyoltaneeks 3oc-s ea oes is foremost watin’ ohatgyelotes ono: oa you said e¢i’yana yun’ka ke’yapi........ he lies over there Analysis —In many respects:this song is like No. 149. It is in the same key and has the same compass and tone-material. Like song No. 149, it begins with an ascending fifth and contains no rhythmic unit. Thissong, however, contains fewer progressions, and the singer gave the lowest tone with less distinctness. The minor second occurs with about the same frequency as in the latter, but the proportion of minor thirds is larger in this melody. Both are characteristic of the songs which are sung by women. The following song was sung by Ini‘laon’win (Silent Woman) concerning her younger brother, who was killed by the Crows. This singer is shown in plate 54 in a pose often assumed by the women singers when they wish to ‘“‘throw”’ the voice. Placing the hand beside the mouth, they are able to make the sound carry a long distance. In this picture she is shown wearing the decorated dress (pl. 55), the use of which was permitted only to those whose relatives had been killed in battle. This dress is a type of costume worn in the old days, but the history of the exploits pictured on the gar- ment is lost. It was in a collection of Sioux articles owned by Mrs. James McLaughlin and was photographed with her permission. 868 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 No. 149. ‘“‘Learn the Songs of Victory” (Catalogue No. 685) Sung by Sirent WomMAN VoIcEe a= 116 Drum not recorded L > 2h. ——= : are Pe oe | ES : | aia Sas ke lo-way-pi kin on - spe j -¢i - Gi - ya-yo WORDS Mato’-onZin’éa...<2--_.- eee Bobtail Bear (man’s name) Gee) 3 o.oo ee said this 11 pe a eR 5 Sl and A MOP eee 2 a8 oo n'y «ohne See went away, never to return— Karp’ wita’6a. ..0.--.2.- | Se ee ee Sa ee Ko - la - pi - la ta -ku ya - ku ca -9-* ite: f- 2 sm WORDS kolatpila®. 2ceu wee fee oriends ta’ku yaku’wapi kinhan’ ...... whenever you pursue anything (see p. 349, footnote 2) Kola. 9.5 cee eee er ree friend hema’tu nunwe’....-....-..-..- may I be there Analysis.—This melody has a compass of an octave and contains all the tones of the octave except the sixth and seventh. The pro- gression is principally by whole tones, about 60 per cent of the inter- vals being major seconds. A change of time occurs with the intro- duction of the words. (See song No. 5.) The song is rhythmic throughout, but the rhythmic unit is found only in the first part of the melody. The following song refers to the fire which a war party sometimes kindled on the prairie as a signal of defiance to the enemy: DENSMORE] TETON SIOUX MUSIC 383 No. 157. “‘A Prairie Fire’’ (Catalogue No. 624) © Sung by One FEATHER Vorcr j= 72 Drem not recorded 2 ae 0 =5 na wa-ye (Ciy- han wi-i- ha-kta Si-¢a wan-la-ka so e - éa he mi-ye he-Ga-mon we WORDS SUAS Sos Oi a ce wes srs a prairie fire Tein (ne I started CUNAn Eee ee A oe eee eee when wirtnakta, sia’. ....-.. 9944 es you were intent on women and hindered by them Wwanlatlea)'pO..2.- we sss. ee. ts Ae who did it Analysis.—This melody is an example of interval formation rather than of key relationship of tones. All the tones of the octave are present in the song, which is transcribed and analyzed in the key of D major, though D is not entirely satisfactory as a keynote. The progressions are chiefly by small intervals, about 54 per cent of the intervals being minor thirds and 36 per cent major seconds. The other intervals are an ascending ninth and four fourths. The triad. of A major is prominent in the melody. It is interesting to compare this with songs Nos. 108 and 166, in which the final interval is also a descending fourth. These songs are classified as ‘“ irregular.” The death of a brave man is commemorated in the next song. His name was Sitting Crow (Kangi’ iyo’take), a cousin of One Feather, who was in the war party. Many Crows were killed in the fight, but even that fact did not make the Sioux happy. They all were sad because they had to leave Sitting Crow where he fell. A lament for 884 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 a warrior of this name occurs in the chapter on the Sun dance (see song No. 23). It is possible that both songs refer to the same man. This melody is a praise song of the Kangi’yuha society, as Sitting Crow was a member of that organization. No. 158. Song Concerning Sitting Crow (Catalogue No. 625) Sung by ONE FEATHER 7. VOICE a = 76 Drum not recorded Ko - la Kay-gi - i- yo-ta-ke ko - la ku - sni WORDS WON ass eins seats ee friends Kanei iyo take ue i.42cpens aes Sitting Crow 175) Eye = OS Se rae yp heres tee friends kweli Velo’ oss oe eee gases returned not Analysis.—Three renditions of this song were recorded, in all of which the intonation was wavering. The song has a compass of 12 tones, is melodic in structure, and contains the tones of the second five-toned scale. Only four intervals larger than a minor third are found in the melody, a fact which may account in part for the uncer- tainty of intonation, the Indian usually finding it difficult to sing a long succession of small intervals with correctness. The total number of minor thirds and major seconds in this song is 32. One Feather said the following song was sung in connection with a fight with the Assiniboin, in which he took part. The ‘‘spotted horses,” strongly mottled with black and white, were greatly prized by the Sioux, and a few of these are seen among them at the present time. DENSMORE] TETON SIOUX MUSIC 385 No. 159. ““A Spotted Horse’’ (Catalogue No. 626) Sung by OnE FEATHER Voice g— 96 Drum not recorded £ 2 Fee # # $e WoRDs ! |) at 1 be NO ee i ee aE friends hiya’yapiye yo............---.. come with me (JEW CLG i } eeu ie 4. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 64 B . A. MOEN SCO. UTH INCIDENTS IN THE LIFE OF EAGLE SHIELD (DRAWINGS BY HIMSELF) A. HIS FIRST FIGHT B. DANCE OF THE KANGIYUHA DENSMORE] TETON SIOUX MUSIC 393 Analysis.—Four renditions of this song were recorded. In all the renditions the accidental G flat appears, though the pitch of the tone varies slightly, the terval between G-flat and F being usually sung too small. The song is based on the fourth five-toned scale and is melodic in structure. Though the song is major in tonality, 44 per cent of the intervals are minor thirds. Events similar to those of the preceding narrative are depicted in plate 63, but no songs were recorded concerning them. The following pages contain narratives of personal experiences on the warpath by Eagle Shield, illustrated by his own drawings. With few exceptions a song is associated with each drawing. Plate 64, A, depicts his first fight, which took place when he was 14 years of age. As he was so young he had no song to sing in this fight, neither did he commemorate it in a song, as he might have done had it occurred in his later life. His second drawing (pl. 64, B) represents the members of the Kangi’yuha society (see p. 318 et seq.). The customs of this society among the Teton Sioux are described by Wissler. Thus Eagle Shield said, ‘‘I am leader of the dancers, and when I rise to dance the singers begin to beat their drums,” while Wissler states that “‘the two rattle-bearers gave the signal for the dancing,” and, further, that ‘“‘the four drummers each carry a small hand-drum.”’ (See pl. 64.) The following was said to be a characteristic song of the Kangi’yuha. The words express reproof. 894 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 164. ‘‘Even the Eagle Dies’ (Catalogue No. 507) Sung by Eac.ie SHIELD Voice o= 88 Drum not recorded A-ki-Gi-ta na - ya-pa - pi kin way - bli ka-yes crea a 7 2 ne oN ’ say ree ee = |? es eee | Blhee seas ea eee See te ye-lo WORDS DK Clfants sco rcicne soe Soe soldiers Aya ADL sees ee ae kee S you fled kin wanbli’ kayeg’ te yeld’..... even the eagle dies Analysis —The upward and downward progressions are more nearly equal in this than in many songs, as it contains 25 ascending and 28 descending intervals. The principal progressions are major seconds (48 per cent), and fourths (22 per cent). The intonation was somewhat wavering throughout the renditions, but the tones transcribed as C sharp and C natural were clearly distinguished. This was the first song recorded by Eagle Shield, and his voice grew steadier when he became accustomed to singing into the phonograph. This song is melodic in structure and contains all the tones of the octave except the seventh. Shrill war cries were given during the rest which precedes the words of the song. Plate 65, A, depicts an incident in a Sioux expedition against the Crows which took place in midsummer. The Sioux were away from their village only 16 days, yet they returned with 100 Crow scalps. Approaching the Crow village, the Sioux sent forward a few men, who went around the camp and captured some horses. The Crows, supposing this to be the entire Sioux force, came out of the camp BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 65 B AHOENS CO. UTH. INCIDENTS IN THE LIFE OF EAGLE SHIELD (DRAWINGS BY HIMSELF) A. EAGLE SHIELD KILLS A CROW INDIAN B. EAGLE SHIELD CAPTURES AN ASSINIBOIN WOMAN 4 a ¥ mae “+ See d tie ve Ps % ‘4's ‘ s figew Sie Naputal> A 1 aa nip : DENSMORE] TETON SIOUX MUSIC 395 and pursued them. Immediately the Crows were surrounded and most of them were killed. Eagle Shield said that he sang the following song when he killed one of the Crows, and that it is a song of the Miwa/’tani society: No. 165. “I Took Courage’’ (Catalogue No. 508) Sung by Eacie Sxaretp Voice = 92 Drum not recorded (1) (1) (1) =. =. ae er Say! URNS GM cm aoe 2 Kan-gi wi-éa-séa kin na- 2a (2) a ae fea an OO e655 o— (a eee Es aa aoe ee ee ee Se as == cto =a tan. hi - yu - ki - na Mi-wa-ta- ni kin - hay Dili - Pisa es per eee aa on i Sane : = a eee =F nase et ee ee = || Silat eee he- mi - Gi ye - lo WORDS angi wiea' kai kin - 2-222... 2... the Crow Indians Matayy: biyuskina.. -..2...5..2.- rushing to fight Miva tanickinhan’........2-4.2 I a Miwa/tani bhitenner -velo’:.-.:.20-.,-..-.- took courage Analysis.—The rhythmic structure of this song is interesting. The two rhythmic units are almost alike, yet their difference gives ' variety to the rhythm of the song as a whole. With the exception of the ascent of an octave with the entrance of the words there are only three intervals in the song—the fourth, the minor third, and the major second, the last-named forming 60 per cent of the entire number of intervals. The song is major in tonality, yet 28 per cent of the intervals are minor thirds. The only tones in the melody are those of the major triad and second. This would suggest that the 896 BUREAU OF AMERICAN ETHNOLOGY [ BULL, et song might be harmonic in form, but the second is frequently accented, causing the song to be classified as melodic with harmonic frame- work. The melody has a range of eight tones, extending from the dominant above the tonic to the dominant below the tonic. In the time of ripe cherries! a party of Sioux were in the country of the Assiniboin. There they found a little group of cherry pickers and attacked them. This act was seen by the Assiniboin in the camp, who charged the Sioux in a vain attempt to save the cherry pickers. All the men were killed, but the women escaped with the exception of one whom Eagle Shield captured, carrying her away on his horse, as shown in plate 65, B. Eagle Shield took the captured woman to the Sioux camp, but the next autumn she ran away and returned to her own people. ' The following song celebrates this victory: No. 166. “Captives I Am Bringing’? (Catalogue No. 510) Sung by Eac ie SHIELD VOICE e — 96 Drum not recorded Ko-la na- ya - hoy -pi hu - wo fi Fas l ; acy : = 96 o Sate — ae wa-ya - ka ko a - wa - ku-we i Fee SSS WORDS Kola 2 oo xc ckis coke ee friend aya honp. huwo’.:.\eeeeeeee do you hear? weyeke:..0).:.) 2. SS captives kostg6 Joie cok eee ee also SWAT IKON oS oie eee I am bringing home 1 The month of July is called by the Sioux C anpa’ sa’pa wi, ‘black-cherry moon.’ BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 66 B AMOEN@ CO.LITH INCIDENTS IN THE LIFE OF EAGLE SHIELD (DRAWINGS BY HIMSELP) A. EAGLE SHIELD CAPTURES HORSES B. EAGLE SHIELD RESCUES A WOUNDED FRIEND DENSMORE] TETON SIOUX MUSIC 897 - Analysis —In regard to a keynote, this melody is classified as irregular. (See analysis of No. 108.) For this reason the signature should be understood as indicating only the pitch of the tones. Of the intervals, 45 per cent are minor thirds, and the minor second appears six times. The descending fourth at the close of each part of the song is peculiar and was clearly given in every rendition of the song. The song contains a change of tempo. (See No. 5.) A memorable incident is depicted in plate 66, A. TheSioux attacked a Crow camp, capturing 80 horses. This was not the entire number of horses owned by the Crows, but the expedition was considered a successful one. The Sioux killed three Crows. On their way home they sang this song, the melody being the same as that of the preceding song. WORDS LEALE See eee a Least ae friend nayahonpi hugo’: =: .s2 22: do you hear? DS EE LG 2 Sel NS 1 a 9 their (the enemy’s) horses | Ch SSN 8 ae et aes ene eee also Wel KUIWSs «Slee ns oecc ces 3 ne2% I am bringing home The narrative of the exploit illustrated by plate 66, B, runs thus: Eagle Shield said that the advance section of the war party deserted their leader, who was wounded in the knee, leaving him to the mercy of the enemy. Eagle Shield was.a member of the second section of the war party. When he saw the leader’s plight he went to him and succeeded in carrying him to a place of safety. In connection with the event he sang the following song, the words of which express derision for warriors who would desert their wounded leader. 398 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 167. “They Deserted Their Leader’’ — (Catalogue No, 520) Sung by EaGcie SHreip VoIcE P| 96 Drum é 96 Drum-rhythm similar to No. 8 Psa- lo - ka kin na - tay a- hi-ye-lo blo - tan-hun-ka uy-yay (2) (2) fiir; 3. Te on ee al cee eave are na-pa-pi ye - lo WORDS Pealeka tag's en. Soe es the Crow Indians Taube Ae Ee EPS eh came shin” see 7at. bukser ees. nase Ib attacking, blotanhumikasceseecesesmee eee their leader un’yan napa’pi yelo’........... was left behind Analysis.—Several renditions of this song were recorded, in every one of which E flat was sung. This suggests the key of B flat, but the melody progressions are along the lines of the minor triad on D, and the song is accordingly analyzed as being in the key of D minor. The song has a compass of nine tones and lacks the sixth and seventh tones of the complete octave. Two rhythmic units are found in the song, the division of the last count being the same in each. Eight of Eagle Shield’s companions made a litter of poles and placed the wounded man upon it. They were 50 miles from home and were obliged to cross the Missouri River with their burden. After traveling about 25 miles they made a camp and also killed a buffalo. Food for a war party was obtained from the country through which it passed. Mention is frequently made of the killing of buffalo, the flesh being used for food and the hide tor robes or for making 1 See p. 337, footnote, 4 eee =i ae ‘i a Ne 7 es i] _ c SS en ie ait @ © -T : -/* 1B. : pace fyoee > De . ae Me. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 67 IMPLEMENTS USED IN SKINNING BUFFALO DPNSMORE] TETON SIOUX MUSIC 399 moccasins. The use of the clamshell as an implement for skinning buffalo may have had its origin in some emergency. Plate 67 shows a clamshell which was said to have been used for that purpose, with the case in which it was carried. The size of the shell indicates that it was found at some distance from the territory of the Sioux, while the slits at the top of the case show that it was attached to the belt of the owner. This specimen was purchased from the mother of Eagle Fic. 32. Apparatus for cooking meat without a kettle. Shield, who was a very old woman. Plate 67 shows also a skinning knife made of the shoulder blade of a buffalo, the handle bemg wound with buffalo hide. The wounded man wanted soup, but the party carried no utensil large enough for boiling meat. Eagle Shield, re- membering, however, that his grandfather told him how the warriors of his day cooked meat in the stomach casing of the slain animal, resolved to try the experiment. The casing, suspended on a tripod, was filled with water in which heated stones were placed. (See fig. 32.) 400 BUREAU OF AMERICAN ETHNOLOGY [BULL 61 When the water was boiling the meat was put into it, and the process of cooking was accomplished without difficulty.' The wounded man was refreshed by the broth, and after making him comfortable and cooking a quaitity of meat, the war party left him in charge of a young man. LFight days later another war party passing that way found the wounded man able to travel. He and his companion joined this war party and reached home in safety. As Eagle Shield, who gave this narrative, is a medicine-man who makes a specialty of treating wounds and fractures, his account of the man’s injury was somewhat professional. He said the injury was so severe that at first the bones protruded and buckshot came from the wound for some time, after which the flesh began to heal, and that in one moon and the first quarter of the next moon the leg was entirely well. Eagle Shield said that on one occasion he was pursued by Crow Indians as he was carrying with him a friend whose horse had been shot. This incident is depicted in plate 68, A. The following song was said to have been sung at this time, but the meaning of the words in this connection is not clear: No. 168. “One of Them Will Be Killed” — (Catalogue No. 521) Sung by EaGie SHrIEeLp Vorcr oe 104 Drum not recorded’ Q) (1) (1) si es ee ie -o- # -9- ft gees = SL Sar aSe Oke = ae ie oa 22 =e = i: = es ., lo - ka kin na- tan hi-ye - Gi yayn-ka yo ki (2) (2) i a SS ae Saar }— Gi yay-ka-yo ki - ¢i yay-ka-yo wan-Zi kte-pi kte-lo he ig 1 The writer saw a cooking outfit of this kind prepared and used in a Sioux camp at Bull Head, S. Dak., on July 5, 1913. The stones were heated in a fire near the tripod, each stone being lifted on a forked stick and placed in the water. A blunt stick was used in pushing the heated stones on the forked sticks, and a short stick was used for stirring the boiling meat. All these articles (shown in fig. 32) are now in the U. 8. National Museum, at Washington. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 68 A A HOENB CO. LITH INCIDENTS IN THE LIFE OF EAGLE SHIELD (DRAWINGS BY HIMSELF) A. EAGLE SHIELD IS PURSUED BY CROW INDIANS B. EAGLE SHIELD CAPTURES HORSES IN CROW CAMP DENSMORE] TETON SIOUX MUSIC 401 WORDS ‘Psa/loka, kanjcsuemecete sete ee the Crow Indians natayn “hi’yelo...........---...- come attacking kid yanke! weaeemeee es. 8 sit you with them Wah Zi’... Seen ese = one of them kte’pi ktelo*citete tease. usta will be killed Analysis.—The rhythmic form of this song is interesting. Two rhythmic units appear, which in the middle of the song are used alternately. In the second complete measure containing words the rhythmic unit begins on the second count of the measure, the first count being clearly accented by the singer. The progressions of the melody are chiefly by whole tones, 60 per cent of the intervals being major seconds. The other intervals are varied and range from a minor third to a tenth. The song is based on the second five-toned scale and has a compass of 12 tones. In structure the song is melodic, with harmonic framework. On one accasion when Eagle Shield led a war party against the Crows they found that the latter had picketed their horses within the circle of tents. Eagle Shield and a companion, having entered the village as scouts, saw these horses. (Pl. 68, B.) Eagle Shield said to his companion, ‘‘ Let us go and get some of the horses.”