Seo Lleee LLL YE Lie tie ty Ue “ay Uji Le th YZ Ye ee il Yj Ze Lid Ye We \ \ \ MMMM 7s) (ALLS | BULLETIN > 10) ie} a O Zz ic be Ww Zz < 2 & Wl = < ce [@) =) < ui a > a UTE USING MORACHE “~ SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 75 NORTHERN UTE MUSIC BY FRANCES DENSMORE WASHINGTON GOVERNMENT PRINTING OFFICE 1922 LETTER OF TRANSMITTAL SMITHSONIAN INSTITUTION, BurEAavt OF AMERICAN ETHNOLOGY, Washington, D. C., November 25, 1918. Stir: I have the honor to submit herewith the accompanying manuscript, entitled ‘‘Northern Ute Music,”’ by Frances Densmore, and to recommend its publication as a bulletin of the Bureau of American Ethnology. Very respectfully, J. WALTER FEWKEs, Chef. Dr. CHartes D. WaALcorrT, Secretary of the Smithsonian Institution. ea, Pst bs ri ep. ez. “hi ety Ee « oe Ree tekst cee.) > at * x oo J - FOREWORD The songs comprised in this memoir were recorded among the White River, Uinta, and Uncompahgre bands of Ute in 1914 and 1916, the research being conducted chiefly at Whiterocks, Utah. In number these songs are less than those of the Chippewa and Sioux previously studied by the writer,' yet they contain peculiarities which contribute materially to the study of Indian music. Certain songs are found which appear to be unformulated. These are described as “rudimentary songs,’ and a comparison between them and the accu- rately repeated songs forms one of the new features of the present work. An interesting contribution to this work is comprised in the tone photographs of portions of two of these songs, taken with the phono- deik and analyzed by Dr. Dayton C. Miller, head of the department of physics, Case School of Applied Science, Cleveland, Ohio. This cooperation is gratefully acknowledged by the writer. Acknowledgment of assistance is tendered also to Fred Mart, a member of the Ute tribe, who acted as interpreter; to employees of the Uinta and Ouray agency at Fort Duchesne and Whiterocks, Utah; and to members of the staff of the Bureau of American Ethnology. The comparative analysis of Indian and Slovak songs was made possible by the courtesy of Mr. Ivan Daxner, secretary of the Slo- venian League of America. 1 Chippewa Music, Bull. 45, Bur. Amer. Ethn., Washington, 1910; Chippewa Music, 11, Bull. 53, Bur. Amer. Ethn., 1913; Teton Sioux Music, Bull. 61, Bur. Amer. Ethn., 1918. 5 SE utile pe oe Sholdae bane am Rebun PST cA Be, thst se ae ONC 2. Hie aes os ai es 7 a Lsoetet tf of: eres te i iS beats ied § ee eg Rais Diy Pear eh eee Aude Pint Sar ee " Sirs eer: 'pe Potala tary is cts ay hi dee TSE sa 6 Eek tae Bt . Gy ie ine? ie hue Pea Er I 3 that oe ra oe yetce : * t ae es he PE ( te re ' a a Se LPR Cee ee: Sm, ee: LR UiSYGar sie ce ts ame) . . * ro. ‘ = WTOP ES Pda, be Bip Hata ley beg Lise PIOA gil Ny Pasties “Seite ala wae he: ry . ‘ 4 Sie 6 ‘ / ‘ festt yay uM ring » a> vol rae ue ; cs 5 » > re tla) oe ag 4 re Hoge omy BENDS TE OPER yh,” hol Pere are ~o , ? ‘: : fot ‘ — . SITET ae 9G sh) de OO LBS ee aaa, Piet : i athe A - “ 2h ‘ : ~ 4 = “ s a ATE GIAEE SAY tha. See pets! Agha Sh chet pth RAD Rg nf 5% a Pat af : = ul . Pate’ y Aa TSE By CT ae, Aly Bn Rs eee a, 2 tacnkiee, y ‘ ’ act £ t Lae ee Lint akg n ities pi or ak > ti pene? POT Ph ere. 2 r a Fg 2B +, Ute eo ear ; i : pe xe FD Pes $i5}) x , a tee te re ald Fg rie) #1 , ‘ : ; pS RF RL! Ea i ec Ga as CT oop Pai rie bee ; Lhe : : : ° ( . AIK HISLES, uncon hole} 2. Ear ss eS : 1 ea triei:z ‘ 4 4 te id FIORINA AE PAS aay FO ths Bee? Te) DR ob epee. pane ps & ‘ ; ave Bin Gila nt VS uaeterse eee itd Syl ere aa le Paw CUA ~ | 7 oa oie ‘ = b, ; , H f int ta eepaL vat MJ kr G8 be, Te Te eric eon aoe | 4 aad ; iS * MMA Seta Habs eure Cities ¢ nat re “rer eee. Ee, _ f ‘ a as < ; i ' V: M e - hs ss) . , R ’ y > x =. G ~~ CONTENTS Page 2 S's CE ECCI age ea nan LE aS eRe 11 Mimmpedcnorder Ol serial NUMbERS ss a.) +k sce «ces eee ela ae sk Sok eee Be 11 Arranged in order of catalogue numbers..............---- Mei ce eee aN 14 Special signs used in transcriptions of songs............---..----eeeeeeeeeeee 16 LOVE TVES. OY? STV (ey Se Sas le ee ni ee gl eg ee ee a NG, Oharacterization of singers... ....2...+...d.--- Se Nap re Ms. oS SR LAU AE 18 RH VEO Te ORM sie skye tc) yt. (oy eeeaty. LIS is hs wees we SER Te Pose 18 “GE (Ging) Tir Ee ste A SR Seat a ae oa EO Ge aN Pe ee eee a 23 ED DVS E TS IED 1 can el a a RY ee ad Ses cecal Coan Sc Seb net, ALS AE 23 BIG OSS Ee a ecg eC oO eA ee SS 23 ered ee RC RELISAZS WIE 2 in tre RIES ee J a a eed ee 24 RS MOR RETI» WiGer oer t ies Aone yaar se oni coc oa Soe Re eae ee 24 PE Rega pes tame ae ne ele ev Nae Se hatches deny gw uN ee cee a a Saw wens 25 rama tTOs spire g esses Cae Metis SR hha ca kly ees E See. SS SEA 25 BNR Ea RS PATRI iphoto pce et, Set Saal co hae anc terald gsi SOL a ae 25 Spa RS eset ere hae th esl tceign alata SK pis LOM walt PS 25 ISIS) OTST (cee Ak ae MS CA ee ee ae eR 25 ley mere eer. ete et snnl hey ott YRS ew ew sek ES, SRS Soe ek 26 ImdistHesss 2 he Sao LE rn ato rcra te rere peavey Ste nue ee A 26 COETUEE OVS BOT ON RSTO 0 PS ON pe cee ee ao 26 Mirrors MUI CMS ce i cet anette ete rho tt acs Se eee ene ae eee eee 26 INGreMGE DUTTA MEUStOMisc sai 2ua2 4) secure is Aes Sissies aes See ek eee 29 Tabulated analysis of Chippewa, Sioux, and Ute SOM Beg i et are ee eek 30 Mel odICnTiS VSB ee c at oat. Set eh erties okie elieed ane, gale RL 30 Eien y nana CIA ADU RIB BOs Dara Se awn yaaa ware Sul aaa ere ee ok ee oe 44 Comparison of analyses of Ute songs with analyses of Chippewa and Sioux songs. . 52 Comparison of analyses of Chippewa, Sioux, and Ute songs with analyses of Slovalenonps testes. eat Ue eS Pe EI De 55 DED GRINGO DoS aOR Ne ee Oe See ee ae ae pee Geel ee Ine Poke a 56 Characteristic ofisongs../..2i.-2.-.2222. Sere ASS sae Beate i ei 58 EL OUURT GUE 2011s ys fae es oe ng eda ee Oa a RRR ae PR 72 PEN UlaLedkalialivslseve ceases on ee eee ei mL ici cam, Bele as hl alae 73 SUL LENG aie ee ree al Aaa a el eS ee ee 79 ShArAC LeHINLIcs Of RONBee eee ee sorte Seed SEA OT 1) Ee 81 elena OG SOTING 9 See Sage Pre ol tan ee Oh ie Pe 87 Uileperained dance SONPH2 sass 5. seis ee i eee RE 88 Tabulated analysis of Sun dance and Undetermined dance songs.......... 90 Social dances of less importance than the Bear dance...............-...--.-- 95 UTD S (TTY CFay oe ORE hal Se alepee eG eer Ay ee ie Oar ee ee « $95 Ptr Se LehISGles OF SOMES te = en een aio aS ere Ne occ ee ce 96 EPO LORE NON Orie eae teeta eet Son oes nat ue Stele co oalk soy Qa weeee 101 Wf SLEETO EMG MTV Set ea RO Nes lar ee, | a eae Pe a 101 OS Hara CteListtes Oi SONG Es eros 21556 aici Soe ee kano Soe e Aa Skee. 101 IES aes TOn ASS eee RO ec ere te ere a ee oui ks x Hoes Se S 105 8 CONTENTS Social dances of less importance than the Bear dance—Continued. Page. bame dances 22 2s. yas So oc Zee see RO ee ne eee 105 Characteristics OLsOnes 25. < 6 ce cee eee ee oe es ea Re nmes = —' 105 Plots:of songs. 22s 22h ee ee eee se oe eRe Sree ge aS eR a” See 11 Drasping fect dances (2: 232-5.cee ee ee Pan Bist ige cee oe het: Aer 112 Characteristics of songs. -3.0se4 oie Ee eae oe Ca Saar e 112 Plots of:songslzs.s 222 She ae eee 114 Tet Gan ees 25323 2A6 oe ee rik G50 Sot abies shah ae Ce oe ee 114 Charactenstics of.songs... 2. 7. ae as Fee eS eee 114 Plots of songs: :.i2..522 sce eee set ee ee ee eee 117 Dotible dances. 22.22.02. £5 aL eRe ee eee 118 Characteristics of songs... 02522 SV aetens} ent eee oe oe 118 Plots Of sompss2o? 24 fe raise Saree 2 ep cee Sie ed eee 119 Inon' line dance. 2 Sor a3 22 Se ee hee eee igateeeee 119 Plot oftsone 2225+ aay 3b ce eee ee as | ae a ee 120 Tabulated analysis of preceding dance songs ...-. =-22 5052... --.) pee 121 Tentment of phe sick .2os22. pes. . tien eee we ae ie Sa eee eee Lae Characteristics of songs-............--..---"..---- Paap mE. Rin ee 131 Plots of s0nges oy si<) 2 cee he eo ode eee Se ee eee 140 Tabulated-analysist-< <2 4 220 et esa ee ee ee ee 141 Wet SORGSE oo ore ee toe Seis Ree ete ee ie Se ees ee ae 146 Charscteniaties:Of songs... 24.230 2n 5 oe ee ee pte <2Kee 146 PlotstOt, Songs saci fa. oes ie ie. ee erase fet paler cg -160 “allated analysisc: SoP.2 sce) pee Jo rs ee ce 160 Parade BOnpe sco." 3 2030 oak os Soa g sae ee ae oe Oe ee Oe ee re 166 Charactenstics DPsOnga: os5 6. Pe 2s ce A ee ee 166 Ploteot sonpe.” 206 26 ae oe ee ea eh eee oe re 174 Ebon eartie Somme soos cen 8 he as ee oe eke ne eo ee 174 Characteristics ol cones: 2. 25... ee ke eae ee ee 175 Plots’ Of/SONgBe. «41 Ss Sects So Soot se we cat eee oe ee ee 181 ‘Labulated analysis: 2.0. 22265/-S5-0 5. oes i eee ee ee eee 182 Mancellaneous.songs 5 0c 222. x ab a eee wee oo eee an ee ee 187 Blotdiofsongs-2 : son 23525 = Sees tan Sc re A en 193 Tabulated analysis of parade aA miscellaneous:d0nPsS: i. 5... sis! se ae 194 Rudimentary: SOUS tr: as de gaee ne hike Se: Lae ae ee ee ee 200 Story of the prairie dogs (with song)......-- Jo dese eek esto eee 201 Story of the. frer’s.children. (with song) 225. 2 22s) ee 202 Story.of the:red bug and the fox (with-song).... 2 3- oso) cess ss aoe ee Ss oo ee 174 ieee of land game sone noted in 187-6. 62 So. Se ie ew) bee 17 17. Plots, Group 13 (Hand game songs)..........-. Meera eee eae oe Cnty eae ee 181 ier iow. Group. 14 (Miscellaneous Songs); -.2222..05025. 000 fol. oc 193 foc PJols aroupr lo ( nudimentary songs). 228.0250 Se ee eee 205 PtH aria upon d nn mpea tena ahs i wae. 2 i Well eee a Er oS 8 206 heals Oh GnbIMDertse-. 2.2) nak Sl lk Spree tite yaa Ue er 207 ILLUSTRATIONS a. Boe : Shing haghat Selle Amey. PEL a. ei ea ee. Mees EN ek yee ee oy * ee eee . > a a a 1 = as a : 7" ee ae 2 ; on. nll atulges 2) a ARO ee rela : Pe ‘ ‘ ’ 5 os a he ‘ ei Pea cate ie teen Pr oe 0 a il < Ye Boe ee ' gis ay ial ee ' nie ty ; ; re x yaiixiear~ Sect te”, 6 Phi tice yo) eA eS tee ’ " te o™ ‘ J ’ Tie ear wee Pw eet Sem RS 520 ee, a £4 4 so eke ; 2 oe a Ps 7 : ae" é J . A wea 2 ea 1) 7. 4 ogh a — ‘i ; ex} [Ra Pe She 2 f re) a YS eS BiG ee = >» ~ ‘, as ey ta bs eee ft re BOT are tas FAS 5 % Qs = 4 . s, ey aeaiths Fight wt TREY eet re OE ares neal Pk Bale ‘is e wed ‘ a ay a an — i v ATA os eh Biel Fe eta , ia ny He é - whe? OI aT ays bh ee ¥ Pe 5) 74 OE OS POF Wry Ww ! i ee ae . — ae afin. I, ie er ie eee teetedk (Fx peat ies ; poe en awe ie Meg eet oe me Loe ht Bee “iia a* Hla Hee a et > kee, oi , . . ; : ry: i ; : “ian oie Paes x f : . a : os Pae 7 a ay oy a re “get oul, ht a ee aie a a: pc eae Pe Se Aeh st Saee cigar ee . ; etl eae y “ 7 ae Smee Vee 2) ee as . ; ae * ; td toh (aie oy Ree ers: Ae; : , vA ti ; meg ee et 4 ee Pies Hace; A nig "« ; byeht) Poe ant Ate * Ree iy aaa PTE Pky hr ‘Pay nabs EAM Je 29 eg ee eS VPs -f LK) bahia Beeb aie i eee : ot 5 a ee + ey ice PL pa) Ss gato. aD : ag Mees te it Oe RR Oe mite i; at aes “ee 93 ca sae hated f 5 7 ve id LR te Sip ORR 4 te ; 0 ene ee take eS foe 4 # be da . a ‘ Ay Rod , = os LIST OF SONGS ARRANGED IN ORDER OF SERIAL NUMBERS Sones or THE BEAR DANCE Serial Catalogue No. No. Peune dustar thewred Wagons J 262 Seats Soak Coan ae Doha ele Woes = 758 aR TRIES ELCL LD Me ele ap oS nd aia ee nent ee Mae si aw sie Gaulle g 784 UENCE OSTCT eh iain pc eA Oe ee a tena ae os 172 “es (STS OLMIS UE MSU ts Ree ees aa On ae a eee 773 1B 5 ESSUP (a BNE) S01 7s (1) keg te ce ea a ge a 690 6. LoS (INES Lose ag NRT eee ot ee aka a a Can 691 7. IEG CS Cea ae I ee ag eh ee ek ea 692 8. LEYDs (Gi 2 ok Se ge a eee et Oe ik Sa Oe ne a a 763 9. Ly (Bs SE pice ES litt iN YS ae Mea 2 764 10 uJ )s [UD ed OS Te 2 EP apt ag Lan le Eo he mm 765 11 LUCE (NAS. ee URE eA one Bat Ree ty Sie Es Sm a een 766 12 LEYO. DNS So eA AES, Ne Hace Sere Sea ance SO ia aE 739 13 IY ae Chs evse Ase a ears i rer ere ay apt ee Ee oe 740 14 LD Yom Ge Se eS Se se i et Re rn CR 730 15 amish ess a tee eter ele BM eS i tive (et ee SOR Aa 775 Meetinal sonciot Bear danced)... 232.5 sn: Seen ds 2 22 ES 774 17 iG, (Bie Se Se mm coc, a ee pC 693 Sones or THE SuN DANCE WremmrE at ATICO BON, (SU) Seat econ he tees od G22 ie Sere ys Geemarc Muon oe im ne 694 19 Digi: (eee nae ee eet ee I STAN FUND 23 695 20 BEAR) ee Se a SNe Nae SOR he Sate SNe, UR oer aera ar 700 21 VND UG eg ae pac eet Meee © Sy Aap RE a een a 777 22 LLU AUD) Ace Saal Ue ea ACR, ea aR GA etre Pen aeRO ec 778 23 LD YGir( GE) SARA ee Deeg A Ae ei PL ep RAE OR Il er mem kg SO a 710 24 LEE (EIS 50 Soni Uh oat ae a I ek aes a ea 786 25 LAs, (US en ane SL We le AD RPA ae Sh anges aN i ee 787 26 LLG (TOS JONG st AN is le CO RO ae AO A, See A 798 Sones or AN UNDETERMINED DANCE Aa mectormimen dance sone (8) 220 e252. uo sks ee eas 788 28 J DGB TD) es he fovea Ne Oe ae GN tied Dea Re 2 es RE A 789 29 52 (Ds a) ae Sea ee se Ee eh Pe A ge AO ee Re 767 Sones or Soctan DANCES SONGS OF THE TURKEY DANCE ep rKeyrGanee sone (a yen. 50 eee tee Loe oe 731 31 LOC Eas nc GPE AE cola Re Ra ay oe A eC 732 32. IDs (Gy. Sete BE ge ee Spee RS eh ca eI a oh ea 741 33 LOVES NESS ain 2 cg Or eH ee ee Se ee 742 34 0 5 CR ee Re er 790 35 DEA Be Ata) ay Set Daeg SMR a al eas ee ial a A 791 . it Page. 58 59 61 62 63 63 64 65 66 67 68 69 69 70 70 71 72 82 82 83 84 85 85 86 86 87 88 89 89 97 98 99 99 100 100 12 : LIST OF SONGS Serial SONGS OF THE WOMAN’S DANCE Catalogue No. No. 36: “Woman's dance song (a). 2220s eh oe ee ee een pace 779 37. DOD) eee es5 ose od fo Oe He ee Oe ee ee ee 743 38. Doi(C)- sen. te ak SEIT Sek sth coe ee ee a ee 744 SONGS OF THE LAME DANCE 39: Lame dance song (a)... 02s) es eee 701 40. Da. (pynnctk- ck sate: eb ek ae ee ee ene 720 41. Tor @). 5.46 et ee oe oe tee ye 768 4a Closing song ofthe Juame: dance. 273.) 2282 Vr a ee ee 769 SONGS OF THE DRAGGING-FEET DANCE 45. “Dragpng-feet danee (a)= L022) hue oro eee a, rs at ee 721 44, EID, (b) So Sea ences Os ste oe ai ge Ser cei ee Dee ee 746 45. Closing song of the Dragging-feet dance... ...............-...----- 702 SONGS OF THE TEA DANCE BGss f CAUARTGG BOLE (Si) nc Go hae a als mole” ee oy tet eed 733 47, Bigh(in)\e ee en See a ee ee Rae 734 48. | DYS0S (Cee teh ee ma te aR Mer ee apr ce TENS Aa Net 722 SONGS OF THE DOUBLE DANCE 49." Doulle:dance song! (asia. 5 eu ae eee Oe Ee ee 776 50. AAG: (piso Be Tee Oak RO ee ee ee ae eee 770 Sones or THE TRON-LINE DANCE nl fron-lineidance some =o 28 eS ee ges ccc oS ee ORE Coe eee 703 Sones USED IN THE TREATMENT OF THE SICK 52; Song used In treatment'of sick (a)~: :<.. S22 252... 72 shoe he 711 53. TOS note Sa rae tai Ree ee ee ey ee eer ee 712 54. 3 ca (MEANS el, SUNN, oak EER RS LN egal Mae een ga BM ares eh ae 2 713 5). OAs): SORee 1% oe oS RARE Sis, ie eee nel Sie a ee el eee 714 56. A [ot (Sy para a Ei a he Rei Gece ea a UN gee Uwe Te er Wee 715 57. 15 [at (ape eae eee aed ene eA apenas Mb Eve oo 716 58. DO. (Bea ates rs oh a Se ee eS Se a 717 59. Dow) cc io. Scien ns Fo Eee SOA Ee ec rn ee 718 60. i Pot ri Poet es a er toh galas ca) Seges EM Yen Lah Na ts eg, lke 719 61. TOO) eae ease SOs Te Ee ee tt ie een Sete 752 62. 1 Us peat Sapte yee ern eM Ss ha MEE ah cE a En 753 63. PID.) Sere ice obo tcc. ooh See ee cee See 754 _ 64. DoH) ess Seti a oe ere od ory eee ete ees rete 755 65. Do nQhy cia oe naa s- Sas MR Set aaa e Gee ae Ae oie sree eae ees 756 66. D010) .oee5 ces. Se eee ee es eee ee eee ee 757 War Sonas Gia; Warsong (a). 000) 220 ie sce me cine See ee cate tan See ene 759 68. Wo. (b): Scena bao teak wea Be oer ee ee ae 704 69. TAG. (CC)... onde 2 5'S6'0 Be sic nye Stacia aparece S Sten aes een eR 723 70. TQ. (A) ono ed SSE EE DSO Se Soe eee, eee bee ee 792 Page. 102 103 104 106 109 110 lil 112 113 113 115 116 117 118 119 120 132 132 132 132 133 133 133 133 134 136 137 137 138 138 139 147 148 148 149 150 LIST OF SONGS Seria Catalogue No. No. ict SILT aC! Ss os coe hea i ee a PR a a gee ee 705 woe LE Ne 22.2 ESOS I ERS Ges se ar este he a ee eRe ead 747 ( seureme OF Tennrning Warriors. <2. 20 .2..5 2h). Yeaveic bec eoc desea 748 FD USS ES TES le eS ge te eco ee dae SR ee 749 76. Song when washing the wounded (a)............---2------eseeee- 725 “ie RCI a) eee Sp Nes atc tee ee Re a Ne ie OL iP 706 Ree eon Pe neo OM (OL) soon See sce ee on ih Lue a Se ey 760 79. LED Detcene Mee eae ei agai (BRE et Ah a eee eee 750 80. 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SR IDE SOO RC Oe saat **- Tun orang yAyI ON —surTUIe}U00 ssu0g s3uo0s s3u0s Ors gouep snooue] | ssuo0s sZuos | Jo }ueur ssuos pourar $3u0s -[90STUL ome3 a -1801} vouep -19)9p souep pue puey M ulpesn | jeoog | -un pue Richye § epeled ssu0g 90uep uns ONOS 4O 1LIND OINHLAHY—'6I Alay EL eee eee ee ee eee ee et ee ee r " re - a a be ee My 19 e 4 9% y 2 é Z es Pe ee on ad T wee ewe ee I =} 9 OF g 86 il 5S Pig ae Neca ei ae I a ag | eee es: ¢ TI F B vA og @ 62 I Ty oe Wiese (Ce et. yee BGC R DP GSE ac R AC aco Se orb eecrde 924 eon ober On 9 If 9 LE Vi F I TARP AP oe hae Ali ree gees ake oe I d FF 9 8€ g 9 I T T IT T Reet: of 0 heer ee 9 | 98 g ra g Chee. Wm yes elo) ane te I I I Aaa A ta see rect 9 8é g (és g 9 Die a utd ase (AC Shict aie, Nereis ses TI ( ee as NT eae ake , 9 OF 9 ce 9 L of OR Bit, ici tae foe Mer ck Tip aah Peapod OS sue 8 IF g ze 8 rs] eps I I Z I I S vA 0g g Té Z 8 BREE S Sell Satin Nek te all Owns tect anges oe oe I € I (o) & 1% g 8T g LE Arig GUA cee el | Se ei D 1 LFS eh wil Maphce ee Rh a T Dee Oe ay hl ee es ae 4a 0g f 12 8 6 Paras PEATE 8 a, Entrance to Bear dance inclosure b, Last portion of Bear dance c, Last portion of Bear dance BUREAU OF AMERICAN ETHNOLOGY BULLETIN 75 PLATE 9 a, Sun dance pole b, Sun dance pole with portion of brush shelter SUN DANCE GROUND i DENSMORE] NORTHERN UTE MUSIC 57 yet the Indians seem to expect that snow will fall either during or soon after the dance. Some informants stated that the Bear dance was formerly in the nature of a courting dance, but sociability and general good feeling appear to be its chief characteristics at the present time. The custom of the Northern Utes seems to differ little from that of the Southern Utes as described by Verner Z. Reed,'* who witnessed the Bear dance on their reservation in Colorado in March, 1893. The Bear dance is held in a large circular space inclosed by a barrier formed of upright poles, between which the branches of trees are woven horizontally. The inclosure used for the Bear dance in 1914 was visited by the writer. (Pl.8,a.) The walls were about 9 feet in height and the inclosure about 200 feet in diameter. At the side opposite the door was an excavation in the ground about 5 feet long, 2 feet wide, and 2 feet deep. Over this, during the dance, there had been placed sheets of zinc on which the singers, seated around the sides, rested their morache. (See pl. 1.) This hollow (or cave) in the ground was said to be “connected with the bear,” and the rasping sound produced by the morache was said to be ‘like the sound made by a bear.” During the week which precedes a Bear dance the people rehearse the dancing. When the dance is formally opened they don all their finery and continue dancing for several days. The dancers take their places in parallel lines facing each other, the men in one line and the women in the other. They do not touch each other, neither do they progress during the dancing until the last day of the dance. If a dancer falls from exhaustion or from a misstep, the singing ceases and a medicine man or the leader of the dancers ‘restores the dancer.” Taking a morache from one of the singers, he places - the lower end of the notched stick against the body of the prostrate man and passes the rubbing stick rapidly up and down upon it. He begins this at the dancer’s feet and repeats the motion upward until the man’s head is reached, when he holds the notched stick toward the sky and passes the rubbing stick upward as though he were brushing something from the notched stick into the air. Sometimes two or more of these treatments are necessary before the man rises and resumes dancing. He is not required to give a present to the man who thus ‘‘restores’”’ him. On the final day of the dance, soon after sunrise, a man and a woman chase each other around the inclosure, and if they see anyone laugh at them it is the custom for them to appear ferocious, running toward the person and pretending to scratch him. Sometimes they apply red paint around the mouth to look as though blood were dripping from the jaws, suggesting the ferocity of the bear. The 1s Reed, Verner Z., The Ute Bear Dance. Amer. Anthropologist, vol. 9, 1896. 