? His com- panion replied, ‘‘ No; if we do that the rest of the party will be angry.” Eagle Shield then said, ‘‘Let us each take one horse.’”’ His com- panion replied, ‘‘ You do it.” Thereupon Eagle Shield, creeping into the circle of tents, took two horses, a black and a brown, and escaped without detection. Kach mounting a horse, he and his companion reached their camp about daybreak. The loss of the horses was soon discovered by the Crows, who in- creased their watchfulness, so that the other members of the Sioux war party were unable to secure any horses. So it happened that Eagle Shield and his companion were the only ones who returned on horseback, the rest being obliged to walk. 402 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 Eagle Shield said that he sang the following song when he went to steal the Crow horses: No. 169. “I Intend to Take His Horses’? (Catalogue No. 522) Sung by Eacir Sareip Voice ¢ =80 (or g* =160) Drum not Lee pe er are es ray ees fomina iaeeee Kan-gi to-ka ki pe Le SSS wal)- bla-ke Gi - na - hay ta-Sun-ke kin-hay - éu wa- Gan -mi “2 —___—_$.~—__ ae SS Se ye he-éa-moy kin-hay o-ma-tin-in kte WORDS Kap sy sto*ke kino: tse: 35228. the Crow enemy * wanbla’ ke s¢i/nahay 2 2.22.02. 2 if I see him tagun’ke kinhan’ i¢u’ waéan’mi VOUS cocaine ete eee it is my intention to take his horses he’éamon Kighan’ ~ 2-22. 2-3. if I do this oma’ tannin “ktellour. 2 Ge i Ske it will be widely known Analysis.—The tempo of this song is slightly hastened in the first measure containing words, but the change is not steadily main- tained. The 5-8 measures, however, are clearly given and are accu- rate in time. (See song No. 64.) The triad of D major is strongly suggested by the melody progressions; but F, the third of that chord, does not appear. The song, however, is analyzed as in the key of D major. The third is absent from 12 songs in the series of 340 Chippewa songs, this peculiarity being considered in the analysis of song No. 53 in Bulletin 53 (p. 140). In the present work the third is absent from only five songs. (See p. 135.) The interval of the fourth is remarkably prominent in this song, constituting more than half the entire number of intervals. Switt Dog (Sun’ka-lu’zahan) was one of the oldest informants among the Sioux, being 68 years of age in 1913, when giving his information. Before beginning his narrative Swift Dog (pl. 69) said: “I am the son of an Hunkpati chief and it is from him that I BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 69 SWIFT DOG (JTSSWIH AS ONIMVEC) DOG LSIMS 4JO 3417 SHL NI SLNAGIONI 0 £31V1d 19 NIL3B7ING ASOIONHLS NVOINSWY 4O NVv3aHNa DENSMORE] TETON SIOUX MUSIC 403 get my fame. My father’s name was Running Fearlessly (Kagi’- gni-in’yanka). When he went to Washington, long ago, he was given one of the first medals that ever were made. It is now in. my. possession. I belonged to Sitting Bull’s band, known as the Band of the Bad Bow. In his portrait Swift Dog is shown wearing a headdress known as a “four-horned bonnet.’”’ He said that the Sioux onee killed an enemy who wore a headdress similar to this and imitated the design for their own use. This incident occurred in the year 1852, designated in the Sioux picture calendar Heto'pa un'way kte’pi, ‘winter of the killmg of the four-horned enemy.’ Several of Swift Dog’s war exploits are shown in his own drawing (pl. 70), and the songs accompanying these, exploits are given here- with. In this drawing (A) Swift Dog has shown the first encounter in which he killed a man. He was then 24 years of age and had been to war several times. This expedition was to the country of the As- siniboin, and the man whom he killed was a member of that tribe. In describing the event he said that the enemy was on foot, while he was on horseback, on higher ground. On this expedition he sang the following song: No. 170. “It is I, Myself” (Catalogue No. 583) Sung by Swirr Doe ; Voice ¢—80 Drvm not recorded (1) (2) (2) (Q) Sa pearae = ‘ ‘ Se : Ko - la-pi-la tu-waéay-te ka-Gas mi-Gay- te mi- ye o-ma-wa-ni ye WORDS MOINS, od ois \c de ee ree 2s eye friends UTS. WE ee: Se accra no one’s CON; eee Re Eo Ae Aa heart (cf. song No. 177) AGA fot eee ate Sates’ g Wace =e" it is mi¢an’te..........-.--------- my own heart HIPC e oes Sasa cameo eR cme I, myself ania wall ¥6O.-=2s-.0-244--=-- I am wondering 404 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis.—Progressions of a semitone characterize this melody, 55 per cent of the intervals being minor seconds. Strange to say, the major third is next in point of frequency, constituting one-fourth of the intervals, though the song is minor in tonality, and the minor triad on F forms the framework of the melody. The trend of the melody is such that F is considered to be the keynote, and the song is analyzed as in the key of F minor, though E and B are always sung natural instead of flat. This is one of many instances in which the term “key’’ is used for convenience, not as indicating a system of tones, all of which have an established relation to a keynote. In every rendition of this song the tempo began as indicated and after 10 or 12 measures began to retard, the words being sung in the indicated time. A dotted eighth and sixteenth note division of the count characterizes the rhythm of the song, and forms part of both rhythmic units. The upward and downward progressions are more nearly equal than usual, the ascending progressions being 20 and the descending intervals being 25. A change of tempo occurs in the song. (See No. 5.) While Swift Dog was chasing the Assiniboin they ran and hid in a white man’s house. Those who came near the window of the house were fired at by the Sioux. Meantime he stole one of the Assiniboin horses and rode away. He took a white horse with a saddle on it. (See pl. 70, B.) He said that he had a bow and arrows and shot as fast as he could, but did not know whether he hit anyone. At that time he sang the following song: No. 171. ‘“‘Horses I Seek’’ (Catalogue No. 584) Sung by Swirrr Doa Voice “l = 84 Drum not recorded ; (1) -9- -9- wplig x rat eres) Sl : o—, ee 2 2 SS Se s=58 (2) (2) (1) a + iaeik ower : _ Pagar Suy-ka - wa-kay o-wa - (2) ‘Sy oar (1) le Gan-nahe-¢Ga - mon we jh A DENSMORE] TETON SIOUX MUSIC - 405 WORDS Gay’ kawalksl).2-eteate Seen $8 os horses OWwa’ lec Fee See ees Coe I seek CSI) TS hE tee ek whenever He CAMGN; Wess eee ses ee I do this Analysis.—This melody contains little that is of special interest. It is based on the second five-toned scale and has only one interval larger than a major third. Two rhythmic units appear, each having the same division of the first two counts. Z ye - lo WORDS GHW OWE c/o. feiss oes eae why bila nitwols -$oS2 = 4s. eo. ees do you come Kel tno heyas. 222s oe ee eee ok toward here? Hehe oak ic ee ore ... When |] 11 AO: 2 = WAR he Re. Hace IT came Vas? VOl0n vss sccasedanse at ose se you cried (cf. words of song No. 12) Analysis.—The minor third and major second comprise all except four of the intervals in this melody. The final tone is low but audible in the phonograph record. As in many of these songs, the rhythmic unit appears in the first and last parts, but not in the middle part, which contains the words. ‘This shows a rhythmic form, which is interesting. This song contains all the tones of the octave except the second, has a compass of 10 tones, and is melodic in form. In explanation of 2, Swift Dog said that he chased a number of Crow Indians, but they escaped. This song relates to the expedition: DENSMORE] TETON SIOUX MUSIC 407 No. 178, “I Struck the Enemy” (Catalogue No. 586) Sung by Swirr Doa Voice = 60 Drum not recorded Degree * ¢ o- | -o'+ #. -*- 8 » .o- oe oy | as Spas a sss oni a = ¢ o fpepeteos a) o" |; = + Sear i PEeare Priesres == =5 E -han-na he-éa - mon ay #290 8 ao kte éuy nom - la - la ke a-wa - pe -lo he =. & ae Fe Bs oe @ eo ee ae eee eee eras] 3 ae hona-ya-hon - pi hu-wo WORDS Sey) eas Ps oS cen. ee a long time ago hevcamon ‘kte G@un-:..-==--2.. - I would have done this nom’ lala keg 2 = 22 Soe % 2 eis only twice again BIW DEO Sa seme tt oe clo I struck (the enemy) 110 Se oe ner ae. See eee S now naya honpi- huwo’es....22-.~-- do you hear it? Analysis.—This song was recorded twice, the duplication being accidental. Both records were transcribed and are given herewith. The first was by Swift Dog, the second by Kills-at-Night (Hanhe’pikte) and his wife Wita’hu (Woman’s Neck), women being accustomed to join in these songs. The melody tones in both instances are the major triad and sixth, but it will be seen that the note values differ slightly with the difference in the words, and that in the second rendition the words are so placed as to repeat the rhythmic phrase of the previous measures. This seems to indicate a feeling for a rhythmic unit. The first rendition is by an old singer, the second by a comparatively young man, who usually “‘sits at the drum” at tribal gatherings of the present time. His wife is considered one of the best among the younger singers. The first rendition is the more complete, as it gives a considerable part of the song before the introduction of the words. In both renditions about 28 per cent of the intervals are minor thirds. The song has a range of 12 tones and is melodic in form. 408 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 Duplication of preceding Sung by Kiius-at-NicHtT Voice aa 60 Drum not recorded WORDS ehan’na he’éamon...-.......- a long time ago Rta Geen elt code ee ee oe I would have done this OGell ad coos eee te tt See well tan in’yan yunke’ lo........ it is widely known IE LUE Gears eae eek tein fed now BAVA NO eS PClOsesee ane Sees you have heard it Analysis.—This is a duplication of the preceding, and its struc- ture is considered in the analysis of that song. The renditions by Kills-at-Night and his wife were recorded on two cylinders, each containing four renditions of the song. In every instance her voice was silent during the opening measures, the point of entrance varying one or two measures. The transcription shows the earliest point of entrance. The words, of course, are the same in both parts. The reason for twice recording this song by Kills-at-Night and his wife was that in the first performance there was a suggestion of ‘‘part singing,’ the wife holding a tone during the length of several tones in his part and then singing the delayed words rapidly in order to overtake him. The writer questioned the singers concerning this and asked whether they could repeat it. The woman said it was unintentional on her part, as she had a ‘‘catch in her throat,’’ and the seven other renditions showed no trace of it. Much concerted singing has been heard by the writer. In this the women invariably sing an octave above the men, the note values being identical. bENSMORE] TETON SIOUX MUSIC 409 F of plate 70 was said to represent animals killed by Swift Dog on the hunt. Depicting war exploits is resumed in G, concerning which Swift Dog said: It was almost winter when we went to the Crow country. It was very cold, but the river had not yet frozen. We made a corral near the river; then we jumped into the water and swam across to the side where the Crows were camped. The splash of the water was like that of great falls when we swam across. We drove all the Crow horses into the river and made them swim over. Then we put them into the corral until we were ready to start for home. No. 174. “I Come After Your Horses’’ (Catalogue No. 587) Sung by Swirr Doc VOICE ae 58 Drum not recorded aS SS Kan-gi to-ka ni - ie ae Pi Sos 2 eee ee - $un- ke hi-yo wa ‘we - lo blu-ha - “aren éa hi - 4a Eee Fs = = SSS eeeee pee yo wa-u we - lo WORDS Kangi’ to’ka..............-... Crow enemies Pattee MM KOrws 9S 5 = = Vo PSs your horses ivy owaw welo’ = . 2 2522... I come after Dpluibiakatsiepes, )- e ye 2S + I want to own them thy ho. UL a ee ae eee ee so VOM eWELO-=-5- =... ~ I come after them Analysis. —In this melody will be noted what is often referred to as ‘‘the influence of the rhythmic unit on parts of the song in which it does not occur in entirety.’”? Thus in the measure following the third occurrence of the rhythmic unit we have one quarter note followed by a group of four sixteenth notes, a reversal of count divisions appearing in the unit. The time quickens with the intro- duction of the words, a peculiarity often found in Sioux war songs, but not noted among the Chippewa. The song is major in tonality and progresses largely by whole tones, the major second constituting 46 per cent of the entire number of intervals. With the 410 BUREAU OF AMERICAN ETHNOLOGY {BULL. 61 exception of three ascending fourths all the remaining intervals are major and minor thirds. The melody tones are those of the fourth five-toned scale, but the tonic is not prominent, the song beginning and ending on the third. The melody is harmonic in structure. Three renditions were recorded; these show no points of difference. Concerning a change in tempo see song No. 5. See plot of this melody on page 419. No narrative was given regarding H of this drawing (pl. 70), Swift Dog simply stating that he and his brother-in-law went after horses and each secured three, the following song being sung: No. 175. “‘Two War Parties”’ (Catalogue No. 588) Sung by Swirr Doa VoIcE US 54 Drum not recorded PE eM es ee Se So ————— 4—_0__« _«. «| «—_#* 3 Se So uty yas now sia te “OR -. ee ee ee ee he 2 SoS | 3 5 MA =. WA= Tl ye-< No) soi —) -v6 Suy-ki - én wa-Gin-héi o - WORDS zuye. mom fels. 2 2. oe eee two war parties oma wanl Velo=2. eee I roam with IVY OC wao 2. seen 6 ee I, myself San ki’6n.'. See to capture horses WAGLD ANGI. 45/012 CP ee was my desire oma’wani yelo’. ... <0: 824 ~< in roaming about Analysis.—The proportion of minor thirds in this major song is larger than usual, the minor third forming about 60 per cent of the entire number of intervals. The major second is the, only other interval used in descending progression. The song is based on the EEE ae DENSMORE] TETON ‘SIOUX MUSIC 411 fourth five-toned scale, has a compass of 10 tones, and is melodie in structure. No rhythmic unit appears in the melody, and the time was not strictly maintained. The incident depicted in J is connected with the song which appears below. Swift Dog said: “When the railroad first passed through the Black Hills we went on the warpath as far as the end of the road. We went through Shell River. I do not remember what tribe we went after, but I think it was the Omaha.” Swift Dog captured a horse which he gave to his sister with the following song: No. 176. “‘Sister, I Bring You a Horse’? (Catalogue No. 589) Sung by Swirr Doa VoIcE d= 80 Drem not recorded sagt: | saat Tay - ke hi-na - pa yo §un-ka-wa-kay a-wa - ku-we ho hi-na - pa yo wan-zi lu-ha kte WORDS SUT se ee ee older sister igetp VO Se oe Nase: come out ‘ Sun; kawakanes5....2: 2 ).4 horses 2 . awe luwerhossses. s.f2.i4). I bring A ee come out Nie aa rr one (of them) bar hes be. ts ee eee you may have (cf. words of No. 145) Analysis.—Three renditions of this song were recorded, in each of which a short pause was made after the third and sixth measures, and also after the fourth measure containing the words. These pauses were not such as are indicated by rests, but. appeared to be merely breath- ing spaces. Such pauses are unusual in thesinging of Indians and were probably due to the fact that Swift Dog recorded his songs during a period of intense heat, in a small, close building. Considering B flat the keynote implied by the trend of this melody we find the melody tones to be those of the fourth five-toned scale. 412 BUREAU OF AMERICAN ETHNOLOGY - (BULL. 64 This scale is major in tonality, yet about 55 per cent of the intervals in the song are minor thirds. Only four intervals occur which are larger than a minor third, all of these being in ascending progression. Oup Burra.Lo’s War NARRATIVE In August, 1913, Old Buffalo (Tatank’-ehan’ni) (see pl. 41), with Swift Dog came to McLaughlin, S. Dak., to confer with the writer. They regarded this conference very seriously. Old Buffalo said, ‘“We come to you as from the dead. The things about which you ask us have been dead to us for many years. In bringing them to our minds we are calling them from the dead, and when we have told you about them they will go back fo the dead to remain forever.” Old Buffalo was born in the year 1845, desizantel in the Sioux picture calendar Titay’ka oble’éa kaha'pr kin wani'yetu, ‘Winter in which lodges with roofs were built.’ When he was 28 years old he Fie. 33. Incident in the life of Old Buffalo (drawing by himself). led a war party against the Crows. On this expedition he and his comrades were entirely surrounded by the Crows, an event which Old Buffalo depicted in a drawing. (Fig. 33.) Old Buffalo said that at the time of this expedition his band of the Sioux were living in the ‘‘Queen’s Land” (Canada), but had come down to the United States on a buffalo hunt. From this temporary camp the expedi- tion started under his leadership. a. Old Buffalo said further: ! One night the Crows came and stole our horses. I had an older sister of whom I was very fond. The Crows stole her horse, and she cried a long time. This made my heart very bad. I said, “I will goand pay them back.” A friend said that he would go with me. I said to my friend, “We will go and look for the Crows. Wherever their horses are corralled we will find them.’’ Eleven others went with us, so there were 13 in the party, and I was the leader. It was in the coldest part of the winter, the moon called by the Sioux Cay napo’pa wi, ‘Wood-cracking moon’. The | This narrative was interpreted by Mrs. Hattie Lawrence (see p. 365), and is given as nearly as possible in her words. Another narrative by Old Buffalo appears on p. 274. ‘bENSMonE THTON SIOUX MUSIC 418 snow was deep, and I am lame in one leg, but I was angry, and I went. I thought, “Even if I die, I will be content.’’ The women made warm clothing and moccasins for us to wear, and we started away. We carried no shelter. When night came we shoveled aside the snow and laid down brush, on which we slept. At the fork of the Missouri River we took the eastern branch and followed its course. It was 11 nights from the fork of the river to the enemy’s camp, and every night we sang this song. It is one of the “wolf songs.” (See p. 333.) No. 177. Song of Self-reliance (Catalogue No. 636) Sung by Otp Burrato VOICE d= 76 Drum P| — 76 Drum-rhythm similar to No. 5 K-ya mis-e - ya tu-wa éay-te ka - GaS e - Gin Sunk 0 t Te 2 ca we Sf ta et a a za = : =H =— | = : 0 - wa-le WORDS Cy a ae. 2 23 a ee WELL miseya’ tuwa’ éante’.......-. I depend upon no one’s heart (or courage) but 5 my own (cf. song No. 170) MASc t eh tase sises 2 eek so GIN eet Rete k, Semen Sf S2 Sic thinking this BMI) OWA Oct S seventh 2 I look for horses Analysis—Like many other melodies on the fourth five-toned scale, this song contains a large proportion of minor thirds, in this instance 58 per cent of the intervals, while the major third does not appear. The song has a compass of an octave, extending from the dominant above to the dominant below the tonic. Two-thirds of the progressions are downward. The chord of B major is prominent in the melody, which, however, is not harmonic in structure but is classified as melodic with harmonic framework. Three renditions were recorded; these are uniform in every respect. See plot of this melody on page 419. 