58 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 manner of dancing changes on this day, the line of women approaching the line of men and attempting to push them backward. Then each woman tries to push the man who stands opposite her. (Pl. 8, b, ¢.) After a time the women succeed in pushing the men across their sidé” : of the inclosure and against the wall. This marks the conclusion of the dance. CHARACTERISTICS OF SONGS The chief characteristic of these songs is a glissando on downward progressions which was said to “imitate the sound made by a bear.” This glissando appears most frequently on the descending interval of a fourth, an interval which, in Chippewa songs, was found to be . prominent in songs concerning animals.’° The intervals of pro- gression are small, 78 per cent being a major third or intervals smaller than a major third. All the songs contain a rhythmic unit, showing the rhythmic sense to be stronger than the melodic. Several — of the songs contain a ‘“‘singsong’’ type of rhythm in the latter portion, if not in the entire song. This monotonous rhythm is a contrast to the intelligent, thematic treatment of rhythm noted in many Chippewa and Sioux songs. No. 1. ‘* The Dust of the Red Wagon” (Catalogue No. 758) Recorded by StvaceEr No. 1 Voick g— 96 Morache not recorded (1) (2) | abt ee Sar RE RG apa | oe , sah ogg a | eee oe = = os =n astra. === pope fe ppt lap Sige) ee Ay - a-garvi - nuj-ump a ha ku - a - vi - ti - ya : (1) | ee ee ee, Pear ee 2. | -@- Lae . raed ee bea Se! ay eae, SEE | SS ee es ——$_}——— ae EST ee re = = om ha a) - a-gar vi - nuj) - ump ae ha (Dionne 8) Sees on -a-vi-tsi- ya ce ya ha ma-ri-kats a pu -mi- wa-nu we Os saa | 57 po - =e See : | ey a ma - ri - kats a@ pu-wWi-wa-nu-pa-hai a. 16 See Bull. 53, p. 101. | } DENSMORE] NORTHERN UTE MUSIC 59 WORDS POE 1 og ae a ea red VE MIRE eee os - 2c Sew. ss wagon Ravi lyases tS So uc Seo dust WAAL ketieee be ees 2 ta. white man pumMl wanupahal:.--. 2... -...- looking around Analysis.—This melody comprises six rhythmic periods, the first four containing two measures each and the last two containing three measures each. The final measure in every period contains two eighth notes followed by a quarter note. This phrase is sung on the lowest tone in the period which, with its frequent recurrence, gives the phrase a certain emphasis. Noting the tones on which this occurs we find them to be G, F, G, F, G, G. The tones in the first, third, fifth, and sixth periods are those of the triad of G minor, and the song is analyzed in that key. The melody progresses chiefly by thirds, 63 per cent of the intervals being minor and 22 per cent major thirds. No. 2. Yellow Hair (Catalogue No. 784) Recorded by Stnaer No. 2 VOICE a= 200 MorAcHE = 152 For rhythm of morache see analysis of song een) Se (1) a aa ee eee ee eee SS - a - tSi - wa - oO -nes Oo - @ - tsi - Wa - O-nes WORDS Oa/taiwa‘ ones sia. sk Se ss. oe yellow hair sticking up The words of this song may refer to the appearance of a bear. Analysis.—This song is characterized by a monotonous rhythm and a lack of variety in melodic progression. Other songs containing the same characteristics are Nos. 3, 4, 6, 10, 15, and 16 in the Bear dance songs, and a majority of the hand game songs, Nos. 94-102. This rhythmic and melodic peculiarity suggests a vocal expression scarcely developed to the point of composed song. We find in it a resem- blance to the rhythmic vocalization which accompanies concerted labor among peoples low in the scale of culture. In a majority of the songs cited the principal interval is the minor (or nonmajor) third, 60 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 which characterizes the most primitive vocal expression of uncivilized peoples. (See Bull. 53, p. 7.) This interval is prominent also in the early music of civilization. The tone material of this song comprises a fundamental (G), with its minor third and minor seventh—a tone material not previously noted by the writer. For convenience the song is analyzed as in the key of G minor, though it can scarcely be said to constitute a key in the accepted sense of that term. The rhythm of the notched-stick rattle is simple and does not vary in the songs recorded with its accompaniment. The rubbing stick is thrust downward upon the notched stick, producing a sharp, rasping sound, and as it is brought upward, preparatory to the next stroke, there is a similar but less pronounced sound, the downward stroke occupying a period of time slightly longer than that required for returning the rubbing stick to its original position. The sound pro- duced by the upward motion varied with individuals, those who used he rattle with special energy producing, of course, a louder sound with the upward motion of the rubbing stick. The song under analysis is the only recorded Bear dance song in which the rattle and voice are not synchronous at the beginning of each count. In this song the tempo of the rattle is shghtly slower than that of the voice. This and the song next following are examples of recent composi- tion among the Utes. Fred Mart, the writer’s interpreter, said that he composed these songs “in dreams.”’ songs was customary in the old days and has been noted among many tribes of Indians. The usage among Chippewa and Sioux is noted in Bulletin 53, page 37, and Bulletin 61, page 59. It is not uncommon among the Utes at the present time. Concerning the origin of this song, Mr. Mart said: “I dreamed that I was at a Bear dance; there was a great crowd, but they were strangers to me and did not address me. All were singing this song and I learned it from them. I sang it while I was still asleep and was singing it aloud when I awoke. After that I remembered the song.’ In explanation of the words, he said: “Many Utes wear a flat, polished shell suspended around their necks, and at the Bear dance they tie a weasel skin to this shell. The idea of the word is, ‘Dance harder so your weasel skin will swing faster.’”’ Mr. Mart taught this song to the singers at a Bear dance, and when it was sung the old people mistook it for an old song. It was necessary for him to sing it only two or three times with the singers at the drum, after which he led them in the singing of it. When recording the song, he shouted between the renditions, “Dance harder, Red Stick,’ as though addressing a dancer, and “That is the way to dance,” it being customary to urge the dancers in this manner. - This manner of composing. i ol DENSMORE] NORTHERN UTE MUSIC 61 No. 3. “‘ Dance faster ” (Catalogue No. 772) Recorded by Stncer No. 3 VOICE e= 104 MoraAcHE = 104 Rhythm of morache similar to No. 2 -B- 2e 22 sae ee eee ee a Serre! eS 13 oe oe Baas e SS See ee = — = ents = seh oon ee a —_ = Ele. 22 2 2 eee = = Pa =v £ tsi «@ pa-- vi = tsu a puy - ke ya-mi-ko - va -ni la jee Beg Spa ae ee a WORDS PANE Slee hoe es, See Hae ee weasel skin 1 OWE) Coe sce ach ae OE eae hard (or fast) BEC VAM. Lion eh nese swing (imperative verb) Analysis.—This song, in contrast to that next preceding, is char- acterized by the interval of the major third, which constitutes 52 per cent of the intervals. Next in frequency is the interval of a fourth, constituting 27 per cent of the entire number. The rhythmic unit is short and occurs in both double and triple measures. Count- divisions similar to those in the rhythmic unit appear throughout the song. The melody tones are those of the major triad and fourth. The low G at the close of the song was given with distinctness, though it seemed to be below the natural compass of the singer’s voice. No variation occurred in the four renditions of this melody. The interval of a fourth characterizes this song and is also prominent in Nos. 7, 11, 16, 20, 50, 88, 90, and 100. A monotonous rhythm somewhat resembling that of the present song is noted also in Nos. 4,6, 10, 15, 16, 42, 98, and 101. This peculiarity was not found in songs of the Chippewa and Sioux. : 62 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 Concerning the origin of the following song, Mr. Mart said: “I dreamed I was visiting far away. A woman was with me and we were at a great dance of all the tribes, each led by a chief. Our tribe was led by Nu’Sina. He was then a spirit, but when he was alive he was a medicine man. In my dream we were dancing in a great circle and Nu’Sina sang this song, and we sang it with him until I learned it. I was singing aloud when I awoke from my dream.” The words of the song are simple but suggest a connection with a medicine man. No. 4. Song of Nu/Sina (Catalogue No. 773) Recorded by SINGER No. 3 Voice ake 126 Moms ug recorded 2 eek -@. — ff 5 tes Sy ~~ — t= eee eres aaaees wes saaaae. SHE aaa ae, —— = yar of o ° 2 * Sea zeae EE ity? 9009 Se Base Connective tone heres? lperaiees dere ed WORDS (NOT TRANSCRIBED) owas nanitssirte is ae eS eagle PUtits es iB! See eeee eee ee down Analysis.—Two renditions of this song were recorded and are uniform in every respect. This is interesting, as the rhythmic unit is long and the measure-divisions monotonous. In numerous Ute songs there occurs a connective phrase, sung between renditions of the melody. In some instances a connective tone is sung midway of the ascent from the final tone of the song to that with which the repetition begins. In this instance the connective tone is on the same pitch as the lowest tone of the melody. A wide variety of intervals occurs in the song, a peculiarity which was noted in the -— DENSMORE] NORTHERN UTE MUSIC 63 more modern Sioux songs. ‘T'hus we find five sorts of ascending and four of descending intervals, while in the song next preceding, which was mistaken for an old song, almost 80 per cent of the intervals were fourths and major thirds. This song is melodic in structure and contains the tones of the fourth five-toned scale. No. 5. Bear Dance Song (a) (Catalogue No. 690) Recorded by S1inceR No, 4 Voice silo 104 Morache not recorded LS = SSsesee =a pete eve =e as =e] Analysis.—The somewhat monotonous rhythm of this song is varied only by a triple measure near the close. The melody tones are those of the fourth five-toned scale, and the ascending and descending intervals are about equal in number. Major and minor thirds constitute 89 per cent of the intervals, though the fourth is prominent in a portion of the melody. Five renditions were recorded and show no variations. No. 6. Bear Dance Song (b) (Catalogue No. 691) Recorded by Stncer No. 4 Voice g=—76 Morache not recorded fhe #9 # #. e the ts ¢ : Ae} +? -pseT Ht A TE Dee oF — = fs =a = pee == | on its Be ea ene Se ee aS J SEES saps Seyret p er east pee : : epee oe e, cin Saar ees eee ee 3 eta C ae 64 BUREAU OF Aenea ETHNOLOGY (BULL. 75 Analysis.—This song is harmonic in structure, containing only the tones of the major triad and the fourth, which is always raised a Semitone. The rapid phrases in which this tone occurs were given without variation in the four renditions of the song. In tonality the song is major, and 57 per cent of the intervals are major thirds. The rhyilimie form of the song is interesting and clear, with four occur- rences of the rhythmic unit. No. 7. Bear Dance Song (c) (Catalogue No. 692) Recorded by Sincer No. 4 VOICE = 104 Morache not recorded 1 ( ) : BD done esate! Ae C). ae oe peter Snteiee a heed ah Co ea ae pute ftp : ¢ a = : Eup eeae aaa ea aaa Analysis.—In the renditions of this melody we have an example of the “connective phrase” found in Ute music and not in that of the Chippewa and Sioux previously analyzed by the writer. Similar phrases are transcribed in songs Nos. 39 (duplication), 41, 46, 70, 72, 84, 85, 86, 89, 91, 92, and 93. A connective tone has been mentioned in the analysis of No. 4. This connective phrase was sung slightly rubato in its two final measures and occurs between all the six renditions of the song. It can not be considered an introductory phrase, as the singer began with the first measure of the melody as transcribed. Among the Chippewa and Sioux it was not unusual to find an introductory phrase, which was sung before the first rendition of the song and omitted in all the subsequent renditions. DENSMORE] NORTHERN UTE MUSIC 65 The rhythm of this song is clear and forceful, the two units being distinctly given. Thirty-eight progressions occur in the song, all but two of which are fourths and major thirds. (See No. 3.) The melody tones are those of the major triad and second. No. 8. Bear Dance Song (d) (Catalogue No. 763) Recorded by SineeEr No. 5 Voice ¢g — 104 MoRACHE = 104 heap of ee om to No. 2 Spa = 22.9. — = gts = Rea |? } = i; caer () (1) ) igs Pel : = za —o——@ a a ref py trap et oF Sea jcnu ae ee (1) sg = tits Spee ess oy ge aes ia eis II Analysis—A peculiarity of this song is the rest during which, in the four renditions of the song, the voice was silent while the scraping of the rattle continued in exact time. Two rhythmic units occur, and count-divisions similar to those of the units appear onena the melody. About half the progressions are whole and half tones, which is unusual. The melody contains all the tones of the octave except the sixth and seventh. The descending intervals of a fourth were sung glissando in this as in numerous other songs of the Bear dance. This glissando was said to ‘imitate the sound made by a bear.” Other songs containing rests are Nos. 11, 19, 27, 41, 46, 48, 68, 77, 94, 95, 96, and 97. 25043 °—2 66 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 9. Bear Dance Song (e) (Catalogue No. 764) Recorded by S1inGER No. 5 VOICE i= 108 MorAcHE é= 108 Rhythm of morache similar to No. Z SS SSS SS ERE abe cash oe Bi eres isemdmecaas assa= (2) B22e= 2p epee te —+ =a . Spe a = pf Pere aera eeaeee | The Ute words of this song were said to mean ‘‘As the sun comes up it raises a dust.’’ These words were not recorded. Analysis.—The tone material of this song comprises a fundamental with its minor third, fourth, and minor seventh. Progression is chiefly by thirds, which constitute 86 per cent of the intervals. The song contains four rhythmic periods and four closing measures. This form is accurately repeated in the three renditions of the song. Rattle and voice have the same tempo and were synchronous on the first of each count. ss * DENSMORE] NORTHERN UTE MUSIC 67 No. 10. Bear Dance Song (f) (Catalogue No. 765) Recorded by Stvcer No. 5 VoIcE BI = 58 MoRAcHE = 58 Rhythm of morache similar to No. 2 BE SoS eee ees ir caer elces tara pail an a a eRe = a a === | [ paral Analysis.—All the tones of the octave occur in this song, which is minor in tonality and melodic in structure. The opening tone is the seventh, followed by a descending fourth sung glissando. This is an unusual opening but is uniform in the four renditions of the song. About 65 per cent of the progressions are thirds, though the fourth is prominent in the first part of the song. The rhythmic unit is short and in itself uninteresting, but the triple measures give variety and character to the rhythm of the song as a whole. The tempo of the song is unusually slow. 68 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 11. Bear Dance Song (g) (Catalogue No. 766) Recorded by SinGER No. 5 VOICE s= 144 Morache not recorded (1) hea eee (2) —— ~ LR Se yeas sae Ei: FSSA pats Se ee ft fee (2) (1) | Ley a 3 sana ¢ ; oo Lh Sea eseea =a a see Bi eeaae ears g=112 Ses caer ae | Pe eee! Analysis.—Four renditions of this song were recorded and in them all occur the changes of tempo indicated in the transcription. The first of the slower phrases is on a tone which appears to have little relation to the rest of the melody, but this tone was persistent in the several renditions. Two rhythmic units occur, having the same division of the first count but differmg in the remaining portion. The fourth is a prominent interval, comprising 25 per cent of the entire number. (See No. 3.) Attention is directed to the ascent of a ninth, midway through the song. Reference to Table 12 on page 41 will show this to be an unusual progression. The song is melodic in structure and contains the tones of the second five-toned scale. Other songs contamimg rests are noted in the analysis of No. 8, Other songs contaming a change of tempo are Nos. 76 and 99. DENSMORE] NORTHERN UTE MUSIC 69 No. 12. Bear Dance Song (h) (Catalogue No. 739) Recorded by SINGER No. 6 VoIcE a =166 MoracHe a 66 _ Rhythm of morache similar to No. 2 @—e—es— Hosaseeseiaes | Analysis.