414 BUREAU OF AMERICAN ETHNOLOGY (BULL. 61 Old Buffalo continued: As we neared the end of our journey, we were overtaken by a fearful blizzard. There was a butte in which we found a sheltered place and stayed for two days, as my leg was very painful. After the storm subsided we looked around and could see the enemy’s village. Night came again, but my leg was so painful that we rested another day. The next afternoon, as the sun was getting low, I tightened my belt and made ready for whatever might befall. We walked toward the enemy’s village and entered a rocky country, like the Bad Lands. Then it was dark. A great number of Crows were camped at this place, and there was dancing in two parts of the village. We were close to the village, but no one saw us. Only the dogs barked. We went up to the edge of the village and got in where there were many horses in a bunch. We drove the herd before us, and they trotted quietly along. After getting a safe distance from the camp we mounted some of the horses and drove the rest before us. We did not stop, but kept the horses trotting fast all night. When daylight came we counted the horses and found that there were 53. All that day we traveled, and as the sun sank we rested. We were tired, as we had no saddles, and that night we slept. The next morning there came another terrible blizzard. My eyelashes were frozen so that I could scarcely see. I went back a little distance to see if we were being followed, then I returned to my companions. I had realized that the tracks of the horses made a trail and I saw that the enemy were pursuing us. This was my war party and I felt a great responsibility for its safety. The Crows overtook us and secured most of the horses which we had captured from them. We jumped down a steep rocky place, and soon we were entirely surrounded by the Crows. A Sioux boy, about 15 years old was with us, and he was shot.in the back. We fought as long asthe sun moved inthesky. It wasahard struggle. Every time we fired a gun it turned white with frost. During this fight, I sang a very powerful song of the Fox society, to which I belong. [Concerning the Fox society, see p. 314 et seq. ] No. 178. “I Am the Fox’’ (Catalogue No. 637) Sung by OLtp Burrato VoICcE a= 66 Drem not recorded 22 @ —~ —— zie ste -p- . fe -p-* —- Eo a= -8- . £ -p-* x “ tae 2 = =! + E = t To - ka - la kon mi - ye ye -lo ta,-ku 0 - te- hi-ka o- wa - le ye+lo DENSMORE] : ‘TETON SIOUX MUSIC 415 WORDS Lia) etl YEN 0 5 Pe en ae the fox BELVO" VOR. 22 ee Ae ele Tam BOGUS «c= cite ee ote something SIS SAND toy 5,5 ht act age ent Ste” difficult mya’ le syelo’ 2 s2dy 2) ect oa I seek Analysis.—This is a particularly interesting melody. It contains only the tones A, B, C, and E, these being the tonic triad and second in the key of A minor, and the song is analyzed as being in that key. The melody is framed on the interval of a fourth, almost half the entire number of intervals being fourths. The major third occurs four times, but the minor third does not appear; there are, however, four minor seconds, or semitone progressions. In structure the song would be harmonic except for the accented B near the close; it is therefore classified as melodic with harmonic framework. Songs containing only one accented nonharmonic tone ate frequently noted in both Chippewa and Sioux music. At the opening of the song there is a repeated phrase, which is not considered a rhythmic unit because it has seemingly no influence on the rhythm of the song as a whole. Its repetition on the same tone suggests that it may be simply an introductory phrase. The final tone is immediately pre- ceded by a tone a major third lower, this close beg somewhat unusual in the songs under analysis. The account of his exploit was resumed by Old Buffalo as follows: The Crows took the saddles from their horses and charged back at us, but our fire was more than they could stand, and they finally retreated, leaving their saddles on the ground. We captured these saddles and took them back to the place where we were first overtaken by the Crows. There we found only four horses alive. We put one of the captured saddles on a horse and lifted the wounded boy to the horse’s back. I held the reins and walked beside the horse all that night. When daylight came we rested. The boy had no pillow, so I lay down and he laid his head on my body. There was timber near the place, and the next day we made a travois for the boy, and I rode the horse that dragged it. That night we traveled on, and about midnight we reached a certain place and made a camp. We had occasionally killed a buffalo for food, and as the men on foot had worn out their moccasins, we took fresh buffalo hide and tied it on their feet. The three horses ran away, but we caught them. All the following night we traveled, and the next day we were at the fork of the Missouri River, where we stayed two nights. While we were on the warpath our friends had finished their- buffalo hunt and returned to Canada. I kept four men with me and the sick boy, and sent the others home to make a report of the expedition. We kept the horses with us and followed slowly. The boy was thirsty, and as there was no cup I took the hide of a buffalo head, put snow in it and then put a hot stone in the snow. Thus the boy had hot water to drink. He wanted soup, so I took the buffalo tripe and boiled meat in it. So the boy had soup. (See p. 399.) 416 BUREAU OF AMERICAN ETHNOLOGY (pubt, é We camped for a time beside a creek, and as we came near the ‘‘Queen’s Land’’ we camped again. There the father and mother of the boy met us. They had heard the news from the other members of the party and started at once to meet us. After we had given the boy to his parents we went on with the horses, leaving them to travel more slowly. It was dark when we reached home, and we fired our guns to let the people know of our coming. The next day the boy arrived. For two days and nights [stayed with him constantly. I did this because I felt myself to be the cause of his misfortune. The boy had come to call me “‘father,’’ and at the end of this time he said, “‘ Father, you can go home now to your own lodge.’’ I went to my own lodge and slept that night. The next morning the boy died. He is always spoken of as Wana/gli ya’ku, ‘ Brings the arrow,’ because he brought home the arrow in his body. I did not keep any of the horses for myself, because I was the leader of the war party. Fic. 34. Incident in the life of Old Buffalo (drawing by himself). Another expedition was described by Old Buffalo and illustrated by a drawing (fig. 34). Concerning this expedition he said: A large number of Sioux were once moving camp, and five men left the party to steal horses. They were successful, and brought back 30 horses. The enemy were also moving camp. I made up my mind that I would go and see if I could get some horses, too. So I sent for a young man and talked with him about it. Then I said, “We will go;” and he replied, “I will go with you.’’ One man asked to go with us, making three in the party. I said, ‘“‘ We will start without telling anyone and travel in the creek, so they will not know how we went.’’ The one whom I invited gave up going at the last moment, but the man who had volunteered to go left camp with me while everyone was asleep. ; On our expedition we sang this song, hoping that we would capture many horses: DENSMORE] TETON SIOUX MUSIC A417 No. 179. “I Look for Them” (Catalogue No. 638) Sung by Otp Burrato VOICE aS 72 ay Drum g=—72 Drum-rhythm similar to No. 5 —~ of? @ @ 2 pe + eas ala Se rade pe gp ae ee eas a ~ 9-9. 7 ae a Be Oe eg age pun geal lye Zee —— EE == a Ba ae oe oe. @ — +- ned ey Tn ee a Wr ee 2 : =a ene Og | 9909 [D5 a Kayn-gi wi-Ga -Sa kin o-wi-Ga-wa-le i yae ivya i- ie ‘ -9-* —_9- ) Yak aaa oa Pee a : ye-wa-ya ¢a 7% ya ta - Sun-ke kin a-wa-ku-we WORDS Kangi’ wiéa/ga kin........... the Crow Indians OWS CAWaLB sooo ee I look for them CRY GE 5 a a a I found them veh SOR SE Ons a en ee a so tau Keskin eras eats their horses WA WE ak. seeks os pede I brought home Analysis —This song contains only the tones of the minor triad and fourth. Unlike the preceding song, from which the minor third was entirely absent, that interval constitutes about one-third of the intervals in this song. The fourth is also prominent in the melody. Exactly two-thirds of the intervals are downward. Except for the accented. B the song would be classified as harmonic in structure. The form of the melody is simple, the song beginning on the octave and twice descending to the tonic along the intervals of the tonic chord. In conclusion Old Buffalo said: We found the direction in which the Crows were traveling, went around, and headed them off. It was almost dark when we approached their village. They were camped inacircle. The afterglow was still in the sky and this ight was back of us as we went up a little creek from that direction toward the village. We could see the cooking fires. We were on horseback, and we lay flat on our horses, leaning close to the horses’ heads. So we crept near to their horses. 418 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 When we stepped among the horses, one of them snorted at a stranger. Then the Crows came with their guns. They had seen us, though we did not know it. My eyes were only for the horses. They began firing, and before I had a chance to get away my horse was shot. I snatched the reins and pulled, but the horse’s jaw was © broken. I went on. They shot again, and he fell. I jumped as he went down. The man who went with me ran away at the first attack and left me alone. I ran ahead, and as the Crows were loading their guns, I dodged from one shelter to another. They kept firing in the direction I had started to go. The young man who ran away saw me. He was in a safe place, and he shouted, “Come this way.” He was on horseback, and we sat double on his horse. We traveled some distance and came to the creek by which we had approached the Crow camp. We staid at the creek that night. The Crows broke camp, and late the next day we went back to the deserted ground. There lay my horse, dead. We examined the horse and found that his shoulder was broken. My oldest sister had raised that horse. We went back to the creek and staid that night. The Sioux were moving to their last camp of the year, and there we joined them. Priors oF Sones oF WAR The songs of war, as already noted, are called “wolf songs.’”” Many of them make reference to the wolf and many pertain to horses, hence we find among the plots of these songs (fig. 35) numerous examples of Class D (see p. 54). Song No. 120, however, is an example of Class A; No. 101 has the same general trend; and No. 136 is a good example of Class B. These types, as already stated, appear throughout the series. The interval of a fourth is prominent in songs concerning animals and implying motion, and this appears in the plots of the songs. Songs Nos. 111, 127, 145, and 174, as reference to their respective titles will show, are songs concerning horses, and the plots of the songs are seen to resemble one another. Songs 146 and 161 con- cern man and contain the idea of motion; their titles are, respectively, “He is returning,” and “I wish to roam.” These plots show the characteristics of Class D. No. 177 is called “‘ A song of seli-reliance,” and we note in the plot of the song the emphasis and dwelling on the lowest, or keynote, which characterizes Class C and appears to be coincident with firmness of purpose and self-confidence. The interval of a fourth characterizes songs Nos. 99 and 100, the first of which is a song concerning the buffalo, and the second, the personal song of a man named Brave Buffalo, the words being “Brave Buffalo I am, I come.” Such a song as the latter would undoubtedly be received in a dream of buffalo. The ascending interval at the opening of song No. 99 suggests Class E (see p. 519), and on reference to the words of the song we find in them the idea of suffering on the part of the buffalo, who are being driven in such a way that the wind strikes their faces like a lance. DENSMORE] TETON SIOUX MUSIC 419 ANALYSIS OF WAR SONGS The songs of the military societies and the songs of war are divided into two analysis groups, the first comprising songs a majority of which are believed to be more than 50 years old and the second comprising songs believed to be of more recent origin. Ceeee eee f 4 Ty L | Ty LAT aaineas aeeae SEEN AVASS pNP AY van —] Nf EGS eRe a wed pF, , | HBS eoRae: ERBaABeaaa No, 145 over tae voSreeses [TAT TI awine HIN To HH panel Fitoey Ab.GF,.8 ENE HH HE a a gt Ee en enVAN Psa i telson No. 174 cleo aug os 7X | rH a AN = Se — rH BS Pe I NESUEEEEEY,teeeene TTA LTT | \| | TZ TANT TT ads eerseneeers HH iavice teuadatay is IT bed EEE EEE No, 146 Veal ele a “ar arun PT TT NTT AR TI CTT AT NT eeeeer saan Znaaa NA HA ast = NN Sass aaitaa ianeenaneedeanennad No. 177 No. 99 Fic. 35. Plots, Group 5. In the first group are the songs of the Miwa’tani and Kangi’yuha, the older of the military societies, together with the older war songs. This group comprises songs Nos. 122, 125-177, and No. 179. In the second group are those of the military societies more recently organized among the Teton—that is, the Fox, Badger, and Strong Heart societies, and the White Horse Riders—together with war songs found in the description of the Sun dance, and in the 420 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 section on war customs; also such songs in honor of an individual as were sung to the melodies of these war societies. This group com- prises songs Nos. 6, 7, 8, 9, 10, 22, 23, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 114, 115, 116, 117, 118, 119, 120, 121, 128, 124, 178, 223, 224, 225, 231. The age of many war songs can not be stated with exactness, but the division between these two classes has been made as nearly accurate as possible. The first of these analysis groups marks the end of the older songs contained in this volume, and with the second analysis group we enter on a consideration of musical material which is comparatively modern. Old Songs—(6) War Songs (section 1) Metopic ANALYSIS TONALITY | Number | eke of songs. | Serial Nos. of songs. ——_____ | Pe ee ae ee ee oe 23 | 128, 131, 132, 134, 137, 144, 151, 153, 155, 156, 157, 159, 160, 163, 164, 165, 169, 171, 173, 174, 175, 176, 177 MnO 22 gs} outs c FoR ok ct Ree ee ee eee ease 31 | 122, 125, 126, 127, 129, 130, 133, 135, 136, 138, 139, 140, 141, 142, 143, 145, 146, 147, 148, 149, 150, 152, 154, 158, 161, 162, 167, 168, 170, 172, 179 Prrpenlars yay ose dn ss eet aie ee Soja ta tenacane ees 1 | 166 FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE Number of songs. Serial Nos. of songs. Beginning on the— 4 ABs lini eee sere oh deep preeicgnee ng el CES ad 7 | 122, 130, 136, 139, 143, 158, 168 Bloverth: «22-5 Seer ae ae Sao ct eeekeae eee 1 | 150 Tenth. cout 2. Sess eee he SE eee 3 | 142, 172,173 Ninth. oie. be Seek ee een ae Seo 2 | 138, 157 Octave:.c-.: Bee pee ee eee sae. 14 | 129, 133, 134, 135, 141, 145, 148, 152, 154, 159, 160, 161, 162, 179 Rifts: ove a '4.0 o's oa nk aattnele eee 5 Me Oer Cee tenelsh = kinetic wma on ns oS ae So 1, 097 | 1 DENSMORE] TETON SIOUX MUSIC 431 Comparatively Modern Songs—(1) War Songs (sec. 2)—Continued Metopic ANALYsis—Continued INTERVALS IN DOWNWARD PROGRESSION Number of songs. Interval of a— Minor Sixth’ ise i ek 3 | 31, 35, 116 EY STAM ps, STE a ea Go 4 | 26, 114, 117, 119 Ud Meena esa tO Re ee eee oe le. Se 1 | 28 AEE eae at SUR ae anes, oe ee? ont 21 7,9 UE ine ce ees a Bed), oe 3 | 8, 118, 121 MD ee Ss 5 88 ne ee eet ee Pec eet awe da acd dance ds 1] 10 DG ae Ga ae Oe ee eS 3 | 32, 33, 34 RROD tt an. acme onarie an aaa Scene Smee 32 METRIC UNIT OF DRUM (TEMPO) oven Seridl Nos. of songs. Metronome— ee DGS See SEE LAA, Se 1 | 114 GOs Aid ececies s Teeeet te ee 1 | 29 Ls ge SSS a Sie eR 1 | 124 GB Paw scx ccwitcine Sete eee cee ie eee cose eae 1 | 123 NGO rede So eee Sees. See ren fy Eee 1 | 27 BO has nce et sect eo Ne ie te ee ete B55 4 | 6,30, 115, 120 Shs. aloes é Seiatee oe BOE GE ES ee ee eke oe oon ee 2 | 31,35 BB oa. Sed Os 6 ssa ae tee OE em ee eon ee eee 3 | 26, 117, 231 O25. z Seete oS ae Sema te on oa ee ene eae 1 | 28 963 focd2 no obes che Cee oo ec de eee eee 2 | 8, 119 104: 2235. s Shae Re ee cere 4] 9,10, 118, 121 DO oc a ciiciea-s saan dt siete Sae See ROR Ce IS ee 3 | 32, 33, 34 Drum not recorded): 2: .s2c5cc.e ee ee eee 8 | 7, 22, 23, 116, 178, 223, 224, 225 Total 2.0. tetkp ck acs eee ee ee eee 32 | | f pENSMORB] TETON SIOUX MUSIC 435 Comparatively Modern Songs—(1) War Songs (sec. 2)—Continued Ruytumic ANALYstis—Continued COMPARISON OF METRIC UNIT OF VOICE AND DRUM Number s : of songs. Serial Nos. of songs. Drum and voice having same metric unit............. 16 | 6, 26, 27, 28, 30, 31, 32, 33, 34, 35, 115, 117, 118, 120, 121, 123 num) faster than ‘voices. : 2%. -. ost scgact A we sccee cee 3 | 9,119, 231 rum slowertOan VWoOlce«<. 253-022 eee soca eon eo ; 5 | 8, 10, 29, 114, 124 Drum'\not recorded). 2-21. F.. es ess. Ses es 8 | 7, 22, 23, 116, 178, 228, 224, 225 OTA Sos tesa sac ee a nc See main Sam es ee te ee oe 32 A majority of the remaining songs in this work are comparatively modern, their analyses, together with section 2 of the war songs, com- prising Group 2 in the collective analyses shown on pages 12-21. THE BUFFALO HUNT (WANA/’SAPT?) The buffalo may be said to have been the essential element in the life of the Plains Indians, as it supplied them with material for their tents, clothing, and moccasins; with food and containers for food, and household articles; with tools for their handicraft, and even with fuel for their fires. Every part of the animal was utilized. Among the less familiar, articles made from parts of the buffalo were handles for small tools. These were fashioned from a certain heavy sinew of the neck, sharp needles of bone or metal, and knife blades, being inserted in pieces of the ‘‘green’’ sinew. When dry the sinew served as a firm and servicable handle for the tool. It is said also that a heavy sinew of the buffalo’s hind leg was dried and cut into _arrowpoints. The tribal life of the Sioux passed away with the herds of buffalo. The last great buffalo hunt on the Standing Rock Reservation took place in 1882, under the supervision of Maj. James McLaughlin, then Indian agent on that reservation. During this hunt 5,000 buffalo were killed, the hunting party comprising about 600 mounted Sioux.2, Major McLaughlin became agent at Standing Rock in 1881, ‘ that year being designated in the Sioux picture calendar Wable’za Tatay'ka-iyo'take wana’ nape’yuza wani'yetu, “Winter in which Major McLaughlin shook hands with Sitting Bull.” The following year is called wable’za Lako'ta ob wana’sa ipi’ wani’yetu, “ Winter in which Major McLaughlin with the Sioux went on a buffalo hunt.’ The drawing which marks this year is shown in figure 36. A graphic account of buffalo hunting is given by Catlin, who took part in the buffalo hunts of the Indians in the same part of the country, many years ago.® In studying the customs of the buffalo hunt among the Teton Sioux the writer interviewed many old men, later reading the unfinished narrative to them so they might discuss it and make cor- rections or additions. The completed material comprises an account of the making of buffalo bows and arrows, and the cutting up of the buffalo, by White Hawk, a narrative of the searching party by Siya’ka, and an account of the hunt consisting chiefly of information given by Swift Dog and Gray Hawk. 1 This word means “hunt,’’ the name of the animal to be hunted being understood. (Cf. use of the word itay’éan, footnote, p. 70.) 2 McLaughlin, James, My Friend the Indian, pp. 97-116, Boston and New York, 1910. 