—The rhythmic unit of this song occurs only twice, the second time being on a pitch slightly lower than the first. Count- divisions similar to those of the unit occur throughout the song. Seven renditions were recorded with no variation except that the sixteenth note followed by an eighth note was not always clear in relative time value. The fourth is prominent in the structure of the melody, though almost half the progressions are whole tones. The song has a compass of nine tones and contains all the tones of the octave except the seventh. No. 13. Bear Dance Song (i) (Catalogue N o. 740 Recorded by SincER No. 6 Voice g—63 Moracue = 63 Rhythm of morache similar to No. 2 wept eit ap lp ey Analysis.—This is a pleasing melody containing the tones of the fourth five-toned scale. Six renditions were recorded, the time being continuous throughout the performance. The wide variety of intervals suggests that the song may be modern, since that peculiarity’ characterized Sioux songs which were known to be less than 50 years old. This song contains five sorts of ascending and five of descending intervals. . The glissando manner of singing was especially marked in this instance. 70 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 14. Bear Dance Song (j) (Catalogue No. 730) Recorded by SINGER No. 7 Voice = 63 ( gS — 126) Moracue e = 63 Rhythm of morache similar to No. 2 #.--9 #. - ° Ls € a t= ae — ee a Po Sage SEE eee eee Se eee See eee Analysis—Although 87 per cent of the progressions in this song are minor thirds and major seconds, the melody is varied and inter- esting, with a compass of nine tones. The rhythmic unit comprises an entire octave. Three renditions were recorded, in all of which the measure transcribed in 5-8 time was sung as indicated. Only’ one other song (No. 27) contains 5-8 measures. No. 15. Bear Dance Song (k) (Catalogue No. 773) Recorded by Stncer No, 8 VoIcE ae 120 MoracHE 1S 120 Rhythm of morache similar to No. 2 (1) et (1) (2) gee ea eres + d o— poe — et ee (2) Analysis.—In rhythm this song is typical of the monotonous type of Bear dance song which could be continued indefinitely. (See No. 2.) The two rhythmic units are alike except that in the second there is a concluding measure which gives balance to the rhythm of the song as a whole. With one exception the progressions are major and mimor thirds. Several renditions were recorded and show no points of difference. DENSMORE] NORTHERN UTE MUSIC TY No. 16. Final Song of Bear Dance (a) (Catalogue No. 774) Recorded by SINGER No. 3 VOICE = 72 Morache not recorded (1) (1) (2) es, aes a LiFe Sere ae ee eget —— eee === Deen SS eee ees 3 See (3) (2) (2) pi eee Se ee ———— Analysis.—The rhythm of this song is unusually interesting. It will be noted that the first and third rhythmic units have the same division of the second.count and that the second and third units have the same division of the first count. The even triplet division of certain measures can not be considered a unit of rhythm, as a triplet occurs in the first measure of the first unit. This rhythmic structure does not vary in the several renditions of the song. Sixty-five pro- gressions occur, the only intervals being the fourth and the major third. (See Nos. 3 and 17.) The song has a compass of six tones and contains only the tones of the major triad. 72 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 17. Final Song of Bear Dance (b) (Catalogue No. 693) Recorded by StneEr No. 4 VoIcE ge 144 MoraAcHE o= 144 a nea Matty of morache similar to No. 2 ag Pt get tet ees preaes awed Paieed ieeer ce Analysis.—This, like the song next preceding, is major in tonality, harmonic in structure, has a compass of six tones, and progresses only by intervals of the fourth and the major third. The present melody contains 15 progressions, 53 per cent of which are downward, and the preceding melody contains 67 progressions, 51 per cent of which are downward. With these melodic similarities it is interest- ing to note the difference between the rhythmic character of the two songs. Only one rhythmic unit occurs in the song under analysis, its four repetitions comprising the entire melody. The preceding song contains three short rhythmic units with many intervening measures. The present song contains eight changes of measure lengths, while the preceding song is in 2—4 time throughout. Piots oF Bear Dance Sones In the plots of a large majority of the Bear dance songs we note a resemblance to the plots of Sioux songs concerning animals. (See Bull. 61, p. 204.) This resemblance consists in the touching of a low 17 A form of graphic representation, or “plotting,’’ of melodies has been devised by the writer for the pur- pose of making the trend of melodies moreapparent. The generalmethod employed is similar to that used in showing graphically the course of a moving object. The loci of the object at given periods of time are deter- mined and recorded, the several positions being connected by straight lines. In any use of this method the interest centers in the several points at which the object is located, it being understood that thelines connect- ing these points are used merely as an aid to observation. In the present adaptation of this method the pitch of the accented tones in a melody is indicated by dots placed at the intersection of coordinate lines, the horizontal coordinates representing scale degrees and the vertical coordinates representing measure lengths. These dots are connected by straight lines, though the progress of the melody between the accented tones would, in many instances, vary widely from these lines ifit were accurately plotted. The use of accented tones exclusively in analyzing these songs has already been employed, the structure of the melodies being determined by the pitch of contiguous accented tones. One of the reasons which seem to justify this usage is the observation that, when differences appear in the several renditions of an Indian song, these differences usually are found to be in unimportant progressions between unaccented tones. Since thesole purpose of these plots is to show the trend of the melodies, it seems permissible to omit from the represen- tation, not only the unaccented tones occurring in the melody, but also a distinction between whole tones and semitones in progressions, and a distinction between double and triple time in measure lengths. It is obviously desirable that the graphic representation be as simple as possible, the more detailed observa- tion of the melodies being contained in the tabulated and descriptive analyses. we fae =e —T eae DENSMORE] NORTHERN UTE MUSIC 73 point and immediately rising to a higher one. This, in the outline, may suggest the bounding or leaping of an animal. In the Bear dance songs, however, the higher point of such a series is more uniform than pt at tt Huaseen Beegog avAsersts coh \ \\ HH - YI IW TI 420, GONPerew Pry yr ryt Tyr NY Na PER rer era Peery Tee No. 4. No. 6. SCENT ELAR Ae eRe eee aa\\ai a\'ssssaaeeeeeeeeeeee g Bao HEnracteeen career \_| SSrtrantseceseeee BRE MT TAY ATT Coo im NT HERR Gahs' ana abaya Bebe Lao ett No. 7. No. 8. Fig. 1.—Plots, Group 1 (Bear dance) in the Sioux songs, producing what might be termed a “horizontal type” of plot. This appears in a less marked degree in the plots of the hand game song. (See p. 181.) TABULATED ANALYSIS OF BEAR DANCE SONGS MELODIC ANALYSIS TABLE 1A.—TONALITY Number enoey) SE of songs Serial Nos. of songs ETO ALICE un ee ser ooo toe Sugeno odor Ie aera Se een a ae anee 12 | 3, 4, 5, 6, 7, 8, 12, 13, 14, 15, 16, Wie VET OTLB ye tee astene rote mises setee ei oes eee ances oe seh cee Dy alee2 sO) Os AL. Wotalse hs setae teach esros sess Jere tian nano Zniateisiate 17 TABLE 2A.—FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE Alpaatis Serial Nos. of songs Beginning on the— a ONC L chy Crete aay ee va Ste re ee) cae iy ol cich eet LSE > aera 2 | 3, 4. Seven lieeee ata erisas cme hoe ect tater Seats acta antaisidec es 15/10: SY Big aT sg Es re Sale Oey ae eee EAT See 5 ee eae 1 | 14. PH meee eee Acs i ee Non, | en MEE Re an Sanaa Ae Bh (al ycien ole TSAI) doce Gee cee? ele ae een ee ea eee es Seem 8 | 2, 7, 8, 12, 13, 15, 16, 17. DOCON CG mete Seismic Se tae te ee Sae wie Bachre SeG caesar eeiizie 1h. RIGVMOLO ssc cme eos ase eter ace ate aad ae cae eteeaiSeeeis ce 1} 9. 74 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 TABULATED ANALYSIS OF BEAR Dancr Sonas—Continued MELODIC ANALYSIS—continued TABLE 3A.—LAST NOTE OF SONG—ITS RELATION TO KEYNOTE Number of songs Serial Nos. of songs Ending on the— Rifts tases see ere Oaeee eee eta e eee See are ee eee THT Sapien Sopa ne Sees ae See ere Oe ee ee 1 TKO YNOLG caret es. ae cata seater ne Se Re ee eee ee 10 OLR rac Se aed ase AS IETS we pe ee eras NE, neal Oa 17 7, 8, 12, 13, 14, 15. 9. 1, 2, 3, 4, 5, 6, 10, 11, 16, 17. TABLE 44.—LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG Number of songs Serial Nos, of songs Songs in which final tone is— ILOWESE LONE INISONE: oa 4 eb See eisee = see eee eae 7 Immediately preceded by— Fourth below. -..---- oe eet een Boe Coir se Sa 3 Minor third below..<2<-e.s52---4-<- Sp > Pace eee ee 1 Wihole;tone below... 25-2s2s-see oes soa oe ey eee te 1 Semitone below: -- =.= 5. -teh-coceee sek) bee cee eee ee 1 Whole tone below with fourth below in previous measure. 1 Whole tone below with minor third below in previous ANIGASTING sek ote sarees ioe eels mie atta er re eee aor ieee 1 Songs containing a minor third below the final tone.........-..-. 1 Songs containing a whole tone below the final tone.....-......-- | 1 bl Aa 1 sa Dee ange Sree Ow Sh te af eee Cee St ae 17 5, 6, 7, 8, 10, 14, 16. TABLE 5A._NUMBER OF TONES COMPRISING COMPASS OF SONG Number of songs Compass of— MIBY. GIRBOHES= who. cee wiacee ce saue haheee sean eate telco a eee 1 Nine tones: 2.) oo ust foo eee ee eee eee eae 4 Might tones 226 ~<.303 3s Soccet a2 eeoare ae ee ease acer 6 Six TONCS..25 332 6 es se es Been eee oe sae eee oe eee eee eee 4 Vie LONES Soc Sai aos see ee eS see eee eas ee noe ets 1 HOUT COMES S226 eo. go oeek n-ne oe ne ee ce iat nee ee areetonts g 1 Total. stn SS ees See ee ee ae Leh eee eee ae 17 Serial Nos. of songs Plies Ley y DENSMORE] NORTHERN UTE MUSIC 15 TABULATED ANALYSIS OF BEAR DANCE SonGs—Continued MELODIC ANALYSIS—continued TABLE 6A.—TONE MATERIAL oes Serial Nos. of songs Deconditive-tONned' SCales. 222 son bae aac 2 ssa atmo on ffl: LOM th e-L OM CCSCAOL. tec Seats a eae ces ce einisociteiee ener cres ee 3 | 4, 5, 13. NTs OPTI AC seers sere steele ee pe REI no cle ches oe a echelon alana a ie Cee Mal OMinadeand Sixths ohn eae eee a wal we eo 2 | 1, 14. MaToninad andi Ourt be saa, sorrel ecisn a= ted peomis cence en ee 2)| 3,6 Major triad and second....-.-. Fs Be Sige a sae SAS SON, PTE yc wel izes Octave Oniplet erence seer tac a ere ee clean ote a ere sere eal 1} 10. Octave complete except Seventh...........-.------------ SSeS 1} 12. Octave complete except seventh and sixth. .......-- Perea aie eh: 1] 8. Octave complete except sixth and fourth................-..--.-- | il} baie Mmonthindiand!Seventite =. 24-2) ascoceoee ss teen sesso ne acaeas | 125 Minorseyventh, fourth; and) third] i202 2s. 2-2 9--o ans 1] 9. IM ELH Le ey hea Mee eS ISA Re ep IRE Berio 2a a= el ge 17 TABLE 74.—ACCIDENTALS Number of songs * Serial Nos. of songs Songs containing— NO ACCT e MLAs Saree te eee rte sate eae ae mine vieiea = es 16 | 1, 2, 3, 4, 5, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17. oun Taisedia Semitones + sesh e ese -emeee-. 2 Fe Noes hooey owen oe Se woe oe ee eee eae aaa teats 1, 805 4 ‘Average number of semitones'in:an Intenval: 22% 22 cos annteseeeee} 6 nee ceiete ae eee terete era 3.6 4 3 ; 3 4 ia DENSMORE] NORTHERN UTE MUSIC TABULATED ANALYSIS OF BEAR DANCE SONGS 17 Continued MELODIC ANALYSIS—continued TABLE 14A.—K EY ee | Serial Nos. of songs Key of— BAIT AN OD Mere cence te ie eeere cinco ser cine crdccen ote Ueoemoeesees QTd HOB Sisal Obeees see Seen ote re ea oa ec ee Use Cece 2| 5,8 \ Ciara C4 (6) Oe APs ors Mn cee Be pe Sa gt a Tel eay Gadi OLS eee een ae eat eens te Ne ea em eS oN RAR on a 2) 9, 10: DD hilatims) ONE -7= cies Sistas Sativa sare Gee rs ciayeee ete cs nee he ics orale 2 | 12, 13 DAMA ON kee wel sneer eee ates dee owen Sasa beet Oo eas Seine 1| 4. BigtlasIMial Olsaees cit ee ee ee Sasa ace ne oe eee sa chisl del Ile (tila tartisn| OR Ssec Coes eth nate site ae bese ne AES ce cats 1 | 6. (Gprrie OF aces Peete a ees aoe a ee ation {Acie cise Sea se oe 2 | 15, 16 GHAITIO RE he See mae ise hes Tee tio a= rae mA aes elee sae Secionels Del ees (Geshe OF eee es ace nse n ee en) CP ene eee ae py able SRO tal Peete treme eins sasecl-e Rana Bese esas Mate e tees wal 17 | RHYTHMIC ANALYSIS 53 TABLE 15A.—PART OF MEASURE ON WHICH SONG BEGINS T | pees Serial Nos. of songs | | Beginning on unaccented part of measure. -.-....-.....-.-------- 5 | 5, 6, 8, 12, 13. Beginning onaccented part of measure..............-...-..----- | 12 | 1,2,3,4, 7,9, 10, 11, 14, 15, 16, 7 | i PG teal ep ce eer cat Be ne Cae eice oe aka a eae anee eae 17 | TABLE 16A.—RHYTHM (METER) OF FIRST MEASURE Number of songs Serial Nos. cf songs First measure in— 11 17 | 1,3, 5, 6, 7, 8, 9, 10, 13, 14, 16. 2,4, 11, 12, 15, 17 >] . » ae te vine. ae ee ae Ras eh ; ay ak Py, xs ee 5 7 Mi “Nas ¢ } 5 , i r % 73 BUREAU OF AMERICAN ETHNOLOGY (BULL. 75 TasuLatep ANALysts oF Bear Dance Sonas—Continued = =~ RHYTHMIC ANALYSIS—continued TABLE 17A.—CHANGE OF TIME, MEASURE-LENGTHS Number Sari : of songs Serial Nos. of songs Songs containing no,change oftime..-.5....-2.----5.-:--- ca cat chiancwiceccswie sa anisiteseccceuaoecee es 1 | 22. SENG TMM OL Shere siemens cian sinieasnte ae oeie'ciclstaioaaciesana Se acte oe ale, qe 3 | 19, 21, 26. CiminOr sor os see sae ste iow om o's\sizio wes eleis,ayaciaies wleinia'sis(aiacaiets\ cies 1 | 24. HAAG MA ION eee eect ae weee nee aicle ona ane oacoeeke ees 1 | 28. Gara oree ee eee a ects fore ence asia pista eins a nas Sic teers cloacae mei Satonumis 2 | 27, 29. PASH tittle] OE=- Ger tate ae sae ciacciesishitees ce Swit salece hitiew cece cs 1 | 23. GOS HATP NTH Gl see aer cet 7, SRC MUN eee SE Sade Se 10}: 18: ER Ober eA ets Siriaas aimee Qu Dae or eRe eee ce ws's | 12 RHYTHMIC ANALYSIS TABLE 15B.—PART OF MEASURE ON WHICH SONG BEGINS eteetes Serial Nos. of songs Beginning on accented part of measure................------- wee 10 | 18, 19, 20, 21, 22, 28, 25, 26, 28, 29. Beginning on unaccented part of measure. ............--.------- DYN 7 De (8 OR OR becrcctae tre fae. ess ates Se ee als cee et eoeasse aes 5 12 TABLE 168.—RHYTHM (METER) OF FIRST MEASURE ee Serial Nos. of songs First measure in— 2 AMINO rere ot ore ee orice aadeus seis ota bocce cies Sh caaaesin does oe 6 | 18, 19, 20, 23, 27, 29. BATION oe ete ciate steysa latelerald piers wisieaiabres ow s.aicleiois daleateeie wlaic vse 5 | 21, 24, 25, 26, 28. SOMO re sess soem me sneer uacea ce ness edious Soke lbecet in ece scr 1 22: OLA Se otters thats ae tee ese ee seinae cman Saenniecehaeeaen 12 TABLE 178B.—_CHANGE OF TIME, MEASURE-LENGTHS ores Serial Nos. of songs Songs containing no change of time...................-.-.------ 2 | 23, 29. Songs containing a change of time...............-.---eeee-- eee 10 | 18, 19, 20, 21, 22, 24, 25, 26, 27, 28. 94 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 Sun DancE AND UNDETERMINED DAancE Sonas—Continued RHYTHMIC ANALYSIS—continued TABLE 18B.—RHYTHM (METER) OF DRUM pee Serial Nos. of songs Highth notes umaccented 25. ewes icecancetacceasesessdenseaenss 5 | 19, 21, 22, 23, 24. Quarter notes unaccented..:.4.: osc - ssennen sc cama sabineneres seene 1 | 20. Drum MOL recorded. < «x23. .-nescasasiven ot case access tek ewes 6 | 18, 25, 26, 27, 28, 29. Total. 222 oc cscc sete oases cals perce Pepecbaessementesae 12 TABLE 198.—RHYTHMIC UNIT OF SONG pee Serial Nos. of songs Songs containing— Nol chimictnits =~ jo. s--sececcccactermeccan se cecmeeeces 4-| 18, 20, 25, 26. Onerbythmicumt=s socceccetie a kena snes eta ae eee 4 | 22, 23, 24, 29. Pwo rhythumicwn1tss -So2!sctess doce cemee ses e- cee ober see 4 | 19, 21, 27, 28. ROG. teens costusewoteicr ere oceee Sens tae eee toe oem 12 TABLE 20B.—TIME UNIT OF VOICE acon Serial Nos. of songs Metronome— GQ Eat ee ere Sep ic eee Mine aR OEE eat we cee Bue Mae te rex Boia Cacia eases ai eee a we eerie tee eats nas ee ee eee ia! 3 | 18, 19, 20. WO ate wore ces ois cle eee Se eee ne SE eae os Sere eee eee 1| 23. Baaeew\siaiecnine Hes vinminclns cote estas cine einsissisereare sme ncmantoe ae DAN DED 8 Bae coer coe cece cn ctes Sam sae ac apeeet cee s one csuns be nwcsce aad 2 | 24, 25. Doe ean tat ane te cas oes s siece ene seine picicls claeionemeceleooeccaeend 1 | 26. MOS as enn o a Sate Shea cnieeuigae sissies ewelve shewecaieunoeticce ce ee Pe 20F Ma 2etecioais sain cic eh Sect otis sis cine Naicen ee nioek cence scene 1 | 22. OPE = 8 32 S555 SGN ES wire ee EAE 12 TABLE 21B.—TIME UNIT OF DRUM Number : of songs Serial Nos. of songs Metronome— MDP ae ws Soca scecs caud Soe deate ers teetectoescesetecenes se ceace 2 | 19, 20. Mists oar ncae saasanape de oeoteas Soak Roo esietesen ne Sees Saeeee 1} 23. BAe iat hicin'c waclnia na wepisinjne lapels nals cuminstm tas cena ctae een coteee 1 | 21. SB eas cicimmicaims ole mye cia apo win Rife seta at ica tamia deal debbie Soeltoa tes mee 1 | 24. LB ee cios.caltetais eine tometite stad vedsane ee pa beweas caneaee Soe 1 | 22. Drum'not recorded: <2... cccuscncecuss esses oceee sooo ee eee ee 6 | 18, 25, 26, 27, 28, 29. TOGA 55 0c wis nen caus euceeeis bie tates aba Tee ee 12 SE == DENSMORE] NORTHERN UTE MUSIC 95 Sun DancE AND UNDETERMINED DANCE Sonas—Continued RHYTHMIC ANALYSIS—continued TABLE 228B.—COMPARISON OF TIME UNIT OF VOICE AND DRUM Number Wartal Noe c 2 of songs Serial Nos. of songs Time unit of voice and drum the same...........---.-.--s------ 6 | 19, 20, 21, 22, 28, 24. TOY ETES UT ECT Pa eC 5 (26 Ie mi rs 8 a 6 | 18, 25, 26, 27, 28, 29. MOtal a restee seek oc ate eee oan nes So Sle oe 12 SOCIAL DANCES OF LESS IMPORTANCE THAN THE BEAR DANCE TURKEY DANCE One of the principal dances of the Utes at the present time is known as the Turkey dance. This name was given the dance by white men. the native name meaning “jigging dance.” The writer Fic. 3.—Diagram, Turkey dance. a, Dancing circle with dancers seated. 