8 Catlin, George, The Manners, Customs, and Condition of the North American Indians, vol. 1, pp. 251-261, London, 1841. Cf. alsoa description of the hunting customs of the Omaha in The Omaha Tribe, Fletcher and La Flesche, op. cit., p. 275, 436 ‘DENSMORE] TETON SIOUX MUSIC 437 The usual time for a buffalo hunt was the early fall, when the buffalo came down from the north, but a few could be found at almost any season of the year. The medicine-men had an important part in maintaining the food supply for the camp. They sometimes gave warning of times of scarcity and advised the procuring of a liberal supply of food. This advice was heeded and a special hunt was made. There were times when it was not permissible for a man to hunt independently. At such a time, if a man were found with a supply of fresh meat which he could not satisfactorily account for, it was the duty of the aki’cita to seize it. Further, they might beat the man with clubs and tear down his tipi. (See p. 313.) The making of bows and arrows for the buffalo hunt was described by White Hawk (Cetan’ska), a Sioux from the Cheyenne River Fic. 35. Drawing from picture calendar—the year of the last buffalo hunt. Reservation (Mr. Edward Swan interpreting). Although these were said to be ‘‘buffalo bows and arrows,” it is probable that they were similar in design to those used in war. White Hawk said: The buffalo bows of two men were seldom exactly alike, either in pattern or in strength, but one characteristic which all had in common was that the place for fitting the arrow was nearer the upper than the lower end of the bow, the lower section being longer and thicker than the upper. Some men used the wood of the cherry or plum tree for their bows, while others preferred the crab apple or some other hardwood. The back of the bow was covered with sinew which had been made flexible by rub- bing and then dried. When this was ready the back of the bow was cut in numerous places and covered with glue made from the hide of the buffalo, the part used for this purpose being a strip between the horns, back of the eyes; the sinew was then applied and became part of the bow. The string of the bow was of the sinew of the buffalo bull, twisted and dried. White Hawk said further he knew of three kinds of arrow points: (1) His great grandfather used arrow points of cut flint; he had seen 4840°—Bull. 61—18——30 458 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 - these as a boy, but had never used them. (2) His father used arrow points of bone, made from the outer thickness of ribs or marrow bones. (3) He himself used arrow points of steel. It was the custom in his hunting days to cut arrow points from the thin frying pans sold by traders or used by the soldiers. Feathers used on the arrows were not confined to any one kind. Some used feathers of the prairie hen, owl, or chicken hawk that were large enough to split, while others used the smaller feathers of the eagle or buzzard. White Hawk said that after splitting a feather he held one end in his mouth and ‘‘scratched it carefully with a knife to smooth it.”” Three feathers were fastened to each arrow. Glue was placed under the. feathers and under the arrow point, both being fastened by Eee nee of deer sinew. It was said that a good bow would send an arrow into a buffalo so that the arrow point was imbedded in the flesh, an excellent bow would drive it in almost to the feather, while a fine bow would send the same arrow clear through the animal. The proper length for a man’s buffalo arrow was the distance on the outside of his arm from the elbow to the end of the third finger, plus the length of his hand from the wrist to the large knuckle of the third finger. It was the intention to make the arrow as light as possible, therefore the woods preferred for the shaft were juneberry (wi’pazukahu) and wild currant (wiéa’ganaskahu). These were so flexible that if a buffalo fell on an arrow, the latter bent without breaking. Thus the arrow could be recovered and used again by its owner. Certain lines were cut in the shaft of an arrow ‘‘to make it go straight.” A straight line about an inch long was cut in the shaft, extending downward from the point of attachment of the feather. Then the graying tool was held firmly in the hand while the shaft was moved sidewise, so that the line became wavy. At a distance of about 3 inches from the arrow point the shaft was held still so that a straight line was again secured. White Hawk said that the proper manner of cutting these lines was ‘‘the result of long experience,” and that an arrow would not move in a direct course without them. After fastening the arrow point and the feathers, and cutting the lines, the maker used a pair of small whetstones in polishing the shaft. These were said to be composed of a certain kind of stone found in the Black Hills, which was rather soft. A groove was cut in each whetstone, the grooves being of such size that when the stones were fitted together, the opening formed by the two grooves was the diameter of the arrow shaft, which was polished by moving the stones to and fro. In order that the surface of the arrow shaft might be kept clean the whetstones were brushed with buckskin after being used and were then carefully wrapped in the same material. DENSMORE] TETON SIOUX MUSIC . 439 Each man had a special mark for his arrows. Bear Face (p. 78) said that he considered pelican feathers as best for arrows, and that he always used one pelican feather on his arrows, the other feathers being taken from some other bird. Others are said to have painted their arrows red, or with a blue section in the middle, or to have made ‘‘dents” in the shaft, each man using his own device. As a final process the shaft of the arrow was smeared with buffalo blood, White Hawk saying this made the arrow go more smoothly through the tissues of the animal. Most quivers held 10 arrows. A man might make his own quiver, although he usually ordered arrows from an arrow maker, a hundred atatime. Red Fox (pp. 90,375, et seq.) was known as a skillful arrow- maker in the old days. A buffalo hunt frequently took place when the tribe was about to move to anew camping place. In describing such a hunt Siya’ka said: When the tribe was about to move to a new camp the old men met to decide whether there was enough food to last for a considerable time. If it was decided that a hunt was advisable these old men consulted the leaders in the various societies (as the Strong Heart or White Horse societies), and together they decided on the young men who were to go and search for the buffalo. This task required young men who were known to be truthful and faithful to duty, as well as possessed of the neces- sary physical ability and general equipment. Only men were selected who were known to be ready, as there was not sufficient time to prepare after they were notified. This was one of the greatest honors which could be conferred on a man, as it indicated that the tribe depended upon him for help in the food supply, without which it could not exist. It was necessary that these men know the topography of the country and understand the ways of the buffalo. These young men were notified, and as soon as they could make the arrangements which of necessity must be left till the last moment, they went to the center of the tribal circle, with their equipment of food and extra moccasins, each man carrying also a drinking cup and perhaps some cooking utensil. The man who was first selected was the leader of the searching party.'. Their relatives were so gratified that the young men were thus honored that they gave away many presents when the party started out, these presents being valuable and including horses and blankets. The departure of the searching party was a great event.2, They were gathered in the midst of the camp circle, surrounded by rejoicing and gifts. A man recognized for high standing in the tribe was chosen to ‘“‘start them off.” A stick was placed upright in the ground, and he led them as they marched single file around this stick. The stick signified an enemy or a buffalo, and no one was allowed to strike it unless he had killed either an enemy or a buffalo. The man chosen to start off the party was usually a man who had done both these. People on horseback were ready to escort the party from the camp. The direction in which the buffalo were probably located was pointed out, and the party started in that direction. They moved with a dancing step, and no drum or rattle was carried. The following song was sung at this time. 1 Siya’ka was once appointed leader of a searching party, and six times was a member of such a party. Bows and arrows were used on those hunts. 2 Compare description of departure of those who went to select the Sun-dance pole, p. 107. 440 BUREAU OF AMERICAN ETHNOLOGY BULL. 61 No. 180. Song of the Buffalo Hunt (a) (Catalogue No. 475) Sung by Stva’/Ka Voice e = 92 {==2 Drum g— 92 Drum-rhythm similar to No. 6 Analysis.—The tones in this song are E flat-G—B flat and C. By the test of the ear E flat seems the most satisfactory keynote; the song is therefore classified as major in tonality, and its tone material -is considered to be the major triad and sixth. The tonic is found only in the upper octave and in connection with C, forming the interval of a minor third, which comprises 69 per cent of the entire number of intervals. In this, as in many other Indian songs, the fact that a certain tone seems the keynote of the song does not imply that the corresponding ‘‘key”’ is fully established. Six renditions were recorded; these are uniform throughout. The song as a whole has an interesting completeness of rhythm, though there is no repeated phrase which can be regarded as a rhythmic unit. rd . . Siya’ka continued: After the escorting party had returned to the camp, the searchers were entirely under the control of their leader. Sometimes he assigned a territory to each of his men and scattered them over the prairie, directing them to meet at a certain time and place. When the men made their report to him, they were expected to be definite and sure in their statements. If they reported that they had seen buffalo they must be able to give an estimate of the number in the herd. It occasionally happened that a searching party was unsuccessful. In that event they straggled back to the main camp, attracting as little attention as possible. The longest absence of a party remembered by Siya’ka was 12 days. As soon as the searching party had started, the tribe broke camp and began its journey to the place designated for the next camp, where the searchers were expected to make their report. Having reached this place and made their camp, they began an anxious watch for the return of the searchers. Men were stationed to watch for them, and if these men saw them coming they returned to the camp, and the crier announced to the people that the searching party was in sight. The searching party gave certain signals to indicate the result of their search, running back and forth if the buffalo were close at hand, or waving a blanket at its full width and then laying it flat on the ground if they had seen a particularly large herd. Some went on horse- back to meet them, and the entire tribe assembled in the middle of the circle to hear their report. The following song was sung as they returned. DENSMORE] TETON SIOUX MUSIC 44] No. 181. Song of the Buffalo Hunt (b) (Catalogue No. 476) Sung by Srya’Ka VorcEe g— 80 Drum ed -- 80 Drum-rhythm similar to No. 6 vides a Analysis.—Five renditions of this song were recorded. The time was not strictly maintained, and the rhythm of the opening measures was difficult to discern; however, as in all such songs, when the correct note values are determined it is found that all the renditions are alike, and that the rhythm is in reality quite simple, The only. ascending intervals in this song are the major second and fourth, and the only descending intervals are the major second and minor third. The song is based on the fourth five-toned scale, has a compass of nine tones, and is melodic in structure. The party entered the tribal circle with the leader in advance.' The stick was again placed upright in the ground, and they circled around it, many strikingit. In the middle of the council tent a small space of bare ground had been made ready. This was hard and smooth, not pulverized as in the Alo’wanpi ceremony, the Spirit- keeping ledge, and the Sun-dance ceremony. [See pp. 71, 82, 122.] A buffalo chip was placed on this bare ground, and beside it were placed a little sweet grass and a pipe filled and ready to smoke. The searcher who was first to see the buffalo entered the lodge in advance of his companions. As they entered the lodge many of the people stood with hands upraised, then saying Hi, hi! they stooped and placed the palms of their hands on the ground. Beside the spot of bare ground stood a man whose record was above reproach, and who had been selected to act as itan’éan, masterof ceremonies. [Seefootnote, p.70.] His entire body was painted red. Lifting the pipe from the ground, he took a little of the buffalo chip and sprinkled it on the tobacco in the pipe. He then took flint and steel, lit the chip on the ground and laid the sweet grass upon it. After passing the pipe over the smoke of the sweet grass four times, he pretended to light it, holding the bowl first to one side and then to another side of the chip. This was done three times, and the fourth time he lit the pipe. The itan’Cay then swung the pipe in a circle over the chip, holding the bowl in the center, after which he offered it to the man who first saw the buffalo. He puffed it four times. The itayn’¢an swung it again four tim es above the buffalo chip, and offered it to the other searchers, who also puffed it four times. It was necessary that this be done four times, and therefore if there were only two searchers the pipe was offered to each of them twice in order that the proper number be observed. After the searchers had puffed the pipe it was offered to all those sitting in the lodge, and they touched their lips to the pipe, even though it had gone out. When this was finished, the itan’¢an emptied the pipe, and the people in the front row of listeners sat with the palms of their hands on the ground as the searchers were 1 From this point the narrative is chiefly that of Swift Dog, interpreted by Mrs. McLaughlin. 449 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 asked for their report. The itan’éay did not ask a direct question but said to the man who first saw the buffalo, ‘You are not a child. You must tell me truthfully what you have seen, and where you saw it.” The man might reply thus: “I mounted a certain butte and looked down where I have seen buffalo before, and there I saw two herds, near the butte on which I was standing.” [It was the custom when speaking of buffalo to point with the thumb, not with the finger, and this custom was followed by Swift Dog when describing the event. ] “You say that you have seen the wallows‘and those who make the wallows. I am sure you have spoken truly, and you have made my heart good,” said the itan’éan, while the listeners cried Hi’, and touched the ground again with the palms of their hands. Then the itan’can said, “‘If you saw anything beyond this which is worth reporting, tell it to me.” The searcher might reply, “‘Beyond the two herds I saw the plain black with buffalo.” And the people would say Hi’ once more. Thus far the people had remained very quiet, but when the report was completed there was great excitement. The crier shouted, ‘‘Put saddles on your horses! Put saddles on your horses! We go now to hunt the buffalo!” As soon as this announce- ment was made to the whole village, the horses were brought in, and men and horses were painted. Whetstones were brought out and knives were sharpened. The scene was one of busy preparation for the great event. _ Five or more men were selected from among the aki’cita to keep order during the hunt. These men went to the council tent and received their final instructions from the chiefs, who told them to be sure to secure beeves for the helpless, the old and cripples, as well as for women who had no one to provide for them. These aki’cita were men of executive ability, and were men to whose authority the people were accustomed. They directed the people on their journey and required them to move quietly so that the buffalo would not become alarmed. When nearly in sight of the buffalo other aki’cita were selected. The method of approaching the herd was of course not always the same, but in an ordinary hunt the party was divided into two sections, each led by about five aki’cita, under whose direction they surrounded the herd, and at whose command they plunged into the chase. Those who were to chase the buffalo took the saddles from their horses. Every man had his arrows ready, with the special mark so he could claim the animals he killed. It was like a horse race. As soon as the man shouted ‘‘ Ready!” they were off, and you could see nothing but dust. The men who had fast horses tried to get the fattest buffalo. Each man tried to get the best possible animals as his trophies of the hunt. The following is a song of the chase, sung by Gray Hawk (pl. 71), a successful buffalo hunter in the old days, who contributed interesting details to the foregoing narrative. No. 182. Song of the Buffalo Hunt (c) (Catalogue No. 545) Sung by Gray Hawk Voice e - 92 Drum i: - 92 Drum-rhythm similar to No. 6 oo . o SSS rr rae e hei See. lig oe sissies PLATE 71 BULLETIN 61 BUREAU OF AMERICAN ETHNOLOGY AANA NIN Reber, e ANS AANA ND i Ming PLY Epes NN inn ry Iw a Y Used by permission. GRAY HAWK DENSMORE] TETON SIOUX MUSIC 443 Analysis —In many respects this song is like No. 181. IE flat appears to be most satisfactory as its keynote, and analyzing it in the key of E flat major, we find the tone material to be the tonic triad and sixth, yet 73 per cent of the intervals are minor thirds. The remaining intervals are two major seconds and one ascending fourth. The song is so short that the phonograph cylinder contains a large number of renditions, in which there are no points of difference. The song was usually sung twice with no break in the time, then shrill cries were given, after which the song was resumed, the drum continuing a steady beat throughout the entire performance, When the killing of the buffalo was finished the meat was dressed and prepared for transportation to the camp. White Hawk gave a description of the cutting up of a buffalo, which was read to Helia’ka- wa’-kita (Looking Elk), who pronounced it correct. These two men were said to be especially proficient in this phase of the buffalo hunt. The description, which follows Gnterpreted by Edward Swan), is that of the cutting up of a buffalo cow: Ii the hide were to be used for a tent it was removed whole instead of being cut along the back. In this process the animal was turned on its back, the head being turned to the left so it came under the shoulder, and the horns stuck in the ground so that the head formed a brace. In old days a clamshell was used as a skinning knife; such a tool with its case was carried by the mother of Eagle Shield. [See pl. 67.) When steel knives became available they were used instead of the shells. In removing a hide to be used for a tent they began on the under side of a front leg, cut to the center of the breast, to the lip, then up to a point between the horns, and then from one horn to the other. A cut was made down the belly and the inside of the hind legs; the tail was also split. When removing a hide for use as a robe, they laid the animal on its belly with legs extended front and back. In this case the cut began on the upper lip and extended along the backbone to the tip of the tail. The hide of one side was folded back and spread on the ground, and the carcass was laid on that while the cuts were made along the belly as described above. When removing a hide they did not cut all the meat from the inner surface, but left a layer of meat on the hide of the back and a still thicker piece along the belly. This was later removed by the women and was said to be very good to eat. After removing the hide it was the custom to take out the tongue, which was the part of the animal considered most delicate by the Sioux. Beyond this point there were no established rules. White Hawk said, however, that the front quarters were usually removed first. He said there was a “‘blanket of flesh ” on the back and sides of the animal which was removed in one piece, but that before taking this off they ‘‘worked up under it” and detached the front quarters. The hind quarters were removed at the hip joints. The hump was underneath the outer “blanket of flesh.’’ It was composed of fat and was cut off at the backbone. Below the outer “‘ blanket of flesh” is the inner ‘‘blanket,’’ which was removed in two parts. One side of it was turned down, exposing the ribs and the entrails. The carcass was then cut along the belly, up the shoulder, and along the backbone. A fresh hoof was used as a hatchet, and in the old days a knife made of the shoulder blade ~ was used in cutting up the animal. [See pl. 67.] The ribs were removed in the form of a slab, and the kidneys, liver, and fat also were taken out, as were the brains. White Hawk said: ‘‘In the intestines there is a pocket-shaped piece about the size 444 BURKAU OF AMERICAN ETINOLOGY [BULL. 61 of a man’s arm. This was turned wrong side out, fastened with a stick, and tied at one end. The brains were put into it, and the liver and hump were tied in a bundle with it. The paunch was turned wrong side out and the heart, kidneys, and fat were put into it. The lower backbone was split and later would be chopped for boiling to extract the grease.”’ Each hunter usually provided two horses for bringing home the meat of one buffalo. This meat was divided into eight portions, as follows: (1) The outer “blanket of flesh”; (2) the hump, brains, and liver; (3) the intestines and small split bones; (4) the inner “blanket of flesh”’; (5) the slabs of ribs; (6) the front quarters; (7) the hind quarters; (8) the hip bones and backbone. If the hide had been split for a robe it was customary to put half the hide on each horse, then to lay the ‘“‘outer blanket of flesh,’’? which is in one piece, on the horse, and the inner “blanket of flesh,’’ which is in two pieces, on the other horse, then to pile on the other bundles of meat but not tie them, as the ends of the hide were folded over and held them in place. If the hide had been removed in one piece for a tent, it was made into an additional bundle, and the hunter packed it separately. A few women who were good riders usually went with a hunting party to help herd the pack horses until the men had the meat ready to load. After the hunting party returned to their camp the women finished cutting up the meat, the long strips for drying being cut with the grain of the meat. These long strips were hung in the open air and when thoroughly dried were pounded and mixed with wild cherries, or with the fat of the animal. Meat prepared in this way was kept for an indefinite length of time and constituted a staple article of food among the Sioux. The following song is a medicine-man’s song to secure buffalo in time of famine. Siya’ka said that he had known of its successful use in this connection. The medicine-man painted a buffalo skull with red and blue stripes and laid beside it a filled pipe on a bed of fresh sage.' It was believed that ‘‘the skull turned into a real buffalo and called others.” This song was sung in the dark. In the song it is the buffalo who speaks. Siya’ka said that in the old days, after this ceremony on the part of the medicine-man and the singing of this song, the buffalo came near the camp and thus the famine was relieved. 1 See p. 185, footnote. DENSMORE] TETON SIOUX MUSIC 445 No. 183. Song To Secure Buffalo in Time of Famine — (Catalogue No. 469) Sung by Srya’Ka Voicr = 76 | Drum not recorded oie =. i< 5 a ga iC ss oo »- # -»- Se | f~- @ » S20) 2. 2 “0 Jia [eras eee ae i 3 ma - ni - pi o-ta e-ya - hpe - ya ma - wa-ni ———— i ————e a eS == pt St Ea waa ae =e eae ee aE WORDS (First rendition) Ginn pa) wan): 42 ewe fait! a pipe ! éaze’yal.........-.-...--..---. they mentioned 20s 261) Pane. ee ea aeae Co oe as they walked ESC Re aia SE Re a many times hic ol Th 1.2) 2 aptamer I have offered this yinawal ni /. PEthigsotoD_ 21.02 as I walked (Second rendition) masks) Aa) wale at Ae tes 28 a-red earth UMPC ANE Sayre ea. Baie they mentioned PRA HINDN S504, Bhs ee ale as they walked EfaT Bia Can ek oe eee many times “ELLIS IR scifi ges See eae re it has been placed upon me Gia wernibas les OIL. 2222s as I walked ( Third rendition) maka tonwall 28. 125-2 -/ 25243 a blue earth Gane aya Se See oer, 5.5 they mentioned WS) WU as eee Ars + as they walked 014 Fe ane 2 = ee many times HCN 01 Ee a san ran tt it has been placed upon me maw Ti LLG, SMG aA Fu as I walked 1 This was said torefer to the pipe brought to the Sioux by the White Buffalo Maiden. (See pp. 63-66.) 446 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 ) Analysis.—All the “verses”’ of this song were recorded, the repe- titions of the melody showing no differences except in note values affected by the words. It is not a rhythmic melody. In structure the song is melodic. The tonality is minor, and all the tones of the octave are present except the second. Two-thirds of the progressions are downward, and about 57 per cent of the intervals are major seconds. A white buffalo is said to have been particularly swift and wary; for this reason; as well as because of its rarity, it was very difficult to secure. It was a handsome animal, the rougher parts of the fur be- ing soft and fine, and the smooth partsshiny and glossy. The horns were black and the hoofs pinkish, the end of its nose, too, being pink. The last white buffalo seen on the Standing Rock Reserva- tion was killed near the Missouri River, in the vicinity of the present town of Pollock. If a white buffalo were killed in a hunt the fatal arrow was purified in the smoke of burning sweet grass. A knife was similarly purified before the animal was skinned, and the hide was removed in such manner that no blood was shed on it. Only men who had dreamed of animals were allowed to eat any portion of the flesh of a white buffalo. Although a large prize was offered for the killing of this animal, the hide was not disposed of while the tribe was on the hunt, but was held until the people reached home, so that all the requirements could be fulfilled. The skin was not treated like an ordinary buffalo hide. Only women noted for purity of life could touch or tan it, and after ‘the tanning was finished certain important ceremonies were required. It was the custom for a medicine-man to purify the hide with sweet grass. The tanned robe was always kept in a rawhide case. The owner of such a robe usually retained it to be buried with him. If, however, he was. willing to dispose of it, he might call together men who had owned similar robes and make this known to them. Great honor was given a man who was willing to dispose of a white buffalo robe. A small piece was worth a horse; even the smallest portion of the robe was a “‘sacred article’? to the person who secured it, and could be taken only by one who had owned part or all of a similar robe. Jaw said that he killed a white buffalo when his band of the tribe were in Canada. He was only 13 years of age at the time, and the buffalo which he killed was the only white one in a herd of about ahundred. Not caring for the others, he killed only this one. It was a beautiful animal, only its horns being black. Jaw killed it in the fall and kept the hide all winter, selling it in the spring to a man named Bone Club (Hohu’-éan’lipi) for two horses, a big buffalo-hide DENSMORE] TETON SIOUX MUSIG 4447 tent, and many other articles. This exploit, as well as his killing of a bear and an elk with bow and arrows, isshown in one of his drawings. (See pl. 60, A.) Jaw said that on three occasions he killed a bear with a gun, but that it was very hard to do so with bow and arrows. The cir- cumstances under which he was successful in this are as follows. One summer he and another man had been hunting deer and were returning with their horses loaded with meat. Jaw had a gun, while his companion carried a bow and arrows. They saw a mother bear and two cubs coming toward them. Giving the gun to his companion, Jaw took his bow and arrows. The bear tried to fight him, and as it turned he hit the beast with an arrow. Three times the bear re- newed the attack, but each time he wounded it with an arrow, finally killing it. The elk hunt (shown in pl. 60) took place in winter, when he was 22 years old. He had recently married a Yankton Sioux girl and was staying in her part of the country. There were two other families camping near them, making three tents in all. Early one morning Jaw’s wife left the tent, but returned, saying: ‘““Wake up! There are lots of elk. Come and see.’’ Putting on moccasins and leggins, and taking his arrows and his best horse, he went after them. The snow was very deep. It was early in the morning when he shot the elk. COUNCIL AND CHIEF SONGS CounciIL SONGS The following are known as ‘‘council songs’’; these were sung when the chiefs met in the council tent to decide matters of tribal importance. This tent was placed inside the camp circle and was decorated in various ways. Plate 72 shows the council tent at the gathering at Bull Head, S. Dak., July 4, 1912. The first song of this group was sung by Many Wounds (Wopo’- tapi), who preceded the singing by an announcement of the song, which was recorded by the phonograph and translated as follows: ‘Tribe, listen to me. I will sing a song of the dead chiefs. What are you saying? The chiefs have come to an end, and I sing their songs. I wish I could do as they have done, but I will try to sing their song.”’ No. 184. “I Sing of the Dead Chiefs’? (Catalogue No. 669) Sung by Many Wounps Voice = 63 Drum not recorded ¢ Sg ee Se ee eee SSS ao Ko-la -ta - ku ya - ka pe-lo i- | La c= E — Pe f —} — | tan - éan_ kin he - na - pi - la ye - lo he [Dee ————_— SS a 7H Si t t = - f Se — 5 ee + - : = SRS ts mi-ye ka-ke§ e-éuyn u-wa-ta-he we yo he. e WORDS MONEE. oi citem > ets oe ee friend ta’ku yaka’ pelo’........... what you are saying (is true) Mis) CAT) AKL) oc. k -cc oe eee the chiefs 448 LN3L MONNOOD GALVYOOsd Soe oe ee — = o6Z 3LV1d 19 NILST71NG ASOIONHLA NVOIYSWY JO NV3AYNA DENSMORE] TETON SIOUX MUSIC 449 DeMaria alaic, = = ane ats are gone VOIG pUC Meee eS oe. = iin so miye’ kakes’ eéun’. uwa’tahe Wee eee ee. EES I myself will try it Analysis.—This song contains only the tones of the major triad and second. Of the intervals 55 per cent are whole tones, and about 22 per cent minor thirds, the remaining intervals presenting a variety of progressions, including fifths, fourths, and one major third. In structure the song is melodic with harmonic framework. Siya’ka stated that the following song is very old, having been used in the days when the entire tribe assembled for a council. It is still sung before a council of the tribe. | No. 185. “‘I Fear Not’’ (Catalogue No. 455) Sung by Srva/Ka VOICE J 76 Drum e= 76 Drum-rhythm similar to No. 6 # | | nh iH 4. IKo=la-- ta-kar i? oes a = ee ee ae - > re = aed el Ba . pe te, eh ka Theeacat = ku - wa - pe 0 t e he - na ko -wa - ki- pe sui le ae we WORDS 10) bi age a nee ee nee friends tafe ote naka. 2.23.22: with all manner of difficulties ima’kuwape............--..-. I have been pursued LT TES TE MEO, oth i a at ees these Kowa ‘kine Smt. cies toy sen 5 - I fear not | [SARE ee Se 28s, Sony ie still WOH. «sae Steere ee 2 alive 450 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis.—Three renditions of this song were recorded, and in every instance the difference between the tones transcribed as C natural and C sharp was clearly marked. This accidental is the sharped seventh, often present in songs of minor tonality, making a semitone between the seventh and eighth tones of the octave. This song contains the tones of the second five-toned scale and has a compass of 11 tones. Almost one-third of the intervals are minor thirds, a proportion which corresponds with the tonality of the song. Two-thirds of the intervals are downward progressions, The following is a typical song of the chiefs in council: No. 186. “I Wish To Do My Part’? (Catalogue No. 614) Sung by Usrp-as-A-SHIELD Voicr i 66 Drum a= 66 Drum-rhythm similar to No. 6 . 5 ae oe 9 - - 2 = —+ O.-'ya-> te. Ein - hans--ya—— ds. be Sa en 2 kde - ya Spl 9. =a ae 0 > —_9——_9——-» - — - 9+ 9— Ae [ yao ee ees eee | 1) Das eed an ae oe ee eee = —+ 4 i ¢an)-ho-na_ he he-na o-ki- hi wa - Gan-mi ye - lo —. ae ele ss se ee pe aeiaaees eee po = oS WORDS oya’te kinhan’ ta’ku aki’yapi Paneuate >... .... vets pees whatever the tribe decide upon in council he’na oki’hi wa¢an’mi yelo’.. that is what I wish to do my part in accom- plishing DENSMORE] TETON SIOUX MUSIC 451 Analysis.—In prominence of the fourth and the minor second this song resembles No. 194. The proportion of fourths is about 22 per cent, and of minor seconds about 36 per cent. A combination of these two intervals is unusual. Next in number are the minor thirds. The intonation is not good, yet in both renditions the flatted fourth was clearly sung. The song is minor in tonality and lacks the seventh tone of the complete octave. It is melodic in structure and has a compass of an octave, extending from the dominant above to the dominant below the tonic. This council song is similar in use to the preceding: No. 187. “His Customs I Adopted’? (Catalogue No. 615) Sung by Usrep-as-a-SHIELD Vorcr gle: = 66 Drum aise 66 Drum-rhythm similar to No. 6 1 2 Q) a) ( an A - te ta-wi - G¢o-hay -pi_ kiy ya i-yo-ti - ye wa - ki ye - lo ( Dias SS WORDS 2 See AS aS Bs O75 father (referring to the old men, his ancestors) tawi’¢ohan’pi kin........... his customs WAL PILI <-> ba Sea Cen eee. os I adopted Tyee es oe cee Pa fo 3 « and 12 ages Pe ah cea hence WMORUY Gotan on < Son e aaes s 2m a hard time Walkke VOlQ 2 2 ccs sess: I am having 452 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Analysis. —This song contains a large variety of intervals, there being seven kinds of upward, and six kinds of downward, progres- sions. Of the intervals 75 per cent are minor thirds and major seconds. The song is major in tonality, melodic in structure, and lacks the seventh tone of the complete octave. Three rhythmic units are found in the song, the second and third haying one count division in common. The manner in which these units are used is particularly interesting. CHIEF SONGS There appear to be two kinds of Chief songs: Those which voice the thought of the chiefs, and those sung in honor of the chiefs. Thus the second song in the Sun-dance group was said to be a Chief song. It contains the words, ‘‘Friends take courage; right here we are coming; they see us.’ In explanation of this class of songs a Sioux said, ‘‘The chiefs do not sing these songs; the people sing them meaning ‘the chief says so and so’.”’ The following belongs to the second class of Chief songs and is said to be an old and par- _ ticularly good example. Two Bears was the head chief of the Lower Yanktonais band of Sioux, the most numerous band on the Standing Rock Reservation, and was prominent in tribal councils. He died about the year 1886. An interesting record concerning this man is preserved 1 in the report of the Indians agent for the year 1874. This record is as follows: On the Ist of July I was informed that a party of young men had left this agency to make war on Indians up the river. I asked the principal chieis to stop these pro- ceedings. They promptly responded by sending their soldiérs out, who overtook the war party and brought them back. The conduct of Chief Two Bears and Chief Antelope on this occasion deserves particular credit. The defeat of the party is mainly attributable to the energetic action of these two chiefs. 1 Palmer, Edmond, in Indian A ffairs Rep. for 1874, p. 248, Washington, 1874. DENSMORE] TETON SIOUX MUSIC 453 No. 188. Song in Honor of Two Bears (Catalogue No. 454) Sung by Stva’Ka VoIcE a= 112 DruM a: _112 Drum-rhythm ae to No. 19 met ‘4 piace ieee ae g= 152 paper ets SSS cee O-ya - te kin ta-ku a- ki - ya-pi éan -na Ma-to - non - pa wi-¢éa -la Sni wa-ni - ¢ée WORDS Gyagne Ma! A ets os setts the tribe ta’‘ku aki’yapi éan’na.-...... whenever they council Miatol nioly patos oe scn tk: Two Bears wiéa/la Sni wani’/ée......... never refuses Analysis.—Like many other melodies on the fourth five-toned. scale, this song has a large proportion of minor thirds, that interval forming more than 55 per cent of the entire number. The major third and the fourth each appears three times. The indicated change of tempo occurs in all three renditions, the metronome speed of each part of the song being accurate. The tempo of the drum remains the same throughout the song. (See song No. 5.) The song has a com- pass of an octave and was sung with good intonation. The two songs next following are in honor of Gabriel Renville, chief of the Sisseton Sioux, and were recorded at Sisseton by his son, Moses Renville. The following information concerning him has been published by the South Dakota Historical Society:! Gabriel Renville, chief of the Sissetons, was a representative of one of the most noted families of the frontier. ... The first representative of the Renville family in the Northwest was Joseph Raenville, or Renville, a French Canadian voyageur and fur hunter, who married into the Kaposia, or Little Raven band of the Sioux. The 1 Robinson, De Lorme W.., in South Dakota Historical Collections, vol. 1, p. 126, Aberdeen, S, Dak., 1902. 4840°—Bull. 61—18——31 454 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 result of this union was two half-breed sons, Joseph and Victor, father of Gabriel. The elder Joseph Renville died about 1790. ... Gabriel, the subject of this sketch, was born at Sweet Corn’s village on the west shore of Big Stone Lake, April, - 1824, and died at Brown’s Valley, within 10 miles of his birthplace, August 26, 1892. He became chief of the Sissetons through the aid of the military, after his band had been located on their reservation in the northeast part of South Dakota. Subsequent to the Minnesota massacre he became chief of scouts under Gen, Sibley and gained distinction for his ability. No. 189. Song in Honor of Gabriel Renville (a) (Catalogue No. 665) Sung by Moses Renyiie (Mawis) Voice = 92 Drum JZ 84 Drum-rhythm similar to No. 19 a eae rie 2 = +4—- + -#° -9-* o- -- o & Ti - wa - kay he-ye - do a - ki =) Gi ta wa - Oj sige ta tap tl ee EN aa oe oo we ke noy a@ yahe ya nay - na na de wa-oh we WORDS iidwaikanyl: Wasteee ot Se. eee Holy House (known as Gabriel Renville) béeyedoy. > sated ewes. has said akiGitaa see ee Sgt siete. £ a soldier SV AOD: WiC eae ie eee ee Tam Nanikes NON a CC. eee see it is but a short life? WAO])’ Wesco. ot cere ne nero I have to live Analysis.—This and the following song were recorded at Sisseton; the words are in the Santee dialect. The rhythmic form of this song is interesting. Three phrases comprise practically the entire melody, the first consisting of three measures, the second also consisting of three measures, and the third (after a connecting measure) of four measures, after which two unimportant measures close the song. Several renditions were recorded, in all of which the drum is slightly slower than the voice. The song has a distinctly minor quality, though fewer than one-fourth of the intervals are minor thirds. All the tones of the octave except the sixth are contained in the melody, which has a compass of nine tones. See plot of this melody on page 461. 1 Full form is Ti’piwakan. 2 Cf. words of songs Nos. 222 and 231. DENSMORE] TETON SIOUX MUSIC 455 No. 190. Song in Honor of Gabriel Renville (b) (Catalogue No. 666) Sung by Moses Renvite VOICE g=92 Drum g= 84 Drun- ue similar to ee re wa - kai) kin he to - ki i- ya - ye Ga tu-we ni wa-Cin wa - a eae —~ ae=2s se" the Sisseton Sioux Neyaipedo 2 eco ee have said Analysis.