6, Drum with drummers seated. c, Position of leader before dance begins. ------ Path taken by leader, who is followed by dancers. The erratic motion is continued indefinitely. : witnessed one of these dances in the summer of 1914. The accom- panying instrument is a large drum placed on the ground at the right of the entrance to the dance circle, the drummers being seated around the drum and singing as they beat upon it. Women seldom participate in this dance. The motion of the dance is forward, and the step consists in putting the feet to the ground alternately, the point of the foot touching the ground first, after which the heel is “‘put down with an accent.” There is no prescribed direction 96 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 for the entrance of the dance circle. The drum, as already stated, is placed at the right of the entrance and the leader of the dancers sits at the left. In beginning the dance the leader rises and dances around the entire circle, the other dancers rising and following him. Having completed the round of the circle, he moves in an erratic manner, the dancers following close behind him (fig. 3). The dancers imitate a turkey by thrusting their heads forward and wagging them from side to side, while their arms hang loosely from the shoulders. The Woman’s dance is usually danced at the same time as the Turkey dance, these being the only two dances thus connected. CHARACTERISTICS OF SONGS An interrupted eighth-note drumbeat is the chief characteristic of these songs. This is transcribed with song No. 30 and was dis- cernible in the phonograph records of the other songs. The rhythm of the voice shows a slight preference for 2-4 time and for beginning on the accented part of the measure. Melodically the songs are characterized by wide compass and small intervals of progression. Thus the compass of the songs is from 9 to 13 tones, and 93 per cent of the intervals are thirds and seconds. The average interval con- tains 2.8 semitones, and therefore is smaller than a minor third. The average interval in the entire series of Ute songs contains 3.14 semi- tones. (Table 13, p. 42.) DENSMORE] NORTHERN UTE MUSIC 97 No. 30. Turkey Dance Song (a) (Catalogue No. 731) Recorded by Stncrr No. 7 Voice g= 76 (gi — 152) Drum g= 76 (g\ — 152) Interrupted drum-rhythm as indicated SEA ee ‘EEE ff ee scala corms Dar SS DD Sd dd Sees eho: oe ice ©) a a eel AIM ae fy (ean ees — 0 a See 2 ee eel Dit ese a te tee a ata ce. —~— 4-4 wre = ee ae ——@ + SE ere — ae o—t Ss ae FE oe Pe PP oS - reo ———— es (i a — rand is eee CT 2 ee eee eens PsP ay CTs ee oe Le 5 => a Set es Ps ee > home ae be Bae hee be De Be Ma a Ee = Sa oe alee == Daa Saal as) acace ee @ 4 ae oe. tia ee Pe | peo ra |____-____- ary: sae eee Pi ——|| Poh ine ch a hed a Analysis——In this song the interrupted drumbeat, which char- acterizes the Turkey dance songs, was given with sufficient clearness to permit its transcription below the melody notes (cf. Nos. 31, 45). 25043 °—22—_7 98 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 The eighth-note values of the drumbeats were maintained more steadily in the 5-8 and 7-8 measures than in the 2-4 and 3-4 meas- ures, and the drum was more synchronous with the voice in the latter than in the first part of the song; thus the notation of the drum should be understood as approximate rather than absolute. After singing the song as transcribed the singer began at the first measure without a break in the time, ending the performance with the ninth measure of the song. The third and sixth measures in both renditions were sung as indicated, although the ninth and eleventh measures from the close, containing the same progressions, were sung in 3-4 time. Observing the formation of the melody, we note that it is major in tonality and comprises the tones of the fourth five-toned scale with B as keynote, yet the structure of the melody is chiefly that of the minor triad and seventh. (See analysis of No. 38.) The song has a compass of 11 tones, yet 87 per cent of the progressions contain two or three semitones. No. 31. Turkey Dance Song (b) (Catalogue No. 732) Recorded by Stncer No. 7 Voice d = 104 Drum g-- 104 Drum-rhythm similar to No. 30 Analysis.—This song resembles the preceding song in melodic structure, though differing widely from it in rhythm. Eighty-four per cent of the progressions contain two or three semitones, yet the song has a compass of 10 tones. Ascending and descending pro- gressions are singularly uniform, there being in ascending progression 1 fourth, 3 minor thirds, and 3 major seconds, while the descending progressions comprise 2 fourths, 5 major thirds, and 5 major seconds. The tone material is that of the second five-toned scale. The inter- rupted drumbeat, noted in the preceding song, is present in this phonograph record but is not transcribed, DENSMORE] NORTHERN UTE MUSIC 99 No. 32. Turkey Dance Song (c) (Catalogue No. 741) Recorded by Stncer No. 6 VOICE ne 96 Drum = 96 oS are similar to No. 80 ee! euettt Se Settee ee OS Analysis.—The downward trend of this song, following the inter- vals of the tonic chord, is emphasized by a glissando of the voice, indicated in the transcription. The melody contains only the tones of the major triad and second. It has a compass of 11 tones and a majority of the progressions are minor thirds. No ascending pro- gressions occur between accented tones. (See plot, fig. 4.) Repe- titions of the rhythmic unit comprise the entire melody except the closing measures. No. 33. Turkey Dance Song (d) (Catalogue No. 742) Recorded by SincEr No. 6 VoIcE Ales 80 Drum S| — 88 pales similar to No nue -9- ry Care voy ay ary Sl fe -9- 2. re ee raat es - = Se see wees eas = === Analysis.—The progressions of this melody suggest E flat as a keynote, but G (the third) is not present and the melody is not classified in tonality or key. Another song of the present series lacking the third is No. 37. (See Bull. 53, p. 140, and Bull. 61, p. 135.) The interval of a fourth constitutes 22 per cent of the progressions, the remaining intervals, with one exception, being major and minor 100 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 thirds. Two rhythmic periods comprise the entire song, a short rhythmic unit occurring in both periods. The drum is slightly faster than the voice and steadily maintained in the five renditions. No. 34. Turkey Dance Song (e) (Catalogue No. 790) Recorded by Stneer No. 15 (pl. 10, a) VoIcE = 76 Drum a= 76 Drum-rhythm similar to No. 30 Analysis.—In melodic structure this song comprises three parts: The first (3 measures) is based on the major triad B—D sharp—F sharp; the second (1 measure) on the minor triad G sharp—B—D sharp; and the third (4 measures) on the chord B—D sharp—F sharp—B, the accented tones following the descending intervals of this chord. The song is thus seen to be strongly harmonic in character. No interval larger than a minor third occurs in the song, and about 58 per cent of the progressions are whole tones. (See No. 28.) The song has a compass of 13 tones and contains the entire octave except the seventh. , Repetitions of the rhythmic unit comprise practically the entire song. No. 35. Turkey Dance Song (f) (Catalogue No. 791) Recorded by Stneer No. 15 Voicr g— 72 Drum not recorded Analysis.—This song is not rhythmic in character. It contains all the tones of the octave except the fourth and is harmonic in structure, Avuey ‘Q dnsisy, ‘0 Ol 3LV1d SZ NILS1ING ASOIONHLA NVOIYSAWYV 30 NVadnNg BUREAU OF AMERICAN ETHNOLOGY BULLETIN 75 PLATE 11 . Charles Mack DENSMORE] NORTHERN UTE MUSIC 101 About half the progressions are whole tones, but the ascending fifth occurs twice, giving interest to the song as a whole. Five renditions were recorded and show no points of difference. PLOTS OF SONGS OF THE TURKEY DANCE OUEEPCLERES EAHA HH a EEBEORe0"GbRe HESS 2SeBenS No. 33. Fig, 4.—Plots, Group 3 (Turkey,danee) The plots of these songs show more uniformity than the plots of any other group of Ute songs. They are characterized chiefly by a sharply descending trend. Woman’s DANCE It was said that the Woman’s dance was obtained by the Utes from the Shoshoni. As already stated, it was danced at the same time as the Turkey dance. Only three of its songs were recorded. CHARACTERISTICS OF SONGS The songs were accompanied by beating on a large drum. The drum rhythm is the same as that in songs of the Woman’s dance recorded among the Chippewa. (See Bull. 45, p. 192.) It comprises an accented stroke and an unaccented stroke, the latter corresponding approximately to the third count of a triplet. A brief rest which separates these corresponds approximately to the second count of a triplet. In melodic compass these songs are smaller than the Turkey dance songs, and the progressions are larger. The largest range in any of these songs is nine tones, which was the smallest range in the Turkey songs, and 14 per cent of the intervals are a fourth, or larger than a fourth, as compared with 7 per cent of similar intervals in the Turkey dance songs. 102 BUREAU OF AMERICAN ETHNOLOGY [BuLL, 75 No. 36. Woman’s Dance Song (a) (Catalogue No. 779) Recorded by S1incErR No. 10 VoIcE a= 80 Drum = 80 See drum-rhythm below Sas Ae ree Faas = == === — =F, I (1) Mita cd Ree One Nec SRL SS SSS ie os a Sa pO ver EOE 2. Big: wp ghirt Saat 5 eee sey Cer 2 iets See a RS at Drum ee See a, “ Aa a “ oi: ee) Analysis.—The rhythmic structure of this song is interesting. Two rhythmic units occur, the first containing three and the second two counts. After a repetition of the first rhythmic unit we note a measure suggesting the second unit, followed by a measure resem- bling the first unit, this, in turn, followed by the second unit and its repetition. The first unit reappears and is followed by a measure bearing resemblances to both units, the song closing with three repetitions of the second unit. This intelligent use of thematic material indicates a degree of musical cultivation among the Utes. The melody has a compass of an octave and contains all the tones of the octave except the seventh. Whole tones comprise 84 per cent of the progressions. (See No. 28.) Clot 2 DENSMORE] NORTHERN UTE MUSIC 103 No. 37..Woman’s Dance Song (b) (Catalogue No. 748) Recorded by Sinczr No. 6 Voice g— 80 Drum Ae 80 Drum-rhythm similar to No. 36 eae C2) en a OAT i: lah ae mea ogpeen ne here py Spe SS a ia (2) Ist ending 2nd ending iar yeet € gel Mei ee a a 3 SE Analysis.—This song contains the tones B flat, E flat, G natural, and A natural, suggesting the key of B flat major, yet the third of that key does not appear. (See No. 33.) The song begins with an ascending octave. Only one other Ute song has this initia] interval (No. 91). Chippewa and Sioux songs with this peculiarity are noted in Bulletin 53, page 81, and Bulletin 61, page 343. It also begins and ends on the same tone. (See Nos. 42, 59, 91, and 97 of this series; also Bull. 53, p. 222, and Bull. 61, p. 257.) About one-third of the intervals are fourths. Two rhythmic units occur, the rhythm of the second unit being steadily different from that of the first unit. A first and second ending occurs also in the dupli- cation No. 39 and in No. 48. This song is considered in the Appendix, pages 206-208. 104 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 38. Woman’s Dance Song (c) (Catalogue No. 744) Recorded by StncER No. 6 VoIcE ae 80 Drum e= 80 Drum-rhythm similar to No. 36 Ss Gal state, > ann -—freta—= ° ee eS Sat pS ee Analysis.—This song contains only the tones of the minor triad and seventh. The only other Ute song containing this tone material is No. 71. Concerning this characteristic among Chippewa songs, see Bulletin 45, page 142, and Bulletin 53, page 258; among the Sioux songs, see Bulletin 61, pages 184,337. This chord has been found in the music of the American Negro ™ and was noted by Prof. J. C. Fillmore in songs of the Nass River Indians living in British Columbia; also among the songs of the Dahomy collected by Prof. Fillmore at the World’s Columbian Exposition in Chicago, 1892. In the songs analyzed by the present writer this chord appears in two forms: (1) In songs of minor tonality it constitutes the tonic chord with seventh added, and (2) in songs of major tonality it constitutes the submediant chord with the dominant of the key added as its highest tone. It will be noted that in the first form the tonic triad appears as the lower and in the second form as the upper portion of the chord. The second is the more frequent form, as shown by the fact that 11 Chippewa songs are characterized by this chord and only three are minor in tonality. (See song No. 30.) In the song under analysis the tonic triad (G sharp, B—D sharp) forms the framework of the melody, the seventh being less prominent and occurring only twice. The rhythmic unit is short and its repe- titions comprise all the song except the closing measures. Four renditions were recorded and show no differences except that in one rendition the opening phrase, before the repeated portion, was omitted. Major and minor thirds constitute 68 per cent of the progressions. 18 See paper by H. E. Krehbiel, read before the Folklore Congress, July, 1894. DENSMORE] NORTHERN UTE MUSIC 105 PLOTS OF SONGS OF THE WOMAN’S DANCE SN Abaa L SR ae No, 36. No. 37. Fig. 5.—Plots, Group 4 (Woman’s dance) A comparison of the plots of these songs with the plots of the Turkey dance songs will show a more decided contrast than is evident to the ear in listening to the songs. LaME DANCE The action of the Lame dance was described as that of a man lame in the right leg. The motion was forward and the right foot was dragged as though it were crippled. This step, however, was entirely different from that of the Dragging-feet dance, in which the motion was sideways and the feet lifted clear of the ground. The steps of both of these were danced for the writer’s observation, the dances themselves having fallen into disuse. Only women danced the Lame dance, and at a gathering in the old days it was not unusual for 100 women to take part in the dance. The women formed in two parallel lines more than 30 feet apart, standing one behind another, facing the west. Each line had its leader. At a considerable distance in front of these were the drummers, usually four in number, each with a hand drum, and behind the drummers was a line of men singers who faced the dancers. ‘The women danced forward until near the drummers, when the leaders of the two lines turned and danced toward each other until they almost met. They then turned away from the drummers and danced side by side toward a point opposite that at which they started, the dancers following them and forming a double line (fig. 6). CHARACTERISTICS OF SONGS In all the Lame dance songs the accompanying drum is in quarter notes, following slightly after the voice. This does not appear in any other songs recorded among the Utes and may be considered a characteristic of the Lame dance. As in the Bear dance, the song used at the conclusion of the dance was different in structure from the other songs of the series. With the exception of the closing song (No. 42) a wide range obtains in the Lame dance songs, varying from 9 to 12 tones. With this wide range there occurs, as in the Turkey dance songs,.a predominance of small intervals, 52 per cent 106 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 of the progressions being whole tones. The fourth is prominent, comprising 12 per cent of the entire number of intervals. There is a variety of tone-material in these songs, all of which are harmonic A ge FR RN ie ie act ee + x + au G ape S! * e x oe ie Se ee Se ee a ee ——__> N 4; 20 + @ | Ms ae —_ a e Sp I oo Me Sain tak ig ae eae + x + (+ e Li 2 4 Se esiais eh eree = 1 oe : <_——_— <_— << Fia. 6.—Diagram, Lame dance. A, Singers. B, Drummers. C, Path of dancers in structure. The closing song contains only two tones, is simple in rhythm, and has a drumbeat in unaccented eighth notes, the other songs having a drumbeat in quarter notes. The accompanying instrument was a hand drum. No. 39. Lame Dance Song (a) (Catalogue No. 701) Recorded by Stncer No. 9 VoIcE d= 69 Drum e = 69 Drum-rhythm similar to No. 20 DENSMORE] NORTHERN UTE MUSIC 107 Analysis—We have before us for consideration two renditions of a song by the same singer (cf. Nos. 77, 78), the first rendition being recorded in 1914 and the second in 1916. The duplication was accidental, which adds to the interest of the comparison. On the first occasion the song was sung three times and on the second it was sung twice. Comparing the transcriptions of the two rendi- tions, we find in the second a more regular rhythm and also an ornamentation of the melody, as in the third measure. The first- named peculiarity is shown by the presence of rhythmic units, the latter by a larger proportion of whole-tone progressions. Inquiry was made concerning the life of the singer during the two years elapsmg between the making of the records, as the rhythm might possibly be influenced by an adaptation to the ways of the white - man. The Government officials on the reservation were, however, of the opinion that no appreciable change had taken place in the singer and the difference in the records was attributed by them to a difference in mood at the time of recording. -On comparing the analyses of the two renditions, we find the following resemblances and differences: RESEMBLANCES Wana tig eset: a aoe Ske Major. Hite hon ese ese Seed oto oy oe oO CLAVe, Ea atetOMCmee: © oa Rae tea = in Si ah. Fifth. COM Passee cs ati 2otgs< 3245s =- ke tones, Mone materials >. 55. -/.5 - =. - ee ware Octave complete except seventh. Suet Unease ee Ss ee PRT foe Melodic. IP ErsigPEOCROSSION). a6 Ss ung sen e258 Upward. Time of first measure..............--- 2-4. DIFFERENCES First Second rendition— | rendition !— Key of Key of E major | E flat major INEM BELO Pro PTeSSIONS s maer meee ers kt ses oe ote Cla wad sl> 2 picdisiccecatee 31 47 IPropoLtlon. Of Ma) OF WHITES sas tee ese cena oe oe dete cine o Se esis ees oe 19 20 EEOUOLUION RO Laila Os SECONGS ao erst Son ace same eiae te ate cra tae nator Scen Kee 40 58 VIN GAT CMT Geen oe sais aj eters Ae ewe rnd dele Sees acne o es cee eee None. 74 IME GLOL OIC ANd) (UUM sree en te mAs ens aan ie bie arth telan om ecle 69 84 1 Interesting features of the second rendition are the first and second endings and the connective phrase. In both renditions the drum was in the same tempo as the voice, but was struck slightly after the corresponding tone of the voice. This appears to be a peculiarity of the Lame dance songs. In the comparison of the two renditions it appears that the resemblances are more important than the differences, establishing the identity of 108 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 the song. A comparison of the plots, though not showing the rhythm of the song, indicates the greater regularity in the second rendition. Concerning the use of a connective phrase see No. 7. Syncopations (nota legato) occur also in songs Nos. 41 and 75. A first and second ending occurs also in Nos. 37 and 48. This song is considered in the Appendix, pages 209-210. Duplication of No. 39 Recorded by StincEer No. 9 VoIcE é= 72 Drum = 72 Drum-rhythm similar to No. 20 4 “I _« o- -p- 2-9 #. pith mt 3 H (1) — tate. 2 _+ eS i ae papi og Steep Ee Ist ending Connective phrase between renditions ir — -~= -6 ¢ fog ead ees Gees aces ee ee ee See ] 2 —— ee =e DENSMORE] NORTHERN UTE MUSIC 109 No. 40. Lame Dance Song (b) (Catalogue No. 720) Recorded by S1incer No. 16 VoIcE pS 76 Drum _ 76 Drum-rhythm similar to No. 20 SSS pire s pte) a4 Tsi-yu-ta Tsi-yu-ta Analysis.