—In general character this song resembles the preced- ing, but it is longer and contains a rhythmic unit. The drum is persistently slower than the voice, as in the preceding song, through- out five renditions. Of the intervals 80 per cent are minor thirds and major seconds, the other intervals consisting of five fourths and one ascending fifth. The song has a range of an octave andis melodic in structure. Songs Nos. 191 and 192 are in honor of men living at the pres- ent time who were chiefs of the Teton Sioux under the old tribal organization. While their actual authority has passed away, they are still regarded as chiefs and accorded some of their former honor. This melody was recently composed and was said to be a grass- dance tune. During a gathering of Sioux at the Standing Rock Agency in the summer of 1912 this song was sung in honor of John 456 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 Grass (pl. 73), one of whose native names is Mato’-wata’kpe (Charg- ing Bear). John Grass is the most prominent Sioux chief living at the present time (see p. 89). No. 191. Song in Honor of John Grass —_ (Catalogue No. 643) Sung by SHoots First (ToK&/yA-wiGa’o) Ist rendition VoIcE j= 63 Drum ee 63 ¥ Drum-rhythm similar to No. 6 f # . mod ee Oe ff 22 » ~» -we. O - ya-te kin wa- ¢in - ma - Beets ai éal) - na ott £.-0. f ee . oe hee se he ye ye e ti- ceexne? O-ma - wa-ni ye-lo he ye ye kg ype Fee ee aoe Ma-to- wa - ta-kpe ya he-ya-ke - ya pe-lo he WORDS oya‘te iD. a Selecen os Soe ean eeewaeaelet 10,| 5,182, 183, 184, 187, 188, 189, 190, 192, 194 SUA times eee eee ee ae ee ne oe eee ee 6 | 180, 181, 185, 186, 191, 193 PL OLS Soe welatoe Se nee caniek a aan a ee ome 16 | CHANGE OF TIME, MEASURE-LENGTHS Number F of songs. Serial Nos. of songs. Songs containing no change of time........:.-.----..-- None. | Songs containing a change of time..............-..---- 16 | 5, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194 Dob ale sisal ete ae eee oe aes eae RE 16 | RHYTHM OF DRUM Number ee of songs. Serial Nos. of songs. Bighth notes wsccenteds -. oc scccemcce nee saree as 4 | 188, 189, 190, 192 Quarter notesunaccented: =. 72 2-e esr er es cos see uct eect 8 | 180, 185, 186, 187, 191, 193, 194 Each beat preceded by an unaccented beat correspond- ing'to third count ofa triplety.° 22520 46-6- 222 -oee a = 1/5 Drum not recorded.......- 1c oe OTS DE ae ee ee ee 3 | 181, 183, 184 Mota. :. 4 =cicds> nace eee a ea 16 RHYTHMIC UNIT OF SONG Number of songs. Serial Nos. of songs. Songs containing— INO Wa VunMIC Unit. . <2 36.8" caves Baan eee 6 | 180, 181, 183, 185, 189, 192. Onerbythmtic wit ...::..2..~:.0-.c. eo 7 | 182, 184, 186, 188, 190, 191, 193 OU TO VEIT IIMS... - 2 sn'so occ nc Seco eee ee 2 | 5, 194 LureOTMOVUUUNG UNITS .. ..~... 5-5 one eee 1 | 187 Maye | lhe oe Es ep ee Re ee Selene 1s Lo sabe 16 ove DENSMORE] ~ TETON SIOUX MUSIC 467 Comparatively Modern Songs—(2) Songs of the Buffalo Hunt, also Council and Chief Songs—Continued Ruytrumic ANALYsis—Continued METRIC UNIT OF VOICE (TEMPO) pees Serial Nos. of songs. Metronome— Fed ett 2! 2S aA a ee ee 2 | 193, 194 Goa 5 5 Ske 2 lg ae Ue ae ofa 2 | 184, 191 Ge 55 5-5) Bh ne ae RAE AAS OA IR Ae Sree 2 | 186, 187 1 Ge oct Cee ere oe oo Rae een eee ae 2 | 183, 185 A ee al ed Pa oe a ee ee 2 | 181,192 . "ai Pipa oer ee ama ay feof oN Ao 4 | 180,182, 189, 190 1) PR EN eo ee Pe ae CUES fe ie 1 | 188 1265: 232.2. Soe doz! es sk c soe eee see eee 1] 5 otal at ade neues eee sence k tae eee teas 16 METRIC UNIT OF DRUM (TEMPO) apes Serial Nos. of songs. Metronome— } COs me ote ee estes ss apes t tured. aa tqo de seu ose 2 | 193, 194 GR kbp a552 2 os eee See aoe eee: Gian at HeCHEeae OOse 1 | 191 GONeem eee se yo ioete ess ae ta Sak sae oe eee 2 | 186, 187 Se eee ee ee eee orn er eerie 1 | 185 BUS Ree ei aad aie ce Perens alee enna asieira oats ats 1 | 192 Fla he alc bet ei ead oe he RNA AAA Re Seae 2 | 189, 190 BRL een ees on Ree toe Sos eae cet ath oie oles ae SS 1)5 CO AA Eat ees ame SES eR SRO Re As S78 2 | 180, 182 eater tee aio crs oc alae mi ee Min Six eo Se et ee 1 | 188 Dimimymotmeconded «2 22-22 os - sean es eee 3 | 181, 183, 184 Moga eee sa55.2cc0 jet et tae Pete eres eae 16 } COMPARISON OF METRIC UNIT OF VOICE AND DRUM ee Serial Nos. of songs. Drum and voice having same metric unit...-.....-.---- 10 | 180, 182, 185, 186, 187, 188, 191, 192, 193, 194 Dim) SloweriHankvoOieesees tassios oe = ~~ nici -fe r= 3 | 5,189,190 Drm mot LeCOnd ed oaee eee see ioe 2 tiie nie =~ 3.| 181, 183, 184 fe) 2 Ee OR an 3re Te ee eee 16 SONGS CONNECTED WITH DANCES AND GAMES DANCEs In every Sioux village there was a lodge of suitable size for social gatherings or dances. An old type of Sioux dance lodge is shown in plate 76, A, the walls being of logs and the roof of branches covered with earth, a large smoke-hole being left in the center. Plate 76, B, shows a lodge on the Standing Rock Reservation in which the writer witnessed a dance in 1912. The following summer she learned that it had been torn down, as the Government was enforcing more vigorously the restrictions on dancing among the Indians. In this lodge, as in the older type, the construction was of logs, branches, and earth, but the shape was rectangular, the logs were plastered with earth, and the roof was almost flat with projecting stovepipes, indicating that the lodge was heated by stoves instead of an open fire. Concerning Indian dances it was said that— In dancing the Indians imitate the actions of animals. In the grass dance the men imitate the motions of the eagle and graceful birds. In the buffalo dance they imitate the buffalo. The old-time dancing dress of the Indians imitated the animals, but there was always a charm or a headdress which indicated the personality of the wearer, The Indians imitate the cries of birds or animals when they dance. Some headdresses imitate the comb of a bird, and a man wearing such a headdress would imitate the actions of that bird. The actions of a dancer always correspond to his costume. This is a matter of choice and usually is not connected with a dream. THE GRASS DANCE The grass dance (pezi’ wadéi’pi) may be said to exist at the present time among all the tribes of the northern plains, even to the Kutenai. The name Omaha identifies it with the Omaha tribe, from which it was received by many other tribes, but in transmission it has lost its significance, having become simply a social dance. According to Miss Fletcher, the dance originally was connected with the Hethu’shka society of the Omaha, a society whose object “was to stimulate an heroic spirit among the people and to keep alive the memory of historic and valorous acts.” * Miss Fletcher describes one of its meetings, stating that ? No clothing except the breechcloth was worn by the members, and a long bunch of grass representing scalps the wearer had taken was fastened to the belt at the back. ... When the dance became known to the Dakota tribes and the Winne- bago, the significance of the bunch of long grass having been forgotten, they gave the a ————— 1 Fletcher and La Flesche, The Omaha Tribe, op. cit., p. 459. 2 Ibid., p. 461. 468 BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 76 SIOUX DANCE LODGES. DENSMoRF] TETON SIOUX MUSIC 469 name “grass dance,”’ or the ‘““Omaha dance,’’ the latter name in recognition of the tribe from which the dance had been obtained. Among the Omaha the leader had to be of sufficient rank to be able to wear “the crow,”’ a decoration of the highest order, The grass dance was noted among the Yankton Sioux by De Smet, who described it in a letter to Father Terwecoren, dated November, 1867, as follows: ! The principal one [society] among the Yanktons is called the Grass band or Peji- makinnanka. All the braves, or men of heart, as the Indians express it, belong to this fraternity. .. . At the ceremonial dances each member carries a long bunch of grass, which is among them the emblem of abundance and charity. ... The badge or distinctive mark of the society is the bunch of grass braided and attached to the waist of each member in the form and appearance of a long tail. In this description we note the use of the grass, but a different symbolism is assigned to it. Mr. La Flesche, who saw the Omaha and Yankton Sioux dance the grass dance together on the Yankton Reservation in the seventies is quoted as follows: The rhythm of the He-thu’-shka songs sung by the Yanktons was the same as that of the songs of the Omaha and the steps and bodily actions that were in accord with the rhythm of the music were the same as those of the Omaha. In fact the Yankton He-thu’-shka was and is now the same as the Omaha, except for certain preliminary ceremonies which the Omaha, also, have now omitted. Until within very recent times men only danced the He-thu’-shka, as it was strictly a warrior’s dance. The grass dance among the Sioux is briefly mentioned by George Bushotter, a Teton Sioux, in his “Texts,” written in 1887-88. He includes it among the ‘intrusive dances’’ which took place in the camp while a Sun dance was in progress, and mentions the wearing of grass at the dancer’s belt.” In 1903-1912 Wissler found a society called the Omaha among the Oglala Sioux,* which he identifies with the grass dance.* “Crow belts’’ were worn in the ceremony of this society, but no mention is made of grass, either carried or hung from the belt. The grass dance among the Sisseton Sioux is described by Lowie, who says it was also called by them the Winnebago dance.’ This widely dis- tributed dance is noted by Wissler as existing at the present time among the Blackfoot, Piegan, Crow, Gros Ventre, and Assiniboin Indians.’ A “feather-tail belt’’ seems to have been generally con- sidered part of the dance regalia by these tribes. 1 Life, Letters, and Travels of Father Pierre-Jean De Smet, S.J. 1801-1873 (edited by Hiram M. Chittenden and Alfred T. Richardson), m1, pp. 1059, 1060, New York, 1905. 2The Bushotter Texts, translated by J. Owen Dorsey, A Study of Siouan Cults, Eleventh Rep. Bur. Ethn., p. 463. 3 Wissler, Clark, Societies and Ceremonial Associations of the Teton Dakota, op. cit., pp. 48-52. 4 Tbid. (p. 49, footnote) “ According to Mr. Nines pezi mignaka is another name for Omaha kaiyorag, which reached the Cglala through the Yankton.’’ 5 Lowie, Robt. H., Dance Associations of the Eastern Dakota, op. cit., p. 130. ‘6 Wissier, Clark, Societies of the Blackfoot Indians, op. cit., pp. 451-456. 4840°—Bull. 61—18——32 470 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 Many similarities may be traced between the accounts of the grass dance already cited and the descriptious of the dream dance, as practiced by the Menomini and the Chippewa. These resemblances touch, among other things, the custom of “presenting the pipe to the sky,’’ the position of the drum in the dancing circle, the wearing of “crow belts,’ and the custom of divorce in connection with the ceremony of the society.' Mr. Higheagle said that two kinds of grass dance are now danced on the Standing Rock Reservation—the old men’s grass dance and the young men’s. The former is shown in figure 38, reproduced Fic. 38. Grass dance. from a photograph taken several years ago on that, reservation and identified by Mr. Higheagle. This view undoubtedly presents some of the old features of the dance which have been changed by the present generation. An instrument used in connection with this dance is called an elk whistle (helia’ka &i’yotayka). (Fig. 39.) Mr. Higheagle states that this instrument is called by the Santee and Yanktonais é0’tayka (0, ‘pith’; tay’ka, ‘large’). The whistle was made from the small, straight branches of a tree having a large pith, which could easily 1Cf. (1) Hoffman, Walter James, The Menomini Indians, Fourteenth Rep. Bur. Ethn., pp. 157-161, Washington, 1896. (2) Barrett, S. A., The Dream Dance of the Chippewa and Menomini Indians of Northern Wisconsin, Bull. Pub. Mus. Milwaukee, t, art. 4, Milwaukee, 1911. (3) Skinner, Alanson, Social Life and Ceremonial Bundles of the Menomini Indians, Anthr. Papers, Amer. Mus. Nat. Hist., xi, pt. 1, p. 30, New York, 1913. (4) Bulletin 58, Bur. Amer. Ethn., pp. 142-180. (5) Concerning the custom of divorce, see also Beckwith, Paul, Notes on Customs of the Dakotahs, Smithson Rep., 1886, pt. 1, p. 256, Washington, 1889. BONVd ssvud ZL 3LVid 19 NILSTING ADOIONHL3 NVOINSWV JO NVAYNE DENSMORE] TETON SIOUX MUSIC 471 be removed, a heated iron being commonly used for the purpose. Ash and box elder were woods frequently selected. The open end of the instrument was usually carved to represent the head of a bird. Mr. Higheagle stated further that the instrument was called si’yotayka (si’yo, ‘ prairie chicken’ ; tay’ka, ‘large’) by the Teton Sioux. The instrument is said to have had two uses: It was used in dances, espe- cially in the grass dance, and also by young men as a “courting call.’’ Plain bone whistles and bead-decorated whistles were similarly used in dances; these also were known as §i/yotayka. ‘Three or four dancers might carry these whistles, but the signal was usually given by the recognized leader of the dancers. If the singers “came near the end of the tune,” and he wished the dancing continued, he blew his whistle, whereupon they continued their repetitions of the melody. In construction this instrument is a whistle, being an open pipe with the usual whistle or flageolet. mouthpiece near one end. ‘The pipe furnishes the series of harmonics obtained from a bugle or trumpet. The specimen illus- trated! is old, having been in the possession of Mrs. James McLaughlin about 30 years, and could not be played, but a similar instrument, in perfect condition, was obtained among the Hidatsa at Fort Berthold, N. Dak., in1915. The length of this instrument below the mouth is 223 inches. ‘The instrument was played by its Hidatsa owner, and a phonograph record of the performance was made. It was played also by Mr. E. H. Hawley, curator of musical instruments, United States National Museum. The following part of the long harmonic series could be produced on the Hidatsa whistle, the tones being named in ascending order: A flat (second space treble staff), D flat, HA fet Crtiat, D flat, E flat, F. The grass dance of the Standing Rock Sioux at the pres- ent time (pl.77, A) was thus described by Kills-at-Night (Hanhe’pikte), a comparatively young man, who is a prominent singer at the drum whenever a dance is held: Grass-dance whistle. Fig. 39. This dance came to us from the Omaha and at first all the songs were Omaha. The melodies were repeated with care, and Sioux words were sung, but now we have many 1 This instrument has been described as follows by Mr. Hawley, above mentioned: “ Length, 25 inches; diameter, ginch. Astraightstick of wood, its lower end carved to represent a crane with open beak, and 1ts throatis the open end of the whistle. The bore appears to be from +3, to } inch in diameter. cee ae eee they said GaN ANB ate coe oe wes oe ee ae hence ma’zaska kinhan’ ........-.- the money (literally ‘‘ white metal’’) TH Pe Yaron We sae =. sen ae = you donated Analysis.—This melody is one of the praise songs, or honor songs, of the tribe. Three renditions were recorded. The first two had no words, and the note values varied, but the third was as indi- cated, though the florid part of the first measure can not be transcribed with absolute accuracy. The song is minor in tonality, harmonic in structure, and contains all the tones of the octave. The upward and downward progressions are more nearly equal than usual, there being 15 downward and 12 upward progressions. DENSMORE] TETON SIOUX MUSIC 507 No. 229. “I Donated a Horse” (Catalogue No. 579) Sung by SHoorerR Voicr J= 80 Drum Ne 80 Drum- ‘aca similar to No. 5 je rer pe *-6- Mee Sr piece sey ae = iy fines ey aa -_— -g-e eat os p- -o wis © 6. — ee eee (sneer Pte-san-noy-pa-wiy koybli- hi-Ga ye ya é.-. -ha:-=-F opi aie ae oe ee eee es éa he = - in SS - wa - kay -e we-Goy we - lo WORDS Ptesan’-non’pawin....-....... Two White Buffalo kon blihe’iéiya! ye.......-..- take courage ela pt.G0s * eho Se Se you said this (Fone Sd ns ak ee es Saal hence Bun kea’ Waka) et eos SEE Oe a horse WerCOH Wel’ 2-5 set see I donated Analysis.—This, as well as the next preceding song, is a praise song in which new words have been inserted. It is based on the second five-toned scale and is minor in tonality, but the proportion of minor thirds is smaller than in many major songs, 44 per cent of the intervals being minor thirds. The rhythmic unit is the same as the first unit in the next preceding song. 1 This word was shortened by the singer. 508 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 No. 230. ‘“‘Hence They Come’’ (Catalogue No, 578) Sung by SHoorrer VoIcE te 66 Drum PES 66 Drum-rhythm similar to No. 6 hi-wi- ta-ya Gan-na o-huy-ke sni mi-ta- Suy-ke yu-ha pe - lo js oe = ee ae Ld he Pte-say-noy-pa-wiy he he-ya-éa he a-u we-lo WORDS oya’te kin hiwi’taya éan’na.. whenever the tribe is gathered together OhunAke isn ee eee ee those without resources mita/Sunke yuha/ pelo’. .-..-. obtain my horses Ptesayn’-non’pawiy) .. 2-2. --- Two White Buffalo het heyalGean ay). 2: Peoxee has said this N6s Fee oe ects oe ae ee hence A WEG ns Sos se ee ema they come Analysis.—Two rhythmic units are found in this song, the difference between them giving variety and character to the rhythm of the song as a whole. The melody tones are those of the fourth five-toned scale. The fourth is prominent, forming about 25 per cent of the intervals, while the minor thirds form 71 per cent of the entire number. The song is melodic in structure and has a compass of an octave. In addition to the recording of the song by Shooter it was, at the request of the Indians, recorded by several singers assisted by others who gave the sharp yells with which songs of this kind are punctuated. Rests are considered in the analysis of song No. 79. DENSMORE] TETON SIOUX MUSIC 509 No. 231. “A Short Time” (Catalogue No. 558) Sung by Gray Hawk VoIcE o= 80 Drum A = 88 Drum-rhythm similar to No. 19 Pee Pee Pte- san) - non -pa - wig 2 ee are e —— bli-i-he-i-Gi-ya yo na-ke-nuy-la ya-o WORDS Ptesan’-non/pawil).......--.-- Two White Buffalo UMC TOV ARV On, 0 mys tro 2 ee take courage nake’nupla yaén’ ........---. a short time you live (see songs Nos. 189, 222) Analysis.—This is a song of the Strong Heart society. It was considered a special honor to be praised in the songs of this society. This song contains only the tones of the minor triad and fourth and is melodic in structure. The progressions are interesting, as the ascending intervals are all larger than (and including) the minor third, while the descending intervals are smaller than (and including) the minor third. A majority of the descending intervals are whole tones. This is a particularly clear-cut and pleasing melody. Love Sones (W16’wESTE OLO’waN) * The three following songs are comparatively modern. The words of the first song only are transcribed. The words of the second are somewhat similar, being the expression of a maid whose parents object to the man of her choice. The third song was recorded at Sisseton, only the melody being taken. ; The older form of love song is considered in connection with the war material on page 370. 510 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 No. 232. “Come”’ (Catalogue No. 659) Sung by Doa Eaatr Voice a= 88 Drum not recorded 1 Oh) 9 aes Sop SR i eee -O-. | -9- ee es Wi - éa - a ee ya-ka he- Gi-na ya - u sni a) @) Pes wi - éa- ya-ka he- éGi-na ya-u_ §ni wi - Ga - pi Bee Ear ares pape peor a ae i steer Soot a 3 7 ya-ka he - Gi- na ya-u sni Ta) -i1) - yay-ma-ni-wiy hi he-ya @) -9- | piseeeees seme c [ease eaenesieT | ¢ sper rr he - lo wi-éa - ya-kahe-éi-na ya-u Sni WORDS wiéa’yaka he¢i’na yaii’ Sni..- if you are truthful, come Tanin’yan-ma/niwin.......... Walks Visibly (woman’s name) ews. helo? 20se) 2. Til se has said this Analysis.