—This song contains only one word (Tgiyuta), said to be the Shoshoni term applied by them to the Utes. The rhythmic struc- ture of the song comprises four periods, each containing four meas- ures, except the third, which has only three measures. Each of these periods ends with a triple measure. In melodic form the song is characterized by wide expansion and small intervals, the range being 11 tones and about 60 per cent of the progressions being smaller than a major third. (See No. 28.) Three renditions were recorded, the only differences being a slight variation in the fourth measure. The song contains all the tones of the octave. 110 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 41. Lame Dance Song (ce) (Catalogue No. 768) Recorded by Stvcer No. 17 VoIcE = 63 Drum = 63 Drum- se eS to No. 20 -9- © -9- ©. -¢ a e ay (aes +— par -6-. -9- ~o- iio outg ot Se SSS Ser ay Ws at Analysis.—Two renditions of this song were recorded, and in both are found the same number of sixteenth notes in the third measure from the close, this phrase being divided into three groups of two notes each. The song contains no rhythmic unit, though several measures begin with a dotted eighth followed by a sixteenth note. A short connective phrase was sung between the renditions. (See No.7.) For other songs containing rests see analysis of No.8. Sixty- five per cent of the progressions are whole tones—a peculiarity noted in the analysis of No. 28. It was said that the following song was sung at the conclusion of the dance. A man approached a woman dancer and made a series of gestures, after which a third person threw a blanket over them, and they danced together while this song was sung. DENSMORE] NORTHERN UTE MUSIC 5 glk No. 42. Closing song of the Lame Dance (Catalogue No. 769) Recorded by S1ncsr No. 17 Vorcr = 104 Drum = 112 Rue similar to No. 18 Se Sees ee ee SE caa 2222 ae Analysis.—This song resembles No. 17, which was sung at the conclusion of the Bear dance, but a comparison of the trend of the two melodies shows the upper tone to be the more important in No. 17 and the lower tone in the present instance. A fundamental and its minor third are the only tones in this song, while No. 17 contains also the minor seventh, occurring as an unaccented tone. This song comprises four periods, all having the same rhythm. It begins and ends on the same tone. (See No. 37.) PLOTS OF SONGS OF THE LAME DANCE DURE REEaEs FA PEE SENGRP UREA URE seu ers eee) HEEEEE PEACHES PECEEEEEEEE HEE Gee eesARsaeewas No. 39. No. 39 (dup.)- DS Qs SR0E88 HA HAH HH H+} VT TNT AT seater AViNee rT TTY ry TT PN EN No. 40. No. 41. Fic. 7.—Plots, Group 5 (Lame dance) In the plot of these songs we have a type that appears to avoid the lowest point, differing in this respect from a majority of the Sioux as well as of the Ute songs. 112 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 The plots of No. 39 and also of its duplication are shown, thus affording an opportunity for comparison which is clearer than that of the transcribed melodies. DRAGGING-FEET DANCE According to Star, an old informant, the Dragging-feet dance was one of the social dances held after a scalp dance. Men and women danced together, not alternating but standing as convenient, the motion of the dance being sideways, “‘with the sun.” The step was that recorded in the same dance among other tribes (see Bull. 61, p. 477), one foot being advanced sideways and the other foot lifted and placed beside it. CHARACTERISTICS OF SONGS The drum beat with the Dragging-feet songs was in quarter notes, synchronous with the voice, not following after it, as in the Lame dance songs. Two of the songs contain particularly long rhythmic units, and none of the songs contain the seventh of the key. The minor fourth comprises 42 per cent and the fourth comprises 14 per cent of the entire number of intervals. No. 48. Dragging-Feet Danee (a) (Catalogue No. 721) Recorded by SingcEr No. 16 VOICE a= = 108 Drum g— 108 Drum-rhythm similar to No. 20 = Ph pS RSRE I Analysis.—This melody progresses chiefly by the minor third, which constitutes 71 per cent of the intervals. The rhythmic unit comprises five measures and occurs twice. It is interesting to note the resemblance between the opening measures of the song and the rhythmic unit. Nine renditions were recorded without a break in the time. The drumbeat was synchronous with the voice. - Analysis. break in the time. The melody is rhythmi¢ in character but con- tains no rhythmic unit. Only three sorts of progressions occur— the fourth (constituting 32 per cent), the major second (62 per cent), and one interval of a major third (see No. 28). All the major seconds were uncertain in intonation. The song is harmonic in structure and contains the octave complete except the second and seventh. DENSMORE] _ NORTHERN UTE MUSIC 113 No. 44. Dragging-Feet Dance (b) (Catalogue No. 746) Recorded by Sincer No. 18 VoicE a= 104 Drum e= 104 Drum-rhythm similar to No. 20 ‘oe : {ea roe 2 iS a O“1 P ee 9 oa a ea AE eee Be Sy oy eS el Nine renditions of this song were recorded without a No. 45. Closing Song of the Dragging-Feet Dance (Catalogue No. 702 Recorded by S1ine@eEr No. 9 VoIcE o= 104 Drum a= 104 Interrupted drum-rhythm as indicated ) # #@ 9 @ 0.5 — -0--9 Pee etc et.. as rt f feat Analysis.—In this song, which was sung at the conclusion of the Dragging-feet dance, there was a break in the drumbeat, as a signal for the end of the dancing. This break was always given at the same point in the song. In two renditions this interruption occurred as 25043 °—22—_8 114 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 transcribed (cf. No. 30). It is interesting to note that in the inter- rupted portion the drumbeat is slightly after the voice, while in the remainder of the song it is synchronous with the voice. The only difference in the renditions (several of which were without drum) is that in a few instances the first tone in the second occurrence of the rhythmic unit was sung as a quarter note. The rhythmic unit is long, as in No. 43. With the exception of one interval, a minor sixth, the progressions are thirds and major seconds. The song is melodic in structure and contains the tones of the fourth five-toned scale. PLOTS OF SONGS OF THE DRAGGING-FEET DANCE SSEREED BaVREEG HV | a a ea No. 43. No. 45. Fic. 8.—Plots, Group 6 (Dragging-feet dance) The plots of these songs, while different from the plots of the Lame dance songs, show a similar avoidance of the lowest point. TEA DANCE The name of the Tea dance indicates its modernness. If held out- doors the people danced around a fire, the men giving their bracelets and other ornaments to the women who took part in the dance. CHARACTERISTICS OF SONGS A scanty tone-material and wide range characterize these songs, none of which contain more than five degrees of the scale, while the range of the songs is from 11 to 15 tones. Two are melodic in struc- ture and one is melodic with harmonic framework, indicating freedom of musical expression. The fourth, with its suggestion of motion (see Bull. 53, p. 100), constitutes 28 per cent of the intervals. All the songs are major in tonality, yet the minor third constitutes more than 22 per cent of the progressions. The drumbeat of the dancing song (No. 46) and of the song next following is similar to that of the Woman’s dance, the drumbeat of the third song being unaccented eighth notes. The following song was sung during the dancing: DENSMORE] NORTHERN UTE MUSIC 115 No. 46. Tea Dance Song (a) (Catalogue No. 733) Recorded by S1ncrr No. 7 VOICE J= 88 Drum e=—88 oe cag te similar to No. 36 # -9- eae ae ea O- 2. -9- ee ae . -9- [== Analysis.—The keynote of this song is considered to be E, the tonality is therefore major, yet the major third appears only once as a progression. The interval of a fourth is strongly in evidence, both as a progression and in the structure of the melody. A rhythmic unit occurs four times in succession, the two first occurrences being on the tone F sharp, E, B, and the second and third occurrences being on the tones B, G sharp, F sharp, after which the melody descends to B along lines which suggest the tonic chord. The portion of the melody included in measures 4 to 8 resembles numerous other Ute dances in its reiteration of a minor third (cf. Nos. 16, 42, 51). The tone material in this portion of the song is similar to that in No. 2. Other songs containing rests are noted in the analysis of No. 8, and other songs with connective phrase in the analysis of No. 7. The two songs next following were sung after the people sat down and before the tea was served, a pipe being passed among them at this time. 116 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 47. Tea Dance Song (b) (Catalogue No. 734) Recorded by SincEr No. 7 VoIcE é = 104 Drum d= 104 Drum-rhythm similar to No. 36 (1) (2) (3) (2) a a ea og ee gape se £ pg SS pepe Analysis.—The drumbeat of this song is similar to that of the preceding song, during which the people danced. The song had the unusual range of 15 tones and is based on the fourth five-toned scale. Two renditions were recorded without variation. This is interesting, as three rhythmic units occur, the first and third closely resembling each other. The eighth measure contains a reversal of the count- divisions of the second rhythmic unit, in a triple measure. As has been noted, a measure of this sort frequently gives a certain balance to the rhythm of a song as a whole. DENSMORE] NORTHERN UTE MUSIC by No. 48. Tea Dance Song (c) (Catalogue No. 722) Recorded by S1ncEr No. 16 Voice ¢— 84 Drum 4= 84 Drum-rhythm similar to No. 18 posi eae ep eee ph Bese eee ieeieaationas Se. ¢ Emre Ist ending ee eee 2nd ending Boosie eee Seeereeeiee! Analysis.—This song contains only the tones of the major triad and second, has a compass of 11 tones, and is melodic in structure. The fourth occurs 14 times, comprising about half the entire number of intervals. In contrast to the preceding song the drumbeat is in unaccented eighth notes. For other songs containing rests see No. 8. A first and second ending occurs also in the duplication of No. 39 and in No. 48. PLOTS OF SONGS OF THE TEA DANCE 223008 22 Ra eae OP Gae Reese eaD HARE So'eD Sarasa See Fig. 9.—Plots, Group 7 (Tea dance) A gentle descent characterizes the plots of these songs, with none of the activity noted in the two groups of dance songs next preceding it. 118 BUREAU OF AMERICAN ETHNOLOGY - [aun 75 DoUBLE DANCE ”® ¢ Both men and women danced the Double dance, which was said to be very old. The dancers stood in two lines facing each other and not far apart. Men and women did not alternate in these lines, but stood in any convenient order. So general was the interest in this dance that in old times the lines often were 30 or 40 feet long. In the dance one line moved forward about four steps, the opposite line receding. The opposite line then advanced and the first line receded. CHARACTERISTICS OF SONGS Two songs of this dance were recorded by Uncompahgre Utes. Both songs have a clear rhythmic structure with more than one rhythmic unit. No progression larger than a fourth occurs in these songs. The accompanying instrument was a hand drum. No. 49. Double Dance Song (a) (Catalogue No. 776) Recorded by Stncer No. 8 Voice g=—112 Drum g=—112 Drum-rhythm similar to No. 20 Stet lies in deerne meen eT Sebi aise esis Ne amo Feyose Meise So's 11 LOLS Serees cece cnis ac ote one ewe ieee seam hich wsteseiaslsae's | 420 124 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 SociaL DancE Sones—Continued MELODIC ANALYSIS—continued TABLE 12c._INTERVALS IN UPWARD PROGRESSION N a eee Serial Nos. of songs Interval of a— ING the. Sooo os teh cartes sec ee oa een ea sere cna 1 OCERVOS sa. 6 2 Sst oe oe oan est ee nee CO peeaseme mes 3 Seventhsee22 bin chies hose ee pec eee ae ae 1 IMPS OT SIGN ee oreo wine aloe pine ae eee eee ee 2 IMAM OF SIKU: Selden ne See ie ei a = ae eee ae eae 6 1 Ort (ol: eae ee ae eee Se Ro RAP aR nrc a ose Tans 10 BOF 0 TD fol 6 ee SeeciS ene ace ame sec erinacia a0cen satis ec ao SOUC OL 35 Major third ss e-. sees er weep san cece spt osujie sess ga 26 Minor thine s.- btars wes opis saiere nee arate mnintete iere tay aber 78 IMajorsecond: tossnseeeere sree ee eee eee eee ee ener 84 MATIORSCCONG ss sae eae tee Coane = coer eee eee 2 TOCA 2S oxo Ata eee ee re ee os a sede eee RS nie 248 | TABLE 13c.—AVERAGE NUMBER OF SEMITONES IN AN INTERVAL Totalnumber-ofintervals 22s - .,.522 sacs See eee niae Sas Sareea Aaa 668 Totalmumber ofsemitoness & po * aia s se ees he eee Oe ae a eel aie oe bee aioe ec aeeeteet 1, 657 Average number of Semitores in an interval...........-..-..-. 22.02 - eee eee ete eee eee eee een eee 2.4 TABLE 14c.—KEY ese Serial Nos. of songs Key of— PRS HE) ae boSt Ee COOCD OC IAD IOC Ae DOS Oc Ad nD Tan CouSHbamdobE aes 1 | 50. Heri b rs He (0) ee Sap Se SOOO La ee ose boat aoe Sdceppise sone sosacrepe 2 | 36, 45. PS i) eae cee ec eB Socios peyas app Scee uses dese seen Se 3 | 30, 32, 34. SHON oe. as ele eee se aie ne Oe te ele Snell ae 1 | 49. Didlatiad Oreo ceo saserosss-see ee see 3 | 55, 56, 57. Lr ee EM eae AE i Bie > Baer Se | 15 TABLE 7D.—ACCIDENTALS Number = of songs Serial Nos. of songs Songsicontaining no’accidentals./.22- 24 eee re eeee seoeee ere eeee 15 DENSMORE ] NORTHERN UTE MUSIC 143 Sones Usrep In TREATMENT oF SicKk—Continued MELODIC ANALYSIS—continued TABLE 8D.—STRUCTURE Serial Nos. of songs Number ¥ of songs NIGIMYGIG.~ a Sa pceeBe ccs Ie Rea SO Ease eae Saar Se RENE eee 11 Melodie with harmonicframework.-.2--22.2..0....-c--.-ceeec-- 4 EIS OU Mere ter erapo a tarcte ae ae eee en oe te Pee ce en hs NE Aare 15 52, 53, 54, 55, 56, 57, 58, 59, 60, 62, 65. 61, 63, 64, 66. TABLE 9D.—FIRST PROGRESSION—DOWNWARD AND UPWARD Serial Nos. of songs Number of songs DO WALWan dese ari me eee Se ae cae sess eae seca te ce 5 (WiDr Cass rete ee aes = Anat ence A Et eee eee ee 10 TRG ea Ne frrcrsterare ei tciciars cee Ce ease soe eidlewiostine nets Pacts 15 53, 54, 60, 63, 66. 52, 55, 56, 57, 58, 59, 61, 62 64, 65. TABLE 10pD.—TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD Number P * : : of songs. Serial Nos. of songs. oprreyakd testes ae ene tahoe ee oes hehe 5 209 Wipwardeeis. sant sae os eeeee en ae osink cick hosicee seSaemcauenteoss 151 MRO eo BSS HE SSSR SCE Te Brel See ne eae a Ie ene re eee neath 360 TABLE 11p.~INTERVALS IN DOWNWARD PROGRESSION Reed Serial No. of songs Interval of a- - IMOTOTSING eee eee ete ces apane acme en ea teieieaee Maia remnyne 2 BiG nee eee rae mae ae ete eae ee see ae oe THO UINE His eame teers Seseen sae eS creer are a were ck ane 40 IMs orstiliind eer ee eer ey eee re Ra Te 9 Minorthird)2seece-o eee eeese SORE Oa ER Oe ee Sera esces 29 MAT OR SCCODG she see nee oe ae seine eee oars see Cie Sen 127 Minor second...-....-.. Lncatceb ne SEE SaSe US ne oer 1 MOG AL Ma fey Soma loess Siete ceeteene cae oa eae 209 144 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 75 Sones Usep 1n TREATMENT OF S1ck—Continued MELODIC ANALYSIS—continued TaBLE 120._INTERVALS IN UPWARD PROGRESSION Interval of a— Maj orSixt lis. 2c; = (BB bgss% 20a. sous ee epee a eee Minor sixthie, 65 ~ £4. irc 88 tea oo Os Be Ae onan) ea ee Majomthird= 2.2. 62. S2ekeeesn cetera ees coe ees Minor third o.coscees sid spe es -neaes sa aedee epigascaeeeseaee MajorsecOnd ; cas 3c en ce ss See een oe aaron cet ee Minor SOCON Ge 35. Soc cas Hohe pace eae re cakes oe eee ee Number of songs Serial Nos. of songs TABLE 13D.—AVERAGE NUMBER OF SEMITONES IN AN INTERVAL ‘Total number iohintervals':2- 22 .o oe s2ec Ser sec esac eos cee ese sce eee ees cee eae nee ee 360 Total number. of semitones: 3-152 2-segenee eae ope esto cee ea ee ee eet ae Sec ee ee eee 1, 076 ‘Average numberof semitones in antintervalise:*=. 22. casceraeeees + ceceneceeeeeeetmesrecoreeaeeaee 2.9 TABLE 14D.—K EY Number : of songs Serial Nos. of songs Key of— BwlSt Nay OL oct seek Slane eee eee eine eee eine amenesens 2 | 65, 66. 3B flateminore ts ror be ae ee ites erect oe eae os oie eee rene 1 | 62. (CEN Os arin semis cede aooErosocseacke nob be bebogpcosongoss0e 2 | 63, 64. Dlatamay ones seek ok ewe eee vis en eee aeons 1} 61. A SEH 8] OF Genoa oatetg ace ie easel oe Seaiaee ican eee 2 | 52, 54. GAMAlOP: 2S. 5 eee tacos wm Cae Sete te ais eis ate see eae isace 3 | 58, 59, 60. Trregular 3 = ...0.2 ss sas see sins epetcescks coneee te eee eeeae ee 4 | 52, 55, 56, 57. MGtiall roe wc cee eB Ss eS os she ee eee cao eae eee eee 15 RHYTHMIC ANALYSIS TABLE 15D.— PART OF MEASURE ON WHICH SONG BEGINS Number P of songs | Serial Nos. of songs Beginning on unaccented part of measure.....................-- 3 | 52, 54, 59. Beginning on accented part of measure.................-..2----- 12 | 53,.55, 56, 57, 58, 60, 61, 62, 63, 64, 65, 66. Potal ss <2 sess HOLS S SSS Sk bas seeds Se eee eee dee 15 DENSMORE] NORTHERN UTE MUSIC 145 Sones Usep In TREATMENT OF SickK—Continued RHYTHMIC ANALYSIS—-continued : TABLE 160.—RHYTHM (METER) OF FIRST MEASURE | Number | of songs Serial Nos. of songs First measure in— PZ PLING asia teoace ces ceatace ceee saenepresiccececiars Sag ob s50R) 12 | 52, 54, 55, 56, 58, 59, 60, 61, 62, 64, 65, 66. SS AING sree ecnine occa tiaisic eis atotcla Soee bem en eteesacten veaeee a 3 | 52, 53, 57. PRCA Si) aon ow ce Sociale Sawa shee amate ceseacue se eeacecsews 15 TABLE 177.—CHANGE OF TIME, MEASURE-LENGTHS Number F of songs Serial Nos. of songs Songs containing a change of time ................-.----.---+---- 15 TABLE 18)D.—RHYTHM (METER) OF DRUM Number of songs Serial Nos. of songs DEM MOALECOLG Gd e- set oPre sets iat cins Cons cst e we tece wees cone oben 15 TABLE 19).—RHYTHMIC UNIT OF SONG Number een of songs Serial Nos. of songs Songs containing— Norby tamicninit: 2. .c< 2 ae eme on ce ccesecc lca scseciesameeese 1 | 53. eA Ehiy Pumiciinit ese toss ee onc ane ec ke ee eases cc ata 12 | 52,54, 55, 56, 57, 58, 59, 60, 61, 63, 64, 66. BW OFUVEMMICMMNIUS 3. a2 pce nciscae wocscneee cen coseueceaneccs 2 | 62, 65. RP Obal eee ase Neat aa saecinie seca» eee « coseeceatinca= 15 TABLE 20D.—TIME UNIT OF VOICE Number RoR of songs Serial Nos. of songs Metronome— See OS cine Scle dens wlan cenimeeen ener lecos been acecn Mees 9 | 52, 53, 55, 57, 58, 59, 60, 62, 63. Boma eee somata ata csc sees cece eee satews Se eceeebesesede 1 | 60. OO erate ence insestccieap nocne euelsce Somers cob ementt Seale 1 | 66. OS eae eet eS la owe Sats a ne Soe eRe Seaate betes Se katie 2 | 54, 56. Bon ee eet aaa en ae cme c Moe LU ae arco eiats a Sts ccctetels a 1 | 65. Doe ele ee ees eae cleiclaw a cia/ae els bak ne Roem memes dace ees TY) 64. QUAN aeeaib mim meraiinia seca act me eS arincinecine seeceeemseete s j 15 25043°—22——_10 146 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 Sones Usep In TREATMENT OF SicK—Continued RHYTHMIC ANALYSIS—continued TABLE 21D.—TIME UNIT OF DRUM | Number | of songs Serial Nos. of songs Drontmnot-recorded':2 5; -. soc eke coos coacs eoale ee ceees nee oe eee oe | 15 TABLE 22p.—COMPARISON OF TIME UNIT OF VOICE AND DRUM Number of songs Serial Nos. of songs Drum not recorded... .-. JunSereigeks eereneuwe acids webep ase ceeweoanee 15 WAR SONGS While the general customs of war do not differ materially among Indian tribes, there are distinctive points in the customs of the several tribes that are of interest. Among the Utes, for instance, is noted the ‘‘washing of the wounded,” and also a dancing in two circles, one within the other, when the scalps are carried in victory. Several aged warriors of the Ute recorded war songs, but recalled them with difficulty, as the Utes have not been at war with another tribe for many years. Their former enemies were said to have been the Sioux and Arapaho, one purpose in war being the capture of horses from these tribes. CHARACTERISTICS OF SONGS A majority of the Sioux and Chippewa war songs were found to be minor in tonality, but 69 per cent of the Ute war songs are major in tonality. Firmness and directness are further shown by the ending of the same percentage on the keynote and the beginning of 56 per cent on the octave. Eighty-seven per cent begin with a downward progres- sion. The melodic material is scanty, only about one-half the songs containing more than four degrees of the scale. The harmonic feeling is slight,-only about 12 per cent being harmonic in structure. The average interval is slightly smaller than in the Bear dance, yet the percentage of intervals larger than a major third is higher in the war songs than in the Bear dance, this percentage being 22 in the Bear dance and 25 in the war songs. This is due to the more frequent occurrence of the interval of a fifth in the war songs. The accom- panying instrument was a hand drum. With three exceptions these songs begin on the unaccented portion of the measure, this being in contrast to the directness of beginning oe DENSMORE] NORTHERN UTE MUSIC 147 on the octave and ending on the keynote. There is a preference for 2-4 time, and only one song contains no change of measure-lengths. The rhythmic character of the songs is evident, as, with one excep- tion, the songs contain one or more rhythmic units. Black Otter (To’patsuk, pl. 11, a) said that in the old days a man who wished to.lead a war party requested that the people of his band be assembled at a certain place. When a camp had been established, the men who had been on previous war expeditions went to the chief’s lodge and the chief announced the proposed undertaking. The men smoked and the chief explained the matter in detail. When Black Otter went to war the men rode on horses and used bows and arrows. He said the Utes formerly used stone arrow points, but that the men of his time had iron arrow points, the metal being obtained from the Mexicans and “‘shaped by rubbing with stone.’”’ The Indians made drinking cups from the knots of trees and carried these cups with them on the warpath. The night before a war party left the village a * dance was held, and the warriors paraded through the camp in their war paraphernalia. The following song was sung at the dance preceding the departure of a war party. In recording it Black Otter’s voice trembled. He was almost overcome by emotion, saying it brought so strongly to his mind the friends and associates of former years. No. 67. War Song (a) (Catalogue No. 759) Recorded by SincrEr No. 1 VOICE = 126 Drum a= 126 pave oe similar to No. 20 -¢ ————l sem og yg ET gt te 2 compte py gt Daye eT eee lee el Analysis.—This song is on the fourth five-toned scale with D flat as its keynote. In structure it is melodic with harmonic framework. The rhythmic unit comprises three measures. Attention is directed to the ninth, tenth, and eleventh measures, which bear a close resem- blance to the rhythmic unit, but were sung with a different accent 148 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 and phrasing. -The half note in the ninth measure was sung as the close of the preceding phrase, the tenth measure was begun with an accent, and the eleventh measure given two quarter notes instead of one half note. This distinction was clearly given in all renditions of the song. The singer stated that the following song was sung by a war party when leaving the camp: No. 68. War Song (b) (Catalogue No. 704) Recorded by StncER No. 9 VoIcE g— 84 gk not recorded B= Spee = He Sy ree Z = pga aaron Analysis.—This melody is simple in form, has a compass, of an octave, and contains the tones of the fourth five-toned scale. It begins on the octave, and ends on the tonic, about two-thirds of the progressions being downward. In structure it is melodic. No rhythmic unit occurs and the song as a whole has not a decided rhythm. For other songs containing rests see No. 8. No. 69. War Song (c) (Catalogue No. 723) Recorded by StncER No. 16 Voice g— 80 Drum a 80 Drum-rhythm similar to No. 18 (1) (1) i See. com | eee Se 1 @.- # e @.- -. Saas: Sey Se geet eae aie atte] =? p+ — => ) ee ee —_—_—— ) iG Bema as ieee ss a DENSMORE | NORTHERN UTE MUSIC 149 Analysis.—Several renditions of this song were recorded and show no material variation. This is interesting to note, as the two rhythmic units differ only in the division of the final count. The song is on the fourth five-toned scale and has a compass of an octave. The fourth is a prominent interval, comprising more than a fourth of the entire number of progressions. ‘The association of this interval with songs concerning motion has been frequently noted. This song resembles the song next following so closely as to suggest an unintentional duplication. No. 70. War Song (d) (Catalogue No. 792) Recorded by StncerR No. 19 Voice g—88 Drum g= 80 Drum-rhythm similar to No. 18 oe ee oe ae | ae 2. @. @__» Aa i) eee e_§_» ore 7 oi a jake Soe = ao Seas oe hes Connective phrase py tr Weert ee Analysis ——Between the renditions of this song there was sung a brief connective phrase which is represented in the transcription by two half notes, but which was sung with various divisions of the count. It is of interest as showing the manner in which the Utes frequently break the ascent of an octave in repeating a song. This is contrasted with the customs of the Sioux and Chippewa, who fre- quently make the direct ascent of an octave or a twelfth in repeating a song. Songs having a connective phrase are noted in the analysis of No.7. This song is divided rhythmically into two parts, which are alike except for the fifth measure. It will be readily noted that no measure corresponding to this appears after the rhythmic units in the second portion of the song. Another slight difference is that the first part ends in 3-4 and the second in 2-4 time. The tempo of the drum was not strictly maintained, but was slightly slower than the voice throughout the renditions. The melody is on the fourth five-toned 150 BUREAU OF AMERICAN ETHNOLOGY (ron. 75 scale, and about three-fourths of the intervals are descending progres- sions. One or more scouts, according to the size of the war party, were deployed to watch for the enemy. The following is a scout song and was said to have been sung by those who had been appointed to travel along a ridge of high land, probably parallel with the course taken by the war party. The scouts slept there, and as the sun rose they looked around but saw no trace of the enemy. The words are not transcribed, but were said to mean (freely translated) ‘‘There is no one near.”’ No. 71. Scout Song (Catalogue No. 724) Recorded by Stncer No. 16 Vorcr g—72 Drum not recorded Analysis.—This song contains only the tones of the minor triad and seventh, a tone-material which is considered in the analysis of No. 38. Throughout the rendition of this song the tone was firm and the intonation good. The descent of a seventh in two intervals, occurring in the rhythmic unit, is effective and is barbaric in character. The intervals are large, and only 19 progressions occur in the song. The tempo is quite slow. The interval of a fifth is prominent in this song, 42 per cent of the progressions being fifths. The following song was said to be that of a scout who perceived that the enemy was near. The song was sometimes used as a parade song. The singer, a comparatively young man, said that he learned the song from the old men when he was a boy. DENSMORE] NORTHERN UTE MUSIC 151 No. 72. War Song (e) (Catalogue No. 705) Recorded by S1incErR No. 9 Voice g\= 126 Drum a= 63 (See footnote) : ¢ a ie ers pppEe Se qeayit her etsy Connective phrase at Zee FEES Ee a >—r ae 88 : ee ae eee eae |B eee Analysis.—Instead of a uniform drumbeat throughout the song, we have in this instance a very rapid drumbeat in the opening meas- ures, followed by a quarter-note rhythm. Other songs with the same peculiarity are Nos. 86, 87, and 88. This seems an individual phase rather than one connected with the character of the song. The quarter-note drumbeat was maintained steadily during the 3-8 measures of the song and synchronized occasionally with the voice. Only one other song (No. 22) begins in 3-8 time. In the fourth and fifth renditions the singer interpolated sharp, shrill cries before the connective phrase. (See No. 7.) The melody contains the tones of the fourth five-toned scale and is melodic in structure. Only one- fourth of the intervals are larger than a minor third. One of the oldest warriors in the tribe said that his father told him of a war party in which he was leader. It was a large party, com- prising from 30 to 50 men, armed with bows and arrows. The infor- mation is not clear as to whether this song was sung by the attacking warriors when near the enemy’s camp or was composed in honor of a successful attack. To sing during an attack is not customary, yet it may have been done at this time, as the attacking party was so large. The singer’s manner was excited as he recorded the song, and between the renditions he shouted, “‘ Now, now, run your horses because our young men may be killed; because if we go into the enemy’s tents our scalps may be taken.”” The attack was said to have been made just before sunrise. 152 BUREAU OF AMERICAN ETHNOLOGY [Bunn. 75 No. 73. War Song (f) (Catalogue No. 747) Recorded by StnceEr No. 18 VOICE e= 76 Drum not recorded 9 0° -9-* -@- - -@- -9- -»- aS ae Pe ie Sah [Seen Ene eaaeaseess sean SES S—— | a Eb ieee aes ee pee Analysis.—Two renditions of this song were recorded with prac- tically no variations. In both renditions the second count in the second measure was sung as two eighth notes, thus differentiating it from the rhythmic unit in which the corresponding count is sung as a quarter note. Neither are the divisions of the last count like those in the following measure. Only about one-eighth of the intervals are larger than a major third, and more than half are major and minor seconds. (See No. 28.) The song has a compass of an octave. The scalps secured by a war party were not fastened in a hoop but tied at the end of a pole “higher than a man’s head.” It was customary for returning warriors to give a scalp to a woman whose husband or son had been killed in war, also to a man who had lost a near relative on the warpath. A returned war party paraded around the camp at about 8 o’clock in the morning. In this parade the scalps were carried on poles or fastened to the chin straps of the horses. Some of the men had women behind them on their horses. All were in gala attire and the leaders accompanied the songs by pounding on hand drums. The following song was used on such an occasion: DENSMORE] NORTHERN UTE MUSIC 153 No. 74. Parade of returning warriors (Catalogue No. 748 ) Recorded by SincEr No. 18 VOICE a= 66 Drum ‘ = 66 Drum-rhythm similar to No. 20 (1) SIT Rae OR -8 2.2. te e¢ " a = 7 2 2. £ f #2 # (2) Sa — sel ie | 2-2 ° Spe a] = a ——— ee o+ (1) a2 ae ss a ee a Bay aaeeaee : Se Analysis.—This song is on the fourth five-toned scale with G flat as its keynote. Two renditions were recorded, each containing a repeated portion as indicated in the transcription. Two rhythmic units occur, the difference between them being slight but clearly given by the singer. The song is melodic in structure, and almost half the intervals are major seconds. 154 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 75. War Song (g) (Catalogue No. 749) Recorded by StnceEr No. 18 VOICE e — 63 DRUM P| =—iGsh Drvem-rhythm similar to No. 20 Analysis.—This song is characterized by a compass of 12 tones, which is unusual in this series. The song contains no change of time, differing in this respect from a majority of the present songs. The rhythmic unit is interesting and occurs seven times. As- cending and descending intervals are almost equal in number, the song containing 10 ascending and 10 descending major thirds. The melody contains only the tones of the major triad. A peculiar custom noted among the Utes was that of “washing the wounded.” ‘This was done at the scalp dances, the body of a wounded warrior being placed in the center of the dancing circle and his wounds washed as certain songs were sung. The same was done if a man had been killed and his body brought home by the war party. Two songs of this act were recorded, and it was said the same songs were used for any occasion of mourning and also, strangely, were used on occasions of rejoicing. DENSMoRE] NORTHERN UTE MUSIC 155 No. 76. Song when washing the wounded (a) (Catalogue No. 725) Recorded by Sincer No. 16 VoIcE = 84 Drum not recorded (1) PEAR tT ase Ss (1) a Sa ae ee ad lee Se -0- -9- (slower) og yee Sp te SS In time (2) (2) Eat Sees a aeenee! Analysis.—A peculiarity of this song is the measure in slower time, this change in tempo being the same in all renditions. (See No. 11.) The phrasing was clearly given throughout the song. Sixty per cent of the intervals are minor thirds, about equally divided between ascending and descending progressions. The song contains only the tones of the major triad and sixth. No. 77. Song when washing the wounded (b) (Catalogue No. 706) Recorded by SINGER No. 9 Voice g— 104 Drum not pC eB Lae panty tye ty tert peep teety eee eraeee eee angel = Soe es cas DY Soe Sy ae Analysis.—This song was recorded by the same singer at two differ- ent times, thus affording an interesting opportunity for observing the accuracy with which the song was repeated. (Cf. Nos. 39 and == se 156 BUREAU OF AMERICAN ETHNOLOGY [BuLy, 75 78.) Six renditions were recorded in 1914, the renditions being — uniform and connected without a break in the time. The transcrip- tion is from the cylinder made in 1914. Five renditions of the same song were recorded in 1916, at which time the writer did not play the first record, but ‘“‘hummed” the transcription. The singer recog- nized it and said he would like to make another record of it. This second cylinder was transcribed and the results compared. In this comparison it is found that all the renditions recorded in 1916 omit the fifth and sixth measures and the last measure of the song as transcribed. As these measures are repetitions, this would be of slight importance, but as it reduces the occurrences of these phrases — from three to two the change suggests a tendency toward regularity ——= oie Wag am S * * Ve x x \ + Pan = eos x x x + x x x x x x gle ¥ x # * jibe a Fiq. 13.—Diagram, Scalp dance. a, Singers with hand drums. 6, Two circles of women moving in opposite directions. and conventionality. The first group of renditions was in a tempo of J=104, and the key of G minor; the second was faster (j= 108) but in a. lower key—the key of F sharp minor. The 5-4 division of certain measures was strictly maintained. The song contains the tones of the second five-toned scale and is melodic in structure. Considering the lack of variety in progressions the melody is inter- esting and quite diversified. One-half the intervals are minor thirds, and of the other half all except one interval are major seconds, that interval being an ascending fourth. Other songs containing rests are noted in the analysis of No. 8. The dancing with the scalps (commonly known as the Scalp dance) began late in the afternoon and ended soon after dark. There was no feast connected with this dance. The singers stood im a line facing DENSMORE] NORTHERN UTE MUSIC 157 the east, the men with hand drums being in the center of the line. In front of the men were two circles of women dancers, one circle being inside the other. The two circles moved in opposite directions, the inner one moving “with the sun.”” Each group of women had a leader, who wore a feather war bonnet. The leader of the inner circle was the wife of the chief, and only she was allowed to carry a scalp on a pole. The arrangement of the dancers is shown in the accompanying diagram (fig. 13). At the conclusion of the Scalp dances it was customary to take the scalps to the chief. He had a large tipi with tall poles, and the scalps were fastened at the tops of these poles, where they remained undisturbed. No. 78. Scalp Dance Song (a) (Catalogue No. 760) Recorded by StncErR No. 1 VoIcE e = 96 Drum not recorded wepeeete e Zee 6 : = -@-9-#-» pygp titeitencrsnt: Sa Sire | ae ee tae re tal ie researc. e te || Analysis.