—In several respects this melody resembles No. 234. Like that song, it has a range of 10 tones, lacks the sixth and seventh of the complete octave, and in structure is melodic with harmonic framework. About one-fifth of the intervals are fourths, the remain- ing intervals, with three exceptions, being minor thirds and major seconds. Two rhythmic units are present and a comparison of them DENSMORE] TETON SIOUX MUSIC 511 as well as a study of their use is interesting. It will be noted that the first three and the last two counts of the two units are alike. The triplets of eighth notes were distinctly given. Two renditions of the entire song were recorded, with a repetition of the part containing the words. These showed no points of difference. No. 238. Love Song (a) (Catalogue No. 590) Sung by Swirr Doa Voicr d = 66 Drom not recorded (1) (2) (i) i ie ee ee yer -4 -9- 0-9-0. -0--0--@ . -0-. -0 pi o- n 7” a Z4 = ; ize vee = Sagal s Baa Bie ae Ces f = ==g tr Sear | SS RN esters ae = H “ee 3 ae = {| —s 114-9 = ‘ee + -— oe 1 E = SS, | Analysis.—Two rhythmic units are found in this song, each appear- ing twice. The larger part of the second unit also appears at the close of the song, but a change of accent alters the phrase so mate- rially that it is not marked as a repetition of the unit. One acci- dental occurs—the seventh raised a semitone—this being an accidental often found in songs of minor tonality. This melody is based on the second five-toned scale and is harmonic in structure. One-third of the intervals are minor thirds. No. 234. Love Song (b) (Catalogue No. 661) Sung by Biuge CLoup Voice Aes 63 Drom not recorded ee ee i Fe. aN ~~ ETH OP o |! Ea): cee aes ie ee > 3 TWAS cole nee " —___ -0--9--# # -» ee € ur} Tan ae i 5a =p eee Analysis.—This is an excellent example of the modern Sioux love song. Twenty-seven per cent of the intervals are minor thirds. 512 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 The remainder of the progressions show a greater variety than is found in a majority of the Sioux songs. This appears to be a charac- teristic of the more modern songs. All the tones of the octave except the sixth and seventh are present in the melody. The song begins and ends on the same tone, a somewhat unusual feature in both Chippewa and Sioux songs. (See song No. 82.) This song was recorded at Sisseton. (See below.) Sioux Sones RecorpDED AT SIssETON, S. Dak. All the songs of this group were recorded among the Santee Sioux at Sisseton, S. Dak., at the opening of the writer’s work among the Sioux. This place was selected because Sioux from this locality frequently visit the Chippewa, among whom the writer’s previous work had been done, and it was thought that this acquaintance would facilitate the work. It was impossible, however, to secure a satis- factory interpreter at Sisseton, and most of the songs recorded there were translated from the phonograph record by Mr. Higheagle. Many of these songs were familiar to the Standing Rock Sioux and were identified by them when the records were played. In one instance a Standing Rock singer supplied words which were missing _ from the Sisseton rendition of a song. A few Sun-dance songs were recorded, but these were said to belong to the Santee ceremony and were accordingly discarded. It is, however, interesting to note Sioux material from more than one locality, and the songs are there- fore included in the series. Other Sisseton songs are Nos. 95, 96, 97, 189, 190. The words of the songs recorded at Sisseton are in the Santee dialect. (See p. 2.) On July 4, 1911, the writer attended a gathering of Indians on the Sisseton Reservation. The number of dancers was small compared with that at Standing Rock, and the striking contrast indi- cates the progress of the Sioux away from the old customs. A little group of dancers facing the setting sun is shown in plate 82. One of the mounted men was Good Thunder, the chief, who wore a gold- braided uniform and acted as ‘‘ marshal of the day,” and the other was a mounted Indian policeman. In the same plate is shown also the prairie on this reservation, which is more rolling than that at Standing Rock. The three following songs are known at Standing Rock as songs of the Ticketless society. The term ‘“‘society’’ is here a misnomer, being applied by the Sioux to those who were first dropped from the list of those receiving rations and accordingly had no ‘‘ration tickets.” Such Indians were supposed to be able to provide for themselves, and for that reason were expected to show unlimited generosity toward their friends. The designation was used for only four or five years and BUREAU OF AMERICAN ETHNOLOGY BULLETIN 61 PLATE 82 DANCERS ON SISSETON RESERVATION PRAIRIE ON SISSETON RESERVATION DENSMORE] TETON SIOUX MUSIC 513 was in the nature of a jest, but many songs of the Ticketless society are still remembered by the Sioux. The first of these songs was undoubtedly sung as a praise song in honor of Little Helper, who was expected to be inspired to still greater generosity by its words. No. 235. “You Have Relied Upon Me’”’ (Catalogue No. 645) Sung by Hoty-race Bear (Mato’ITE’wWaKAN) VoIcE d= 96 Drum a= 96 Drum-rhythm similar to No, 8 oo 8 ». = -0- -0- ‘o- == 2. ; = oe ee ee 3 s — a — . SS | = a ~. 2 #30 # f+ #4 es == SEae=2 i= =e a = 22 eae 0-0 -0- “sae a Eres O-Ska-te can- -O-. so 0 29-'o °°» |! ee ee eee ces =o aie f- 0 f » presi Seo eene ie eeares na wa-Cil)ma-ye ya-pi_ ke-ha-pi a bdi-he - i-¢i-yawa-on heya Spee eee ane Pe eecieie! he e Wo-wa-Gin-ye -na o o he-ya Gay-na ___tal)-yay WORDS Oskagte (CaN Mas: -2s) 2 exis. in dances and feasts wacin’ Maye’ ya’pi......... you have relied upon me ee repr Rese 2 OA Me you have said bdihe’igiya wa6n’......-.--- so I have taken fresh courage Wo’watin’ye-na ........-...- Little Helper | SCE geen a Ee sin Ae said Chi (Git eae eee tt he Ree and EAN) UI) ot Sets = ey ea 8 Do all is well Analysis.—An unusually large variety of progressions is found in this song, there being 6 kinds of ascending and 5 of descending intervals. The number of major seconds is largest, though the intervals are more nearly equal in number than in most of the songs 514 BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 under analysis. The melody tones are those of the minor triad and fourth, the latter being: sharped in one instance. This accidental was uniformly given in the several renditions. The song is melodic in structure and has a range of an octave. No. 236. “I Have Been Helping”’ (Catalogue No. 644) Sung by Hory-race Bear VoIcEe ae Drum d= 72 Drum-rhythm similar to No. 5 et ee . #2. i p—0- =e: gest ope == = —= | A-te he-ya ya he i-wa- (@.- aes aN oo-8@ eigen LEP * Oper Eee | : c 1 a co leet —— : TEI Bee aes pees Pe ee eel ho-ma-yae-Ga o - hon-ke Snike wa-wo-ki-ya wa-on WORDS BI are erage triplet pens Meet o Minis father heya’ya.- 8. 5:2. sve ichas ad yised-me iw vROnayar Se ee eo ee MORGUE CCH es oes nn ee oe ee so ohorkeéni- ese eee the weak ones wawo’kiya wa6d)’....-.--.---- I have been helping Analysis.—This is a rhythmic melody. The rhythmic unit appears only twice, but its count-divisions appear frequently throughout the song. Of the progressions 79 per cent. are either minor thirds or major seconds. The melody tones are those of the second five-toned scale, and the song has a compass of an octave. DENSMORE] TETON SIOUX MUSIC 515 No. 237. Song of the Ticketless Society (Catalogue No. 678) Sung by Twin (CuKpa’) VoIcE J= 108 Drom not recorded SS Analysis.—This song contains ali the tones of the octave, an un- usual feature in a song of minor tonality. It has a range of 10 tones and is melodic in structure. Of the intervals 63 per cent are whole tones. The song is peculiar in that it contains only one tone less than an eighth note in value. Rev. John Eastman! of Sisseton, S. Dak., told the story of the following song, saying that the incident occurred when his father was 15 or 16 years old, and was still remembered by many old people. The incident was as follows: A party of white men were driving cattle to one of the new settlements in the north. They lost their way and entered on territory along the Red River where the Sioux war parties were in the habit of going. They were seen by the Sioux, who, supposing them to be Cree half-breeds, fired on them, killing one or more of the number. These Sioux were under the white man’s law, and when they found that they had killed a white man they knew that they were liable to arrest for murder. Accordingly they ‘‘lost themselves” among various bands of Indians. The chiefs tried to locate them, but could find only one man, whose name was Fierce Face (Ite’-hinyan’za). In order to demonstrate the good faith of the Sioux toward the white men he traveled many miles without escort of any kind and voluntarily gave himself up to the authorities. He went from camp to camp down the Minnesota River, each camp encouraging him and praising him in the following song. His son, 2 boy of about 7 years, went with him to the edge of the 1 Rey. Mr. Eastman’s Sioux name is Malipi’ya-wakay’-kiday’ (Sacred Cloud Worshiper). See his biography in Handbook of American Indians, pt. 1, pp. 412-413. 516 BUREAU OF AMERICAN ETHNOLOGY [BULL, 61 Indian country. After following the Minnesota River to its conflu- ‘ence with the Mississippi, Fierce Face went down the Mississippi to Prairie du Chien, where he is said to have died in prison. More than 70 years have passed since this took place, but through a song the Indian who gave himself for the honor of his tribe now re- ceives the reward which an Indian most desires—that his name and deed shall be remembered. No. 238. Song concerning Fierce Face (Catalogue No. 662) Sung by Brug CLoup Voice Pi 76 Drum not recorded I - te-hin-yan-za ga na-ya - pe éin do ni - do ta ko-da - pi kon o- ni - ta-pi do WORDS lte’-hiny any Za IA 24. Fierce Face (man’s name) er AYA POACiDy GGe,-2 252 2 Ss Bae you should not run away nite’ koldapr Kon, -.-3. $8.20 your friends! Onl Cota pda: ee. aaa have borrowed you Analysis.—This song is based on the second five-toned scale and contains the seventh raised a semitone, this being an accidental which frequently appears in songs of minor tonality. The song begins with an ascending octave (see song No. 220) and begins and ends on the same tone (see song No. 82). Incommon with many of the modern Sioux songs, it has a variety of intervals, there being five sorts of ascending and five of descending progressions. The last count of the rhythmic unit is not divided in the second as in the other occurrences, this measure being sung the same in the four renditions of the song. In one rendition the first note of the song was sung in the upper octave, avoiding the ascending octave. See plot of this melody on page 519. 1 Referring to the white men DENSMORE] TETON SIOUX MUSIC 517 No. 239. Song Concerning a Message from Washington (Catalogue No. 646) ‘ Sung by Hoty-race Berar peel Voice g— 88 Drum g=88 Drum-rhythm similar to No. 5 - 2 # wo) aE. oe mers a —_o cree if t ic | 4 a ones a Tun -ka-Si - na -na-ya-pt he-ya ke-ya-pi a We, a -~- -p- e 6° * . A DoS eee aie Ce ee ee SR OY | za —f f =r al = ee iz ips sj = e fy § Lf : = mime | = ————t ae == Da - ko-ta . kit) wa-Si - éu po he -ya ke-ya-pi hi a a Ce a = — — tz 1 ——_—— [Oe Siem ae eee ee oe \2 —Ee ee ee ee | ee ee ee 3 tka ta - mon-ka ni e — he Da-ko-ta kiy te-wa-hiyn - da aia 9 —9— - da Se Eo = 2. SeSeet a= — =| — = mt — - ye-do'°€ -e 0 e€.- pe Ga wa-wo wa - ki-ya WORDS Tunka/Sinayapi........-..-. The great grandfather (the President) eis. Sk eee eS has said REAV ADI .).< uw eehoe ses 5.3 so they report Wakota kan 38 aot se ets. “Dakotas WARING! POsc2.>.-.0 Se nee Se ce 45 be citizens,’’ Lites eee eel OES CTR he said Resa aiess ce or) ore sins Sees so they report (US Sab eee aaberc eee eos. but tamon’ka Sni...............-- it will be impossible for me e Akasa Kiros). 42. 324.22 the Dakota (ways) Rewadimd 4: .5 4 ats Nek sie them eG Ores Met a5 ose Seek eee I love BY OE PEST Pt Semen cere eae T said (ofl, Spe Se mee Ses RS ro 5 therefore wawo’ waki’ya ............... I have helped (to keep up the old ways) Analysis.—This song is remarkable in its opening interval, which was uniformly given in three renditions, the fourth rendition begin- ning on the last part of the first measure. The song is melodic in structure, has a range of 10 tones, and lacks the sixth and seventh tones of the complete octave. This song was said to have been recently composed. See plot of this melody on page 519. 4840°—Bull. 61—]8——35 518 . BUREAU OF AMERICAN ETHNOLOGY [BULL. 61 No. 240. Song of the Famine (Catalogue No. 647) Sung by Hoty-race Berar VoIcE o= 76 Drum g= 76 Drum-rhythm similar to No. 6 2 @+ @ @ @# g @ @ 9 @ 9 — Sa eee Wi-Ga - héa-na kin he aT 5 (Ds D5 —- ce i Sa 5= 2 eo e—|[- srs Sacer ee Fe —— 5 a oe ey : 4s ——— == = | ee es ; wa-na he - na - ke- éa - pi mi - ye e-ha - ke oO o- sos f 9: 9 »:,» »—~» = ee ee wa-on Ga he i-yo - tane i -ye wu-ki - ye WORDS WicadhGans KIN eee. ee. ee er the old men Walder oman oe eee ce eee now henav ketamine 2525 225. o> ane (are) so few that they are not worth counting MIUVO" caja =e ee ate I myself (am) éhav kee 26s oe 25 eo NLasE WS0I) se oh Gas eee eee . living Cas UN Ss NIUE epee ee therefore iyo’tay iye’...-.-:.--.-.-.:.- ahard time Wa KIVC 0 cc atae aac eee I am having Analysis.—This song is characterized by a sixteenth note followed by a dotted eighth, but this combination is used in so many connec- tions that the song can scarcely be said to have a rhythmic unit. The melody progresses chiefly by whole tones, about 77 per cent of the intervals being major seconds. The song is melodic in structure and contains the tones of the second five-toned scale. DENSMORE] TETON SIOUX MUSIC 519 PLOTS OF SONGS OF SADNESS Only 13 of the 240 songs under observation contain an ascending relation between the first two accented tones. On examining these songs. with reference to their titles it was found that those which begin with a large ascending interval are songs which have an idea, more or less evident, associated with sadness, disappointment, or suffering. This type of plot, appearing to be distinct from others and to be connected with the content of the song, was accordingly designated Class E. The plots of songs Nos. 238 and 239 (fig. 43) resemble each other, both being Sisseton songs, the former associ- ated with a tragic incident and the latter expressing dissatisfaction. Similar to these is the plot of song No. 99, concerning the driving of buffalo against wind which cut their faces like a lance. (See p. 419.) Th | Hi seaee |: Ak abcunlinee if coh HEA rt 7 Ho HY TT IN GY PCC HOGER E BERS esaRRPERSSEessba No. 148 Fic. 43. Plots, Group 8. Songs Nos. 147 and 148 are songs concerning slain warriors. The initial ascent is not so large in these, the large ascent occurring later in the song. Song No. 149 begins with an ascending fifth and is similar in content to those last mentioned. Song No. 191 is an exception, as it begins with an ascending sixth and contains no trace of the ideas mentioned. Other songs having an ascending relation between the first and second accented tones are as follows: No. 207 (ascent of a fifth), moccasin-game song; No. 200 (ascent of a third), grass-dance song; No. 35 (ascent of a whole tone), Sun-dance song; No. 105, Elk-society song; No. 206, moccasin-game song; No. 212, hiding-stick game song; and No. 219, song of a ghost. The last- named is distinctly a song of sadness; with one exception the others have no words, and the origin of these songs is somewhat uncertain. This final analysis group comprises several small groups of songs. First are three incidental songs (Nos. 18, 24, 25) used during the Sun 520 BUREAU OF AMERICAN ETHNOLOGY [ BULL, 61 dance, which can not properly be included in former classifications. Next are songs of the social dances—the grass, shuffling-feet, and night dances (Nos. 195-203); songs used in ordinary begging, distinct from requests for food accompanied with singing of praise songs (Nos. 204, 205); and songs of games (Nos. 206-213) together with songs used in children’s play (Nos. 215-217), and songs con- nected with legends (Nos. 218, 219). In this group are also such songs in honor of the writer as were sung to modern tunes; these are Nos. 220, 221, 222, 226, 227, 228, 229,230. There is a small group of modern love songs (Nos. 232-234). These are followed by a group of miscellaneous songs (Nos. 235-240) recorded at Sisseton, S. Dak., a majority of which were probably Santee rather than Teton Sioux in origin. Three songs recorded at Sisseton (Nos. 95-97) are analyzed with the Teton songs, as they are general in character and may have been used by both branches of the tribe. Comparatively Modern Songs—(3) Miscellaneous Songs Me.topic ANALYSIS TONALITY < pe tae Serial Nos. of songs. Major tonality.......-.. aa S ENGe eae eas eee 15 | 24, 25, 197, 198, 199, 201, 202, 203, 205, 205, 210, 212, 220, 226, 230 WW Gracey ma teyerel tiny SS See SE SEE Je Joe See aS oes Sad os a2 30 | 18, 195, 196, 200, 204, 207, 208, 209, 211, | 213, 214, 215, 216, 217, 218, 219, 221, 222, 227, 228, 229, 232, 233, 234, 235, 236, 237, 238, 239, 240 otal eee cevet oteda ace est ode cue sean eee 45 FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE | Number | of songs. Serial Nos. of songs. | Beginning on the— | 1) hd ee Rie a ale Aare bear See BS. eerie i| 202 Denthe 2. . ac. te Abide scoee aoe oe eee Ree oa eee ney 1 | 237 INDIGO cot oc. chp etemse se bee See aaa 1 | 199 OCHA O So Sais sie ae Soe EE oe ee ee 16 | 25, 195, 197, 200, 209, 210, 219, 222, 227, | 228, 229, 232, 233, 235, 236, 240 Mufthes oe 62 ik linu oe eet he Se ae 14 | 18, 24, 196, 201, 203, 208, 211, 212, 214, 215, | 216, 218, 220, 230 LOST EMG en a Se ee tisao ay oti ca a a. Mer tthe 1 | 217 SbF ia (espinal Ale IE B25). 6 | 198, 204, 205, 206, 213, 226 IGOUIIONOL Ee re elo at 25 add. Silene eek ee eee 5 | 207, 221, 234, 238, 239 Wi ee eR ae se eI cd FAP oo 5 45 | DENSMORE] TETON SIOUX MUSIC 521 Comparatively Modern Songs—(3) Miscellaneous Songs—Continued Metopic ANALYsis—Continued LAST NOTE OF SONG—ITS RELATION TO KEYNOTE Ending on the— Number - of songs. | Serial Nos. of songs. 12 | 18, 196, 199, 201, 202, 203, 206, 210, 212, 214, 220, 230 6 | 24, 25, 198, 213, 226, 234 27 | 195, 197, 200, 204, 205, 207, 208, 209, 211, 215, 216, 217, 218, 219, 221, 222, 297, 298, 229, 232, 233, 235, 236, 237, 238, 239, | 240 45 LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG Songs in which final tone is— MO wesinuONG Ml SONP ss. acon ssesineccweocscccnseecd Immediately preceded by— Minor tirdspelow.-=: 2s -~ 2. sco acces cine Wiholettone below-22 ~.5--=- + sesest--c<0's-4% Songs containing a fourth below the final tone... .-.-- s Songs containing a major third below the final tone. . . Songs containing a minor third below the final tone... or songs. NUMBER. OF TONES COMPRISING COMPASS OF SONG Number Serial Nos. of songs. 34 | 18, 24, 25, 195, 196, 197, 199, 200, 203, 204, 205, 206, 209, 212, 215, 217, 219, 220, 221, 222, 226, 227, 228, 229, 230, 232, 233,234, 235, 236, 237, 238, 239, 240 2 | 202, 213 4 | 208, 210, 211, 214 3 | 207, 216, 218 1 | 198 1 | 201 45 Compass of— DOVENUCRHMCONOS! «s.-5.. 50.0385 - ce cospcs see seesicais - sil INGHITORIN CONES oct: sos oc crvie som ne eatiecinialiora Sei feias I MabhaiGts\el ova 2 ee en ee ene Sees Se Aen WIG VON TONES eo seem adores othe cisisre ce veces seas AD EYN TONGS Ea ee ops Se Sac inenio es = Seren ees 2. LOTTA it) 9 CSS a are nist Ripe oes Te GOL eee ae ea Seven tones Sixtones)c3..303,24452% Sn Ae Bef 2 221i w 5 22h HIV.G TONGS © = 20.52 = eee a I rei Siiic mei eee wee Number of songs. Serial Nos. of songs. 