—This Song was twice recorded by the same singer, only one of the records being transcribed (cf. Nos. 39 and 77). The repetition arose from an impression frequently noted among the Indians, that if the words are changed in a melody it becomes a different song. Thus, in the first instance, the singer said this was a song which he sang in the war dance when he brought home a captive woman, and, in the second instance, he said it was a scalp dance song. The words were not taken in either rendition. A comparison of the two cylinders shows the pitch of the rendi- tions to be the same. Five repetitions of the song were recorded the first time and six the second time. The differences in these 11 renditions are too slight to be of importance. In the first group the opening phrase was occasionally repeated, and in the second group the ending was occasionally changed in rhythm, and the fifth measure (last two counts) contained quarter in place of eighth notes. Passing from this comparison to an analysis of the transcription, we note that the melody contains only the tones of the minor triad and fourth and in structure is melodic with harmonic framework. Mcre than half the intervals are minor thirds, a majority of the remainder being major seconds. 158 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 79. Scalp Dance Song (b) (Catalogue No. 750) Recorded by Stnesrr No. 18 VOICE = 66 Drum 2 — 66 Drum- sr bee similar to No. 20 +. nue i ee E seoge 9. @ Analysis.—Considering F to be the keynote of this song, we find the tone material to comprise the keynote, third, and fourth. The structure of the song shows, however, what has been termed an “interval-formation”’ rather than a key-relation of the several tones. (See Bull. 53, pp. 7, 8.) Thus the first portion, and in every instance the rhythmic unit, is on the fifth (B flat-F), while the middle and closing measures are on the minor third (F—A flat). The intervals are larger than in a majority of these songs, about one-fourth of them being fifths. The major second comprises only about one- sixth of the total number. Drum and voice have the same time unit, but because of slight variations in tempo they seldom coincide for more than a few measures. No. 80. Scalp Dance Song (c) (Catalogue No. 751) Recorded by StncEr No. 18 Voice g* — 169 Drum not recorded ogg? Bey =p ee Analysis.—The measure-divisions in this song were clearly given in all the renditions, and as the tempo is so rapid it is considered DENSMORE] NORTHERN UTE MUSIC 159 advisable that the time unit be indicated as an eighth note. The rhythmic unit occurs twice and is peculiar in character. The fourth is a prominent interval, comprising more than one-fourth of the pro- gressions. The minor third appears with about the same frequency. In structure the song is melodic with harmonic framework, and the melody tones are those of the major triad and sixth. No. 81. War Song (h) (Catalogue No. 794) Recorded by Stvcer No. 20 (Charles Mack, pl. 11, ¢) VOICE g=— 60 Drum g— 60 Drum-rhythm similar to No. 18 pugh sls hts Ee Sift pes segie eee a= Analysis —This song has a compass of 11 tones and is on the sec- ond five-toned scale. One rhythmic unit occurs which is long and varied in count-divisions. The several renditions of the song show no material variation. In structure the song is melodic. Twenty- five of the 33 progressions are minor thirds and major seconds. Of the remainder all but one are fourths. No. 82. War Song (i) (Catalogue No. 795) Recorded by S1ncer No. 20 VoIcE a= 92 Drum _— 108 eee cans cee to No. 20 ee ges ae euS neat agg te et 160 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 Analysis.—This song, like many others of the present series, pro- gresses chiefly by whole tones (see No. 28), yet it is a melody with abundant variety and interest. In structure it is melodic and con- tains the tones of the major triad and second. The drum is slightly faster than the voice and its tempo was steadily maintained. A rhythmic unit occurs six times in the song. Pitots oF War Sones 4 pe Ltt Ltt aes Sse CNC CHEN eae BBS Va AEE ECE Wie NECN BgsRa@aa Ravaneges No, 75. No. 79. Fic. 14.—Plots, Group 11 (War songs) While a few of the war songs show the ordinary type of steadily descending trend broken *by one or two ascending progressions, we find that about one-half of them contain a wideness of interval which has not been note* *n any group of songs previously plotted. War SONGS MELODIC ANALYSIS TABLE 1E.—TONALITY Sees Serial Nos. of songs Majortonalitysaccceucce ode poe ee oe een eer oe een 11 | 67, 68, 69, 70, 72, 73, 74, 75, 76, 80, 82. Minor tonality 2.4 2325 ds tesodetes sseees ci vat sswesuecpevcaescaat 5 | 71, 77, 78, 79, 81. SOUL s ios oie wae ie aero aban entine dese eae Beasts ae aes 16 DENSMORE] NORTHERN UTE MUSIC War Sones—Continued 161 MELODIC ANALYSIS—continued TABLE 25—FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE ae Serial Nos. of songs Beginning on the— sieerelig eres seis rae es, nd Ae ee ae Seen tee tee As bs eS Tle Cesk AO CUAV ON tata ete rae oe Seas eas cee eS Pon ae er ait Soot 9 | 67, 68, 69, 70, 73, 76, 78, 79, 80. SIR Mowe seach: oe Stn ee ae poe ete eck nc ee ae ete 1 | 74. TECH G ba MR Ty sm ais oy Uae eae ee ee NAO YR RSD GUIDO Ese cote enema Sn hs oR nn RN 1 | 81. PROG al eee rae ec eaters oan Aaa Soc esate eneimactee mic 16 TABLE 3E.—LAST NOTE OF SONG—ITS RELATION TO KEYNOTE Ending on the— Number of songs Serial Nos. of songs 16 ier Secon 76, 80. 67, 68, 69, 70, 72, 73, 75, 77, 78, 79, 81. TABLE 4£.—LAST NOTE OF SONG—ITS RELATION TO COMPASS OF. SONG Songs in which final tone is— MOWesnCONO iN SONG sso ose ngeac ce cee aet aac eeacwoeses em ceeess Immediately preceded by— Major Ghird Wealow: 2 ses 42 dee se e- at eeticesecocela eee ss Nes Whole tone below with fourth below in a previous Number of songs Serial Nos. of songs 12 16 67, 68, 69, 70, 71, 72, 73, 75, 77, 78, 79, 81. 76, 80. 77. 72, TABLE 5E—NUMBER OF TONES COMPRISING COMP ASS OF SONG Compass of— WAV CLONES eerie Fos seu cee ea anne Oe nee teed ates « Number of songs or NM RF 16 Serial Nos. of songs 75. 81. 67, 71. 72, 74, 80, 82. 68, 69, 70, 73, 76, 77, 78, 79. 25043 °—22——_11 162 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 War Sones—Continued MELODIC ANALYSIS—continued TABLE 6£.—TONE MATERIAL Number of songs Second: five-toned scale. 2 ..s< sas. c-eacebos ccsweceisceweee come seer 2 Fourth five-toned Scale: cocc io: scisise a wacce we soviet ar meee ee ces 6 Major triad:s- = 2).<.co2. o8.-Seticncasese cee cence see se eeee eee 1 Major triad ‘and Sixties! ae eset se att Semen nee oe em 2 Major triad and secondo ac. meck serie eee seine a es ememeecre 1 Minor triad and'seventh. - £2 ce eae cosas oe seas ecesee ow ence 1 Minortriad andieurth-s..seauo- eas sees enn cee eee coe see ee 1 Octave complete except seventh and sixth.......... Ra sBaSsse 1 Minor third and fourth. 2-4 manos cals olaem sewing eee 1 Matal tac ssc ses meats Sones ceca ages ge eben aac eases 16 Serial Nos. of songs 77, 81. 67, 68, 69, 70, 72, 74. 75. 76, 80. TABLE 7E.—ACCIDENTALS Number of songs Songs containing— INovaccidentals= ss s2-59t by) ee fee eae ao eee eee 15 Fourthiraised\a semitone: -- sc -< 2— econ cee ce ance neces 1 TOUR ose catae = sate aad Selon We Peon eee paar eee we eeecbaate 16 TABLE 8E.—STRUCTURE Number of songs NIGIOGIC. cor ese ems cece oat e Sot eee eae = aa Sana mea Oe nate eeenee 8 Melodic with harmonic framework .................-----------0- 6 PR arIMOnie: oo sce Sasa cnc ao cette ace gaee see eee tLe eee aa Eee 2 TOCA) eete os tease since ees eee ee are cee eee eee ane 16 Serial Nos. of songs | 67, 68, 69, 70, 71, 73,74, 75, 76, 77, 78, 79, 80, 81, 82. 72, Serial Nos. of songs 68, 70, 71, 72, 74, 77, 81, 82. 67, 69, 73, 76, 78, 80. 75, 79. D UPWARD Serial Nos. of songs TABLE 9E.—FIRST PROGRESSION—DOWNWARD AN Number of songs Downward. Y ae : cialsee ; tilsb amet o tuad aomine Stnetion sek eels sete 14 Upward: fsistect seas. Po ces fe cise Se ee eee ee ee ee 2 68, 69, 70, 72, 73, 74, 75, 76, 27, 78, 79, 80, 81, 82. 67, 71. DENSMORE] NORTHERN UTE MUSIC 163 Wark Sones—Continued MELODIC ANALYSIS—continued TABLE 10E.—TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD eo Serial Nos. of songs WW ONTIEW ALG Meee epee eileen ane ose abcclestenisice oes a ctin: sae nee an anes eee eee oe eee 3 | 69, 70, 81. GunnlLennores unAaccented!ss. 2/5 sia) sisaeierasi wh laeie ee eek 5 | 67, 74, 75, 79, 82. Rapid beat resembling a tremolo at opening of song, followed by aquarter-note beat. 2245: 22sec. Sake See ar RI Sie atte WER Drum nop recorded ses hee we ertote ee cca eset See reiereree ls oe 7 | 68, 71, 73, 76, 77, 78, 80. SOTO IEIIE, akg Se ate Be 2 SR ie 16 TABLE 19E.—RHYTHMIC UNIT OF SONG Number of songs Serial Nos. of songs Songs containing— Wamlythmiciinives sat eee aes es al ee 1 | 68. Quoemlnytiim icin fee esntae eee) Se One ree Sener 11 | 67, 70, 71, 72, 73, 75, 77, 78, 79, 80, 82. EWOMmhy tam COGS pce meee iet ose ic Oe aes oan 4 | 69, 74, 76, 81. MOtaleen sen aesne cs oo ake a see as as Sa BmS2 SAA SSE GEST eneD ES 16 TABLE 20E.—TIME UNIT OF VOICE Ae Serial Nos. of songs Metronome— GOSS ane eo See EER Tee ou eee hae ek eS ea tS 1| 81. Gd sees Meee ee benny: SO PR a ee aa Oe pepe hs ae 1 | 75. EES SS Se SSE oC AR ONC ne Gee HE Sane tae a pee ee See 3 | 74, 78, 79. SO re aera ea Ne rst ote A a hne Sic aide tee me oem Bae SS 1) 7. OSS eee a eee IER rho ae at eee Sens wae eee ose ios Ce ee eg Sere ee cae liars Bee A ER ns Se ee ot a Se eR 1 | 69. EE ARE Pe SE eR TCE oS ee Ie ie een aes Song aS ee 2 | 68, 76. OS REN ors Heer erale eat ees aso SSeS ores S(Saree emesis we Maes ore 1] 70. OZ Bete te ee mens lace Pemema tre seraac ce & cemiens ae e See doe 1 | 82. OBS se ae a pains a ats ee etece SSeS /E eT mtoIe se sta dims bare eS es Se AS kas DOB ee) tos ae Re wo wid or Sa eS ee aoe ae SRR Bish 2 3 2 67, 72. TOSS Sei ee ahaa tee ee omen menns Setere = eto ere Reina wale Stee ee 1} 80. LOI ee Seay er a Oe aoe ir a A ae 16 166 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 War Sones—Continued RHYTHMIC ANALYSIS—continued TABLE 21E.—TIME UNIT OF DRUM! ie ee Serial Nos. of songs Metronome— GODS smiae cinta alten ob, is Seis cigelosjaciaiscas be sere ranean mbar eee 1 | 81. G85 282s ios Sak oases Le cetera ce che sce Re eee eee eee 2 | 72, 75. OB i caf oo Sons Paw hs eee SSS Ee a See ee A ee ee 2 | 74, 79. SD Sewanee ith be cach ple: Seneca ees Baa eee ne 1 | 69. Bere cein ot vanes ue se ee eae oe eee ee ee ee 1 | 70. LOSS Sri sae se 5 ache a Pee Oe Te ee a CEE 1 | 82. DDG otra tastse e fahe ie Oe OR aig oi tae Seis ae oe oie Se eee 1 | 67. Draminov-recorded asses. 55 esc ae ee Cee 7 | 68, 71, 73, 76, 77, 78, 80. TOtAL EG Soe Pee oes Sho eee a eee ee 16 TABLE 22E.—COMPARISON OF TIME UNIT OF VOICE AND DRUM Number . of songs Serial Nos. of songs Time unit of voice and drum the same................-.....----- 7 | 67, 69, 72, 74, 75, 79, 81. Voilee faster tham arums a5 2.2 occa eee eres cee oe eee 1 | 70. Voicelsiower than drums. -.- Vetoes rads oct eee eee 1 | 82. Drumimot recorded =ss* (cee eens bee eee ic ines ee ae 7 | 68, 71, 73, 76, 77, 78, 80. Ota? ooo sae 2 St eo ee PR ENS See ee 16 1 A tremolo drumbeat precedes the even beat in No. 72. PARADE SONGS In former times if the Utes were gathered in a large camp a “parade” took place every morning. Such a parade was noted in the description of the Sun dance (p. 80). Both men and women were on horseback, the men preceding the women. At the head of the procession rode two leaders side by side, beating on hand drums, while all the company sang the Parade songs. These songs were numerous and popular. CHARACTERISTICS OF SONGS The principal characteristic of Parade songs is an ornamentation comprising small note values. Examples of this occur in Nos. 84, 87, 89, 90, and 93. These did not vary in the repetitions of the song. About half the songs contain no rhythmic unit, showing the rhythmic feeling to be less than the melodic. With one exception the Parade songs are major in tonality. The compass is unusually large, all the songs having a range of an octave or more than an octave. Only one song is harmonic in structure, and a majority begin with a downward progression. DENSMORE] NORTHERN UTE MUSIC 167 No. 83. Parade Song (a) (Catalogue No. 696) Recorded by Stncer No. 4 Voice g__ 63 Drum not recorded Suite ts = as peictteer pe eaee Soo = saeee 2==5 EL Deane ee ees Analysis.—The slow tempo of this song was steadily maintained throughout three renditions, which were sung without a break in the time. The melody progresses chiefly by whole tones, which con- stitute two-thirds of the intervals. The song is melodic in structure and contains all the tones of the octave except the seventh. No. 84. Parade Song (b) (Catalogue No. 707) Recorded by StncErR No. 9 VOICE = 66 Drum — 66 Drum-rhythm similar to No 20 -@-° -68- * ee en Connective Jonnective phrase ioe ea aa gee eee ———— Analysis.—The rendering of this song was particularly clear in intonation and count divisions, not varying in the repetitions. Drum and voice have the same time unit and are synchronous. The song is peculiar in that the only progressions are fifths, fourths, and semi- tones, and also in that the ascending and descending progressions are almost equal in number. The melody tones are those of the major triad and second, and the structure of the song is melodic with harmonic framework. (Concerning the connective phrase see No. 7.) 168 BUREAU OF AMERICAN ETHNOLOGY [BULL 75 No. 85. Parade Song (c) (Catalogue No. 708) Recorded by StvcEr No. 9 VoIcE e = th Drum not recorded opp ep ee Bi seeine Se esaieeeeee= issse Connective phrase iii - 6... | psereeee rented 2 oases Analysis.—F ive renditions of this song were recorded, two being separated by shrill cries and the others connected by a short phrase. (See No. 7.) In every rendition the accent is changed in the last occurrence of the rhythmic unit. Minor thirds and major seconds are the principal intervals of progression, though the variety of: intervals is greater than in a majority of the Ute songs under analysis. No. 86. Parade Song (d) (Catalogue No. 709) Recorded by StincErR No. 9 VoIcr J= 66 Drum glee 66 Drum-rhythm similar to No. 72 =~ pag SSeS pee tee | re = SS pattie ttt Connective phrase ppp Seto Analysis.—This melody contains six kinds of intervals in ascending progression, which is an unusual number. The drumbeat in the first four measures of the first rendition was tremolo, after which the pd DENSMORE] NORTHERN UTE MUSIC 169 quarter-note beat was continuous. (See No. 72.) Drum and voice have the same time unit, determined by the majority of the meas- ures, but the drum is steadily maintained, while the voice tempo varies slightly. The time of the transcription should be understood as indicating the accents and the approximate note values rather than actual durations of time, resembling some of the songs in which the pitch indicated by the notation is only approximate. These variabilities are too slight to be shown in any except an exceedingly detailed graphic form, the transcription showing, however, the trend of the melody with sufficient exactness for our present purpose. Four renditions were recorded and contain no important differences. The connective phrase in this song is unusually long. Another song using a similar phrase between renditions is No. 7 No. 87. Parade Song (e) (Catalogue No. 771) Recorded by SinGER No. 17 VOICE a — 63 Drum P| = 63 Drum-rhythm similar to No. 72 ee, seine z: Spal ES SS ebay, re5y Analysis.—Drum and voice have the same time unit in this song, but because of slight variations in tempo they never exactly coincide. In each rendition the drumbeat was tremolo to the point marked X, after which it was in quarter notes. (See No. 72.) Three rhythmic units occur, the first being emphatic in character and appearing always on the same tones, which is unusual. The third unit differs from the second only in the division of the last count, but this dif- ference was steadily maintained. The tone material is that of the fourth five-toned scale and the song has a compass of 12 tones. The average interval in this song comprises four semitones. Reference to the tables of analysis on page 42 will show this to be an unusually large interval. 170 BUREAU OF AMERICAN ETHNOLOGY [pour 75 No. 88. Parade Song (f) (Catalogue No. 762) Recorded by Stncer No. 16 Voice .- — 66 Drum y — 66 See gael ane similar to No. 72 Sie hae eT ig Et es Sisees ee oat ape segs peers seas an pees Sie eee eS =: =e = Analysis.—This song has a compass of 12 tones and contains the major triad and second. In structure it is melodic with harmonic framework. The drumbeat was tremolo to the point marked X, after which in four renditions it was in quarter-note values. (See No. 72.) The repetitions of the song necessitate an ascending interval of a twelfth, which was sung with good intonation. The fourth is the Seal of most frequent occurrence, constituting 54 per cent of the entire number of intervals. (See No. 3.) This interval has frequently been noted as associated with the idea of motion. jis No. 89. Parade Song (g) (Catalogue No. 780) Recorded by SincER No. 21 VoIcE ples 60 Drum ae 60 Drum-rhythm similar to No. 20 = = cap Mae Jeary wos 2 gh" = Sg epee SSS See ees --e See el Analysis.—This song has a compass of 10 tones and contains all the tones of the octave. More than half the progressions are whole tones. (See No. 28.) The lowest tone in the third measure was not DENSMORE] NORTHERN UTE MUSIC 1 EF always sung clearly, the descent to this tone being glissando. The time was steadily maintained throughout all the renditions, which were uniform in every respect. Other songs using a connective phrase are noted in the analysis of No. 7. No. 90. Parade Song (h) (Catalogue No. 793) Recorded by Sincer No. 19 VoIcE = 80 Drum s— 80 Drum-rhythm similar to No. 18 | ee Sere eS £2, seme = ee ol —_ ere eo. oes = —o—s- - peg eee ES ee ie || Analysis.—The interval of a fourth comprises 52 per cent of the progressions in this song. (See No. 3.) No rhythmic unit occurs, and the song is not particularly rhythmic in structure. The song is major in tonality, melodic in structure, and contains all the tones of | the octave except the seventh. No. 91. Parade Song (i) (Catalogue No. 735) Recorded by SincER No. 7 VoIcE a 132 Drum = 132 Drum-rhythm simuar to No. 20 sige a aon BE see aire ra a pele eter ieee eee Connective phrase Analysis.