2 | 195, 202 1 | 25 1 | 198 1 201 7 | 24, 200, 205, 232, 234, 237, 239 8 | 196, 198, 203, 206, 212, 214, 219, 222 19 | 18, 197, 207, 209, 213, 216, 218,220, 221, | 226, 227, 228, 229, 230, 233, 235, 236, 238, | 240 1 | 210 2 | 208, 211 : 1 | 215 2 | 204, 217 522 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 61 Comparatively Modern Songs—(3) Miscellaneous Songs—Continued Metopic ANALYsIs—Continued TONE MATERIAL FIAT IMOMIC oot ccs mies wc cnc wo ccian ane on eens Ce 9 IN GUS One eee ret REO & aise no icin wo wiske Bt lute eta 45 aro Serial Nos. of songs. Sacond five-tonediscale-t-e se ean. s-- an ao nee eee ae 11 | 18, 195, 208, 211, 213, 218, 229, 233, 236, 238, 240 Fourth five-toned' scales. - 22. cmee sane inane me 8 | 24, 25, 197, 199, 201, 205, 212, 230 Major triad and sixth ce aoe ac eeeicbe ets ttl ceca 2 | 210, 226 Major/triad and seconds gee sane see e iain asian 1 | 202 . Minoniriad'and tonrthie ee sesh eee eee eee 7 | 200, 207, 209, 214, 215, 217, 235 OPE Wei o ol) BSS SA. Rose neg SeteeranEacece 3 | 206, 228, 237 Octave complete except seventh.........-...-...--...-- 1 | 219 Octave complete except seventh and sixth. ......-...- 5 | 216, 222, 232, 234, 239 Octave complete except seventh, fifth, and second... . 1 | 198 Octave complete except seventh and second.......-...- 1 | 227 Octave complete except sixth...........-.......-..... 1 | 220 Octave complete except fourth...........-.-...------- 1 | 203 Octave complete except fourth and second........---- 1 | 196 Octave complete except second............-...-.--..-- 1 | 221 Minor thirdiand founth-2: = <= -- <2-5 eso eeeeeeiae 1 | 204 PROTA DS pein niet woe eyo era eae ee cee Deer noe 45 7 ACCIDENTALS : | ple ie Serial Nos. of songs. Songs containing— INOVaCCIOGNt alten sce eee secre aeeneseneceemees 37 | 18, 24, 25, 195, 197, 198, 199, 200, 201, 202, 204, 205, 206, 207, 208,209 210, 211,212, 213, 214, 215, 216, 218, 220, 221, 222, 226, 228, 229, 230, 232, 234, 236, 237,239,240 Seventh raised a semitone...............-.-.---.-- 2 | 233, 238 Sixth raised/a semitone: --2---- 0-02 ss< esse == 5 - 2 | 196,219 Fourth raised a semitone. ...-.....--- mets pee teeee 2 | 217,235 Third and sixth raised a semitone...--....--.---.. | 1 | 227 Seventh lowered a semitone........-.-- Baboee ose 1 | 203 Total. Ss. < scc6 ces tee os ee pao ee een etree eter 45 STRUCTURE | eet i Serial Nos. of songs. alnta svt ee! 20 ok. RR eo eee | 32 | 18,24, 25, 195, 199, 201, 203, 204, 205, 200, 208, 209, 210, 212, 213, 215, 216, 217, 218, 219, 220, 221, 226, 227, 229, 230, 235, 236, : 237, 238, 239, 240 Melodie with harmonic framework... .....-...-.-.-.--- 4 | 200, 222, 232, 234 196, 197, 198, 202, 207, 211, 214, 228, 233 ( ; y | : y / | DENSMORE] TETON SIOUX MUSIC 523 Comparatively Modern Songs—(3) Miscellaneous Songs—Continued Metopic ANALYsis—Continued FIRST PROGRESSION—DOWNWARD AND UPWARD Number ee of songs. Serial Nos. of songs. — ’ OW WAL Ol. .. =< = qnaas snp aise te ee celts ease See Sucie's 22 | 18,24, 197, 202, 208,209 210, 211, 214, 215, 216, 217, 218, 226, 227, 229, 230, 233, 235, 236, 237, 240 RIEL C2 noe co oh Sem Gms Oe Sp sisi ae cei se crassa 5 sate << 23 | 25, 195, 196, 198, 199, 200, 201, 203, 204, 205, 206, 207, 212, 213, 219, 220, 221, 222, 228, 232, 234, 238, 239 | “LES | CI eS a a pe ae ee 45 | TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD Downward 2-226 -~G. eee aes sels Sac. sae se eee es 795 Wp wands. 6 si cbetetee satenn nic Seine sok abl = haces ee 464 Wo tele h oes Seete sects = otasiicaeiescaseceeases ss 1, 259 INTERVALS IN DOWNWARD PROGRESSION IG Heseoast a oko ace ees ne oles eee eine oatee 2 ars 4 RUOUIP UN aatets es oe ale nyo arciaalte sh cic acer selene orctniels 80 Mesornthirdee <6) - tems = ee ec nae cee ie ot 43 Minor thirds. j2<2.5255. ic easton. Seo seere sent Ses 273 MTOM SACOM Se a hoe cre e/patn oe rae laa 376 MUNnOnIS6CONG 282 22 .te emetic a ees lee se ss 19 Total Poaceae to= beak sct aawse oat eee estas 795 INTERVALS IN UPWARD PROGRESSION Interval of a— | SUG A DAE oR ee See ie ee aa ec ee ae ee Dal NT UIND 2 RSet Oe eR NS Sel pte ie epee 1 | OCtAN Gio on eee e ass act ts See ewe eae 14 | IVS OMST Ube eee oes a= -- dees Fee epee ee nase 2 MINIOIMGING RE sass oe ins * Sa ce S ann = Bk ee ae 4 TST Aa cre Ae hee Se eee, A rene Aen 18 ONT EME ee mite eet eet Gics ae hoes coco ede Seas ck 82 | Biciomiiinde ates See os ey tt he oo a: | 38 MSH ONDE Ono pee ae Soa ko sod 3 130 MEA OT: SOCOHGS: ane see ern sem eee esas fs 2 os 2. 160 WN Bhs lo) eG orate SS Be Re ee 13 TOUS. 23 Soe. Saree eel) ee fede a a oes wb boc 2s 464 AVERAGE NUMBER OF SEMITONES IN AN INTERVAL INCORV BIN Se ene arene fat oe vs oo ees 1, 259 SOMLIEONES ssa cesese eee ees tacos. 3, 865 of semitones in an interval. -..-....-... 3.07 | BUREAU OF AMERICAN 524 Comparatively Modern Songs ETHNOLOGY [BULL. 61 (8) Miscellaneous Songs—Continued Metopic ANALYsis—Continued KEY Number of songs. | Serial Nos. of songs, Key of— Av@minor : 22): ese OR Pie Ee ee, 4 | 208,214, 218, 222 Bist majors. cc. as feces sete Sac teive, Gana ees? 1 | 202 B major: ::é:4 4. kt. seen eee nc ae See 3 | 201,203, 212 Bs MUINOLrs Se ec eae Ata ees Satake sree sts ine Sane 4 | 18, 196, 215, 237 COR 6c Ub 61) yaetne a fe mop on ee ia as UE Ye AE 3 | 200, 207, 216 D flatimayore eter wes cans test hens eats « puaoees 1 | 205 G:shenpNmigor sof <.aerisinn gale sia sem aecisie amiss 2 | 219, 233 ID amajon Reta etese oth cates Sets pote step eee Seee 3 | 206, 220, 230 DMM OTe ss cae eee eros ie Noe mee ot 1 | 217 atonal on sso. 5 se see te eet Bae eet tee 2 | 210, 226 Hi Matminon sees jase wae seme eee 2 ob len ae 1) 227 | IN OR Ne Sele dae oes oe Ae oe vein sn ess ate 3 | 204, 232, 239 MUN ON Grae aa rae ane, venetian he eee ohne ee 2 | 195, 240 GiHat majors a2 ees eco ee oe BE os CO CAT: 1 | 25 RShen mun Once aac ees cee ert ee eos 1 | 238 Guimaraes. gee Oe ee 2 | 198,199 GMM OR ee eee ss Soe Cae ee ee eae 8 | 197, 209, 211, 221, 228, 229, 235, 236 AUS GINS] Oboe oe oe oe ect ee ee re ee eee 1 | 24 GuSHarpHMINOL kiss osenceee ae ctee ie aoe areas pee | 2 | 213, 234 MOA sce se yacs octce desc ciate a= ees emtoe eee 45 Ruytumic ANALYSIS PART OF MEASURE ON WHICH SONG BEGINS | nee Serial Nos. of songs. Beginning on unaccented part of measure .......----.-. 16 | 18,24, 195, 202, 203, 205, 209, 211, 212, 213, 217, 220, 221, 228, 232, 233 Beginning on accented part of measure-.............--- 29 | 25, 196, 197, 198, 199, 200, 201, 204, 206, 207, 208, 210, 214, 215, 216, 218, 219, 222, 226, 227, 229, 230, 234, 235, 236, 237, 238, 239, 240 Total sc scisewcdaces seeehweseu see se eeiee aoe ces 45 RHYTHM OF FIRST MEASURE | pee Serial Nos. of songs. First measure in— ING -.o.08)s ssi cln.c.e sal chee o/aeid an elels ane eee cei Sees 22 | LTTE asin loienle 2 ole.d Se ey msdn ainiale ae oleae ee eee 23 thas : 1 e17 | LS oe OR a A SER 45 25, 197, 198, 200, 201, 202, 204, 206, 208, 209, 214, 215, 217, 218, 220, 226, 229, 233, 234, 236, 237, 240 18, 24, 195, 196, 199, 203, 205, 207, 210, 211, 212, 213, 216, 219, 221, 222, 227, 228, 230, 232, 235, 238, 239 DENSMORF] TETON SIOUX MUSIC | . 925 Comparatively Modern Songs—(8) Miscellaneous Songs—Continued Ruyrumic ANALYsis— Continued CHANGE OF TIME, MEASURE LENGTHS Braun, Serial Nos. of songs. Songs containing no change of time........-....-...... 5 | 208, 209, 213, 214, 215 Songs containing a change of time..................... : 40 | 18, 24, 25, 195, 196, 197, 198, 199, 200, 201, | 202, 203, 204, 205, 206, 207, 210, 211, 212, 216, 217, 218, 219, 220, 221, 222, 226, 227, 228, 229, 230, 232, 233, 234, 235, 236, 237, | 238, 239, 240 SOLS aee eee eee eae eee ere aeticcine 360 SONGS: DY. <2. cc> neces 255, 256, 258, 259, 260, 262, 263, 264, 265, 322, 394, 395, 396, 398, 400, 402 specialist in treatment of broken bones.. 261 treatment of wounded................... 254 EARTH MEDICINE WOMAN, song by....-.-...-- 364 EASTMAN, REV. JOHN, narrative of song. .... 515 ELK, dreams concerning.....:...........-- 176-179 ELK HEAD, possessor of White Buffalo Calf (8) |) REMC MEE SS rete rc. 66 ELK Society. See Society. FALSETTO TONE mark of proficiency... ...-.. 61 FIERCE FACE, surrender to authorities... .... 515 FIRST NOTE OF SONG, relative to keynote— dingram iWlustrating sie ace ons oases 42 tabular ‘analysis..25.-2- octce. sce Ge ee ae 12, 26 FIVE-TONED SCALES— According to Helntholtz.<<. 2-2 -. =. enee vf Comparison between occurrence in old and modem songs=----5.- ose see sees 12 data in tabulated analysis............... 28 songs on first five-toned scale... .. No. 131 FLETCHER, ALICE C.— Alo’wanpi ceremony studied by.......... 68 cited as an authority. 63,68, 77, 122, 284, 312,315 reference 10:2. 3.0 se nee ee seats 63 statement concerning Crow-owners so- CIOUY. So ana See ena ee eee 348 statement concerning societies..........- 284 symbolism of sacred stone......... ones 206 FLETCHER AND LA FLESCHE— ClUGGs es eee Sete Sateen eee 326 description of grass dance...............- 468 Fort YATES established 1873.............-.-. 4 Foster, Ex-Gov. CHARLES, chairman bound- ary COMMISSIONS: --2--s kane see donee 4 Fox society. See Society. FROSTED, THOMAS, attendant at Sun dance COUNCIL e 92 GAMES— hiding a stick, description. ............ 489-490 moccasin; (description: 2.4. 2---ch-e-=-- sce 485 Gaost) Hr, lependiof=. . 2. 2-5-2 ae 496 GoosE— demonstrations of power of sacred StOnGS.ceseee 30d POSER aa pee SE, 210 dream authorizing him to treat sick.... 251-252 informant concerning Sun dance......... 90 participant in Sun dance................ 90 SCOUP MU ee DCU cco soe ono eee 90 specialist in treatment of consumption... 251 GRASS (JOHN)— informant concerning Sun dance........- 89 judge, Court of Indian Offenses. ......... 89 GRASS DANCE. See Dance. GRASS-DANCE SONGS, plots.............-.- 483-484 Gray Hawk, songs by .........-..2. 289, 290, 291, 292 , 323 , 324,325, 326, 339, 442, 486, 487, 488, 509 GRAY WHIRLWIND, Songs by........--.--- 226, 227 GRINNELL, GEORGE BrirpD, cited as an au- thoritive =o. bn es Sees a oc pots sen ae 312 PEAKA LA, SOMES DV2>.s o> «cass adaemcnees coat 503, 504 HARMONIC STRUCTURE DEFINED....,...------ 19 INDEX BBY Haw ey, E. H.— Page | LAWRENCE, Mrs. Hatti6F— Page description of grass-dance whistle........ 471 interpreters. ce a pe 419 description of Sun-dance whistle......... 125 SONPS Dyte.. 3 ee oe no ee 365, 366 SiAtement PVsssseaa 5 See ss ote ee 388 LEWIS AND CLARK— HAYDEN, F. V., cited... ad ei gttti oie eimai 284 description of ‘race course”’............. 319 HELMHOLTZ, H. L. F., cited as an paeher: Journal of, cited as an authority. 3, 195,312,314 Ruy Sasa ee nner === = cr te a #40, 41, 42 LITTLE BUFFALO, painter of warriors.....-... 350 HENKEL, ALicE, acknowledgment of assist- | _Lrpriz ConsuRon, songs by... ee ATIGOH A = Ate eee Sc eta s elaine ee resiae bee 271 | 5, ie ae HENNEPIN, FATHER Louis, cited as an au- ¢ . 4 can od 5d Ene 314 dream of thunderbitds--=ss6- eee 159-160 Herps. See Medicine. in Custer massacre--...-.--....-.-.-cs2-- 91 Hewitt J.N.B.— informant concerning Sun danze........ 91 ited 48 an authority.......-....----.--- 70,71 narrative concerning sacred stone.. 214, 216, 217 GURRT RAE RIOR?” even vewceee. si narrative of White Buffalo Calf pipe by.. 63 Heyo’KA, uses of the word...........---:- 158-159 eon in Sun dance........-.-....- 91 Hipinc A sTIcK. Sce Games. DIY OU WW nsaytapesa-2-2sastaseszncn asec 216 HIGHEAGLE, RoBERT P.— songs by....... 160, 162, 163, 165, 168, 169, 215, 216 attendant at Sun-dance council.......-.- 92 statement concerning Sun dance......... 92 interpreter 1. 63.172 statement concerning thunderbirds..... 161 eS ae BSS is A Ege etary , 63, : Statement Dyeecec ete <2 snore eee. 70-71, 72-73 163, 164, 167 statement concerning Alo’wanpi cere- LOOKING ELK, statement concerning Alo’- THOM YE oe oec ep ene oe ee ee 7 Peal) DUC OLODIGM Venn. San ene ee 70 study of Alo’wanpi ceremony.........--- 69 | LOVE sonGs. See Songs. HOFFMAN, WALTER JAMES— LowtE, Rosert H.— cited ‘as‘an'‘authority -.... 22222-22532. 2s 470 cited as an authority..... 285, 315, 318, 320, 325 reference t0:-. ..--2--- +--+. 22-2 tes 167 concerning night dance.......... aaa 479 HouMES, W. H., cited as an authority,....--- 122 concerning shuflling-feet dance........... 477 HOLyY-FACE BEAR, songs by..-.--- 513, 514, 517, 518 mention of grass dance................... 469 ELOOP, considered saered!-..- 222. 552---6. 22... 295 Folorencetoses- 4 sn eee Ae 167 HORSE society. See Society. statement concerning Buffalosociety.... 285 ETO Ye fGen CLUQU so nen erence ae een 206 | McGiLLicuppy, V. T., statement concerning HrpiicKa, Dr. ALES, acknowledgment to... 40 Sundance: 3.25 ae eee. Pare oe 86 Hunka. See Alo’wanpi. MCKENNEY, THOMAS L., cited as an author- INTERPRETATION dependent on personality. . 62 by eee nr Oe ate A Berne We, 3 INTERVAL OF A FOURTH— McLavGuun, Mas. James— promEnengit----- Sieg sane? Songs Nos. 7, acknowledgment to..............-....... 3 10, 46,58, 72,81,83, 95, 129, 169, 186, 194. cited as an authority Ee MeO A biG adh bY 436 a Saitek Wedges. 3 1s2 | McLaveuutn, Mrs. Jawes— De uae a = ms es Nas. 90. description of treatment of sick by use of Be rt 117.158 170 ain rs Tl SScTCqUSLONGS ete a eee ea eee 246-247 eS acidavation of ; 6 interpreter SO ect II ae. 274, 379, 441 cre AWN Ne Siena ote fl aa ‘“ ss ” INTERVALS IN DOWNWARD AND UPWARD PRO- Dureliase OF “SDI WEED aan ae 79 a ee MAIDEN’S LEapP, legend of................... 494 aa é MAJOR AND MINOR TONALITY................ 40 Mmineram WNStrating= = 2.2.2.2 sess snc 46 z tabular analysis Sto 8: 16-17, 32-33 | MANY Wounps, songs by..........7.....- 342, 448 eee ee MAXIMILIAN, PRINCE OF WIED, cited...... 315,318 INTONATION, comparison of good and poor : , singers SE ARE Fs Onlency eee g9 | Measure, part of, on which song begins— =e diggramillustrating...22-----..2-.25<>--56 48 explanation of drawings by...- 387-389, 392, 393 tabular analysis se cetteeeee sttersessesens 18,35 herbs used as medicine by............--- 3g9 | Measure-division, 5-8, songs Nos. 64, 68, 125, killing of white buffalo, bear, and elk.. 446-447 169. ; - SONYS|PY2ess42.- ce co matcteace css s cle 390, 391, 392 MEASURE LENGTHS, uniformity throughout KEatiInG, WM. H., cited as an authority. ... 3 HOME Kry— - diagramillustrating..--..-2.-... 9225-5 49 comparison with “interval formation’’.. 40-41 tabular analysis == 2- ees -cee ss = nae 18,36 (EATER LOTS) ee Se co rom Se A 12,26 | MEDICINE, herbs used as..........-.--..... 269-271 tabilaranalysis...22.2-2-.-2+04-8-<2- 17-18, 34 | MEDICINE BAG, remarks concerning........ 252-254 use of term explained...................- 9 | MELODIC STRUCTURE with harmonic frame- Karrs-AT-NIGHT, songs’ by --.2:..--.::------- 61, work defined. . wesescereesesseseeseteeee ees 19 408, 473, 474, 475, 476, 478, 479, 480,490 | MELODIES, “plotting” of ..............--..-- 51 LAST NOTE OF SONG— . MELODY— diaprambillustrating s.5252..-.<. 2.62.52 43 lack of unity in, in ‘‘made-up” songs... 59 relative to compass of song..-.-....-.--- 16, 27-28 typicaloutling-. ~~~ — i .o 2 aces scenes 43 relative to keynote.................-.---- 13,27 | MEMORY FOR SONGS EXTENSIVE....-.....-. 61 558 INDEX Page Page METRIC UNIT— Ponp, G. H., symbolism of sacred stone... 205-206 AOverTUNAON . <<. snnkcieasaas seen 50 | PROGRESSIONS, DOWNWARD AND UPWARD— of voice and drum compared...---------- 10 diagram ilinstrating® ...2.3.<5.sseeeees 46 of voice and drum, differences. ..-.------- 50 tabular.anslysis: ..<..3- ie ee ee 16, 32 MErTRIC UNIT, tabular analysis— RATTLE USED IN TREATING SICK......-..-.-- 252 comparison of voice andidrum: ..22---4.- 21,39 | RED Brrp— diagram illustrating - ..-.--- ee 51 comment on Sun-dance vow........-...- 134 graphic representation. ......------------ 110 discussion of Sun dance........--...--... 94 OMAN ,.o ce saies se eaaaanee Sees 20, 21. 38,39 explanation of Sun-dance song...-......- 139 olsvolceic. fone oeee seo se ee ees 20, 37-38 informant concerning Sun dance...-.....- 89 MEYER, PROF. Max, statement by--.-.------ 6 SOUL DY... gee css venncs- oss cue ee ee 99 MILITARY SOcIETIES. Sce Societies. statement concerning Sun dance......-. 86, 102 MINOR INTERVALS, prominence in songs of vision in Sun dance..............-.-.---- 149 major tonality. ......----------------+++++- 175 | Rep Fisa— MINOR THIRD— informant concerning Sun dance.......-. 91 approximately the average interval. ..... 47 participant in Sun dance..............-- 91 frequency of occurrence..-.-------------- 46 BONE DY~2--t testes coke odeee ee eee 457 large proportion in.....-- Songs Nos. 1, RED Fox— 8, 24, 27, 66, 118, 130, 154, 177, 182, 190 informant concerning Sun dance.......-.. 90 MINOR TRIAD withminor seventh added..-- personal narrative. 2.%.-...uceeeeoeeeee 375 Songs Nos. 49, 126 SON DY 22: a50.-02. - 2-2 eee sec Pee 378 MIWA’TANI SOCIETY. See Societies. Sun-dance vow...........-..----++-+---+- 90-91 MoccASIN GAME. See Games. RED WEASEL— ; Mooney, JAMES, cited as an authority....-- 127, informant concerning Sun dance......... 88 : 311,312,316 opinion on description of Sun dance...... 94 Music AS CULTIVATED ART among Chippewa DPISYOL DY s-- 228222 e cn es beses ceee ee 95 ANd! Gioukacv wee aeeeen-G- -eee ae se dela 58-62 | RENVILLE, GABRIEL, information concern- MusicaL customs of Sioux and Chippewa ING eva nee- oie ole we enene mane =aso sneer eres 453-454 compared......---------------22 2-222 r eee 9-10 | RENVILLE, MOSES, songs by...--........... 454, 455 MUSICAL NOTATION, use in transcribing songs. 5 | Restoceursin few; Songs2--,.-.2c) seo ae eee 249 NIGHT DANCE. See Dance. RaYTHM— No HEART— : comparison of old and young singers... . 59 informant concerning Sun dance.....-.-- 91 drum :.: 2.2 5. -2220 - ssnoee secs ee eee 49- participant in Sun dance....------------ 91 importance emphasized.....- Santis 9 Ops1B’We, more than 80 songs recorded by - - 61 of first measure, diagram illustrating. . -- 48 OLD BUFFALO— of first measure, tabular analysis........ 18,35 explanation of drawings by..---------- 412,416 VOCAL 52058 eRe A Se Ee cree 48 narrative of vigil and prayer for sick... -. 274 See also Drum rhythm. MALVALLVE OL WALL en ac eae 8 = manne 412-416 | RHYTHMIC UNIT— SOUPS DW sees eee ss eee 4 sot seks 6 ee 418 112, 114, 116, 118 war, rhythmic analysis. ............... 425-427 six ways of participating in._............ 131 White Buffalo: Maident<.2. sce. sete eee, 67 songs. See Songs. White Horse Riders. 3205. seeds. eee 330, 331 statement of Red Bird concerning....-. 86 WU Leo eto ilo aacwactance wee ee memes 189, 190 suspension from pole... -.... 22s -3e~-06 132-133 SPIRIT-KEEPING CEREMONY— Teton Sioux, description. ..........-. 98-151 disposition of white buffalo robe......... &4 torture by different methods......... 131-134 distribution of gifts:. ge. ue eedee 82 MSG,QUGTUM ..« .2.- csv se scdesieacne coer eee 130 Giubyoraten ‘Gann ..- cossecwbaedasees 81 TiseOf SEGA S. . .:.5: abeuan seeeaeeenwee 99 ICBO rans a wecw as caaena cen See Se eeee 81 variation in ceremony....-......----.+-- 86 finest attire worn at end of.............. 81 VOW bs Seeuan. 8 aco eee eee Ree 101 Piltsfor the tan Cal) -—. <5 2. sasseee eee 79 women assume part of torture.....-....- 135 inspired by White Buffalo Maiden....... 78. | SUN WORSHIPPED AS DEITY =< 22:55-2: .2co0e2 &t lighting and smoking the pipe.-.......... 83 | SWANTON, JOHN R., reference to sun as deity. 4 INDEX 561 Swirt Dogc— Page | WAKAN’TANKA— Page description of buffalo hunt............. 441-442 children. sentibyjcnn.<.tesmmcesescestcccee 70 explanation of drawing by........ 403, 404, 405, dofinitioniot.s-secc.. So cecceeven 73, 75, 189-190 HUNAdaNnCe WV OWese se nee eee ceieetasacseen 89 WHISTLE, ELK, description................. 470-471 WHITE BUFFALO— inighimegand fOr. - ear ss amen see ie ciselee a 84 See also Buffalo. WHITE BUFFALO CALF PIPE, narrative of..-... 63-66 WHITE BUFFALO MAIDEN— instructor of Spirit-keeping ceremony...- 78 MONMONCE Sse se ceeee came aa << s 66, 67, 69 SONG Of: 33 2.2eence asese Ceres oc ewas 67 WHITE-BUFFALO-W ALKING— informant concerning Sun dance........- 91 participant in final Sun dance in 1882. ..- 91 WuHitEe HaAawk— description of bows and arrows for buffalo HUGE Aa e em oceans oo sie acta taciew alec 437-438 description of cutting up of buffalo...... 443 WHITE HoRSE RIDERS. See Society. WHITE SHIELD— COMPOSeL OUSONPS#22=- cance «