—Few songs of the present series are so typical as this, yet the quality which makes it typical is hard to define. Two-thirds of the intervals are minor thirds and major seconds, but in this it ae ge BUREAU OF AMERICAN ETHNOLOGY (BULL. 75 resembles many other songs. Neither is the proportion of ascending and descending intervals unusual, there being 40 per cent of ascending and 60 per cent of descending progressions. But the song is minor in tonality with a special prominence of the subdominant. This is quite unusual and worthy of consideration by students. The melody tones are those of the second five-toned scale with the seventh sharped. The tonic chord appears as the framework of the melody. The ascent of an octave in the first measure and the beginning and ending on the same tone are noted in the analysis of No. 37. A short con- nective phrase was sung between the renditions. (See No. 7.) No. 92. Parade Song (j) (Catalogue No. 761) Recorded by Stncer No. 1 Voice @—132 Drum not recorded cm Ee 2. -#_ SE ogetctatape — typi tat tasty : onnective phrase x bese iano eesaeie= Analysis.—Throughout the renditions of this song the intonation on the descending minor third was faulty, yet the fourth and octave were sung with good intonation. The fourth constitutes about one- third of the progressions. The song is harmonic in structure and contains the tones of the major triad and fourth. (Concerning the use of a connective phrase see No. 7.) DENSMORE] NORTHERN UTE MUSIC 173 No. 93. Parade Song (k) (Catalogue No. 762) Recorded by StncEer No. 1 VoICcE c= 66 Drum not recorded ge ity SE ists eee! ee ee ee nective So Sa ee ia oe SSS Sire ey Analysis.—The rhythmic structure of this song is worthy of special attention. The first two measures were sung only once, after which the remainder of the song as transcribed was sung four times, the last rendition ending at the double bar. An introductory phrase is rarely used in Ute songs, though appearing frequently in the songs of the Chippewa. Other songs of this series containing a connective phrase are noted in the analysis of No. 7. In all the renditions of this song the count divisions were as indicated. The song comprises two rhythmic periods which resemble each other yet show enough difference to give variety and character to the song as a whole. The first period comprises the third, fourth, and fifth measures, and the second comprises the three following measures. A comparison of these will show the variations. The song has a compass of 11 tones and contains the major triad and second. The whole tone is the chief interval of progression (see No. 24). Although the song is major in tonality, the major third does not appear as a progression. 174 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 PLots OF PARADE SONGS A wide compass and sharply descending trend characterize the plots of a majority of these songs. The Parade songs were sung on horseback, but with two exceptions (Nos. 86 and 92) the plots do not show the profile that has been associated with songs concerning egg ttt itt TT TTT BBS GASERRERESSe5S PERE TT TN aa PAA AAT LTT YY TN PEPE rer Be ECCEEEE EEE ot Te flea heeft tea No. 92. No. 93. Fig. 15.—Plots, Group 12 (Parade songs) animals. Even in No. 86 the rise and fall of the outline is not from the lowest tone, as has been noted in the plots of songs concerning animals in motion. HAND GAME SONGS Among the Ute, as among other tribes, this game is played exten- sively and large stakes are placed upon its success. The implements of the game used by the Uinta Ute at White Rocks, Utah, and col- lected by Culin in 1900 comprise ‘‘four slender, highly polished bones, 34 inches in length; two bound with a strip of leather in the middle.” > The game among the Yampa Ute in northwestern Colo- rado was observed in 1877 by Mr. Edwin A. Barber and described as follows: ‘‘A row of players, consisting of five or six or a dozen men, is arranged on either side of a tent, facing each other. Before each man is placed a bundle of small twigs or sticks, each 6 to 8 inches in length and pointed at one end. Every téte-a-téte couple is pro- vided with two cylindrical bone dice, carefully fashioned and highly polished, which measure about 2 inches in length and half an inch 23 Culin, Stewart, Games of the North American Indians, 24th Ann. Rept. Bur. Amer. Ethn., p. 315. Washington, 1907. DENSMORE] NORTHERN UTE MUSIC 175 in diameter, one being white and the other black, or sometimes orna- mented with a black band. * * * One of the gamblers incloses a die in each hand and, placing one above the other, allows the upper bone to pass into the other hand with the other die. This process is reversed again and again, while all the time the hands are shaken up and down in order to mystify the partner in the passing of the dice. The other man during the performance hugs himself tightly by crossing his arms and placing either hand under the opposite arm and, with a dancing motion of the body, swaying to and fro, watches the shuffling of the dice with the closest atten- tion. When this has gone on for a few minutes, the latter suddenly points with one arm at the opposite arm of his partner and strikes himself under that arm with the other hand. Whichever hand of his rival he chooses is to be opened, and if the dice are in it the guesser takes them and proceeds in the same manner. If, however, he misses, and the dice are not there, he forfeits one counter, and this is taken from his bundle and stuck in the ground. Thus the game continues until one or the other has gained every stick.’ ”4 In the game as observed by Barber the hand game songs were accompanied by beating on ‘‘rude parchment-covered drums,” but the writer was informed that on the Uinta and Ouray Reservation the songs were formerly accompanied by beating on a horizontal pole, the singers being seated on either side of the pole and each holding two sticks with which they beat in time to the song. CHARACTERISTICS OF SONGS Two peculiarities are found in these songs and in no others of the present series: (1) A sliding upward of the tone on ascending pro- gressions, resembling the sliding downward which appeared in songs of the Bear dance; (2) a sharply accented tone followed by a short rest. Concerning the first-named peculiarity it is interesting to note that after this observation had been made by the writer a comment by Barber came to her attention, corroborating it by a statement written more than 40 years previously. The following notation (fig. 16), taken from Barber’s article, indicates the sliding upward of the voice. Barber states, concerning the Ute hand game song: ‘No words are sung, but the syllable ah is pronounced in a whining, nasal tone for every note. * * * The war and dance songs of the Ute are different from this, yet they are somewhat similar.” » The sliding upward of the voice, as well as the second-named peculiarity of the hand game songs, appear in Nos. 94-99. Four- fifths of the songs are major in tonality, two-thirds are harmonic in 34 Barber, Edwin A, Gaming among the Utah Indians. American Naturalist, vol. xI,no.6, pp. 351-352. Boston, 1877. % Tbid., pp. 352, 353. 176 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 structure, and 7 of the 10 songs contain a rhythmic unit. No interval larger than a fifth occurs in these songs, and about one-third of the intervals are whole tones. Thus it is seen the progressions are smaller than in many of the songs under analysis. This, together with the large proportion of songs having a rhythmic unit, shows that rhythm is a more important phase than melody in the hand game songs, The average interval is 3.2 semitones, with which we contrast the average interval in the Chippewa moccasin game songs, which was 3.5 semitones. Only 33 per cent of the moccasin game songs con- With agitation gi a cam Aa x oer ef =f ah, ah, ah, ah, ah, ah, @- se a aaa aes eee =f ete e < , eal en ere [ae] ah, ahs) ah.) sah, ah, ah, ye oe ae ee a So es a oe Bat ah, ity ah, ah, ah, Fig. 16.—Music of hand game song noted in 1877 tained a rhythmic unit. As the Ute hand game, with its beating on a pole as accompaniment, appears more primitive than the Chippewa moccasin game it is interesting to note the greater importance of rhythm in the Ute songs. No words were used with these songs. No. 94. Hand Game Song (a) (Catalogue No. 697) Recorded by StincER No. 4 VOICE a= 96 Drum not recorded page tie Hares tebe SS eed rp Analysis.—This song is characterized by a sliding upward of tone and by short rests. (See No. 8.) The rhythmic unit is interesting and occurs twice. Five renditions were given with no break in the time, the final measure always containing three counts, as transcribed. The song is harmonic in structure and the intervals are more varied than in a majority of these songs. The melody tones are those of the major triad and second. DENSMORE] NORTHERN UTE MUSIC Tee No. 95. Hand Game Song (b) (Catalogue No. 736) Recorded by SincER No. 7 Voice g— 120 Drum 2 = 120 Drum-rhythm similar to No. 18 -@ Cay a rs 5:23 #0 oe m a) ee ee ee ere ee 2 ar co Pee = a . Analysis.—This, like the preceding song, contains a sliding upward tone and also short rests. (See No.8.) The rhythmic unit furnishes the chief interest of the song, occurring three times on the same tones. The song is harmonic in structure and has a compass of six tones. Although the compass is so small the interval of a fifth occurs twice. No. 96. Hand Game Song (c) (Catalogue No. 796) Recorded by Stncer No. 22 VoIcE A 100 Drum Aes 100 Drum-rhythm similar to No. 18 | Pall bs: | a | -9- -p- Z-pE— e 2 2 eo ) == “of % i 3 Saas eb SSS Se oes eee Analysis.—Five renditions of this peculiar melody were recorded, the only differences being that in one rendition a certain phrase was repeated. As indicated, there was no break in the time between the renditions. The rhythmic unit gives coherence to the melody, and it is possible to show this in notation, though the peculiar manner of singing can not be graphically shown. The song contains 16 pro- gressions, 13 of which are fourths. (See No. 3.) It has a compass of six tones and contains the tones of the major triad and second. For other songs containing rests see No. 8, 25043 °—22 12 178 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 97. Hand Game Song (d) (Catalogue No. 745) Recorded by Stncer No. 6 VOICE e= 92 Drum ‘ — 116 Drum-rhythm similar to No. 18 Analysis.—The time was not rigidly maintained in the renditions of this song, but the drum was persistently a little faster than the voice. The renditions differ very slightly, in some the second count of the first measure being omitted. It will be noted that this omis- sion makes the two parts of the song alike. The progressions are 30 in number, 26 being minor thirds and 4 major thirds, yet G is the implied keynote of the melody. The song begins and ends on the same tone, which is unusual. (See No. 37.) Other songs containing rests are noted in the analysis of No. 8. No. 98. Hand Game Song (e) (Catalogue No. 737) Recorded by Stncer No. 7 VoIcE d= 112 Drum g— 112 Drum-rhythm similar to No. 18 pa Analysis.—This is a very short melody, but is characteristic and strongly rhythmic. The only interval is the major second. (See No. 28.) The rest in the first measure was clearly defined. (See No. 8.) Seven renditions were recorded with no break in the time. DENSMORE] NORTHERN UTE MUSIC 179 No. 99. Hand Game Song (f) (Catalogue No. 698) Recorded by SineceER No. 4. Voice AS 60 Drum not recorded -o-- @ 6 ». _ See SS ae sootas Ea sanael Pease = Sapa Weegee Analysis.—The part of this song preceding the change of time was sung only once, followed by the second part, which was sung nine times without a break in the time. The first part is a pleasing melody with little character. The second part is unmistakably a hand game song, resembling No. 98. As the singer was considered a reliable informant, the song is presented as it was sung. It has a compass of nine tones and contains the tones of the fourth five-toned scale; 58 progressions occur, 40 of which are major seconds (whole tones). (Concerning the change of tempo see No. 11.) 180 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 75 No. 100. Hand Game Song (g) (Catalogue No. 797) Recorded by SincER No 22 VoIcE e= 63 Drum 2 = 63 See ree eee below 22g ns Se Sey at eee o = = o == Drum-rhythm Analysis.—Six renditions of this song were recorded and show no differences except that the second count of the third measure was occasionally sung as two eighth notes. The song presents some interesting points of rhythm. Thus we note that the last count of the second measure contains a reversal of the count divisions in the second count of the rhythmic unit. The fifth measure contains in its second count a division resembling that of the rhythmic unit but which was uniformly sung as two sixteenths instead of an eighth note. The only progressions are fourths and major seconds. In ascending progression there are seven fourths and three whole tones, and in descending progression there are eight fourths and three whole tones. Considering A to be the keynote of the melody, its tones are the key- note, fourth, and fifth. our drumbeats were equivalent in time to one quarter note of the melody; the drum is therefore regarded as having arhythm of sixteenth notes. Drum and voice were synchro- nous at the beginning of each count. No. 101. Hand Game Song (h) (Catalogue No. 738) Recorded by StncEr No. 7 uss VoIcE J= 76 Drum not recorded -0-. -0- -0- 2- -9- soe ee -8-. 0. . -8 -0- Analysis.—In all the four renditions of this song the division of the first count in the first measure was different from that of the DENSMORE] NORTHERN UTE MUSIC 181 corresponding count in the third measure. These slight differences repeated persistently show that the rhythm of the song is clear in the mind of the singer. This song is harmonic in structure and has a compass of five tones. The major third constitutes 76 per cent of the progressions, the remaining intervals being four minor thirds and one ascending fifth. No. 102. Hand Game Song (i) (Catalogue No. 699) Recorded by StncER No. 4 VoIcE vise 104 Drum = 104 Drum-rhythm similar to No. 18 SE Ss a a oe | 2 ear Bee 8 ee ee Analysis.—This melody progresses chiefly by whole tones, these constituting 73 per cent of the intervals. (See No. 28.) G is regarded as the keynote, the song containing this tone with its second, fifth, and sixth. The melody begins with an upward progression, though the general trend is downward. Piots or Hanp GAME Sonas RGB 4eNne RRARRMe SA eye HERR eESsaas No. 94. No. 95. DE atRSEnEeae a ie No. 97. No. 99. Fie. 17.—Plots, Group 13 (Hand game songs) The plots of these songs show an emphasis on the lowest tone which is lacking in other groups and which recalls the plots of the songs of Sioux medicine men confident of their power. 182 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 Hanp GAME SONGS MELODIC ANALYSIS TABLE 1lF.—TCNALITY Number of songs Majortonalityc> = -.ccsics-on os - et ee oe oe eee ee eee 7 Aniraslackine. «asec. see ae Se eee nee eee os eee 2 Motalt: = Bee oe ERE Rae 8 ge eee ae erence eae ee 9 Serial Nos. of songs 9', 95, 96, 97, 98, 99, 101. 100, 102. TABLE 2F.—FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE aie Serial Nos. of songs Beginning on the— : OCtaVG:bi- sacs sas oes cae Set ee nine ae eae a sete arn etaee 3 | 94, 99, 102. TOT A eas PRS, 5 oe Mr Del Pe aul HR | paant J ah 2 | 95, 101. UN isis eee ee ee oe ey Sd Sa eb a era an 3 | 96, 97, 98. IRC V NOLO see = oe ala nicn ie sees ais See is aie ee ects Siw crate am een 1 | 100. ONG) Kot ee a RE pe a ae SS Sr See ee eae IE SE 9 TABLE 3r.—LAST NOTE OF SONG—ITS RELATION TO KEYNOTE nee Serial Nos. of songs Ending on the— ifthe tan ete ace ae aie wares orale censors ee pee eee 2 | 96, 100. Abi Lae Mes aun BL Me cman Wit een A pees ae 1 | 97. LEC a1] CE a Meee Ay atk COR OME Ale AAR 4 ce 6 | 94, 95, 98, 99, 101, 102. Total sas oite pda Aare o Se eo ee AEs arte Seteete Male 9 TABLE 4F.—LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG Number of songs Songs in which final tone is— Toweststone wn Sone 5. i. jecin cs sera ee ete ae ice reo ears satel 6 Immediately preceded by major third below..-.........----- 1 Songs containing a minor third below the final tone. ..........-.- 1 Songs containing a semitone below the final tone..........-...-- 1 MGEAD 5 ckSweine coe eee ou. oa ea ee oe Sane eee eho 9 Serial Nos. of songs 94, 96, 98, 100, 101, 102. 97. 99. 95. DENSMORE | NORTHERN UTE MUSIC 183 Hanp Gamer Sones—Continued MELODIC ANALYSIS—continued TABLE 5F.—NUMBER OF TONES COMPRISING COMPASS OF SONG Spee Serial Nos. of songs Compass of— ISTE TROT NES Beer ehhh ae a Ae a OR eal Fp ah en A oe ge a na 2 | 99, 102. BHP TORE Memes aa sc ame Seto ak eS ee ie eae nce 1 | 94. SU OM ESS fe s2 ae eee i ae ee cate eee ye ee oe ieee 3 | 95, 96, 100. TET OOS SS eae ee Be been er let aa el ee 2 | 95, 101. Mhreeytones sf see ee eee Re WR BED aE eat || OS: FL OL HIMM EA ace oe tae See ee ae ee 9 TABLE 6F.—TONE MATERIAL pres Serial Nos. of songs HOURLY G-CONEUSCAIB Sa: sacs see otra amici seie isis aci-as Satis se eemece 1 | 99. NSN OLGA Ges ee aaa eee et Se ane Soe ae ee mone oe wee 2 | 97,101. Major triad and seventh.................. Sean aac Aen eee |e 95s Msvjomurl Ad andi SCCONds.2 «ance nase es cae - cece tame tesec sees 2 | 94, 96. Hirst fourth, and: fit WbOnESs ses ee cigs eas is- os coe eeceen cess 1 | 100. Hirst second, ith, ANG Sixt My GOMES ee aor an de cyereie occ «wie oem mci ope 1 | 102. HiTShSeCOnG jana bHitditONesees sk etsst econ aceeen ce decnis aes en 1 | 98. Motalieone ss eee ac oce aeee ce eects eer eed ot 9 TABLE 7F.—ACCIDENTALS eae Serial Nos. of songs Songs containing niotsecidantalss i= ek eer ee ke ke 9 TABLE 8F.—STRUCTURE b 3 Nob ce Serial Nos. of songs HE eG sais ce ee ae A ol Ea ae Sot a gh AU i 4 | 98, 99, 100, 102. EPRI Gi cMeMeNMes Neek en Own nlm a 5 | 94, 95, 96, 97, 101. OLA Shapers eee ein cereale cis Deora lore Basis (oie ale eae sOE 9 TABLE 9F.—FIRST PROGRESSION—DOWNWARD AND UPWARD aes Serial Nos. of songs DONUT At Meee enh ek eta rite Tre te ee NILE 6 | 94, 95, 96, 98, 100, 101. AU) po Wl eee ern a sec Grays. iS Sapo s onic ote Siasm/ae anc Stas eye.njaiciacie 3 | 97, 99, 102. 184 BURBAU OF AMERICAN ETHNOLOGY [BULL. 75 Hanp GAME Sones—Continued MELODIC ANALYSIS—continued TABLE 10F.—TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWABD aie Serial Nos. of songs DOwmMwardst.ose aie nat hee sen ccae eee Soe meen als Woes 127 Upwardaeecse 2. Face setae nese eet -See eee ee eee pee 96 ROU Foe ee asa eae ce eee oe ea See ee ee ee ee 223 TABLE llr.—_INTERVALS IN DOWNWARD PROGRESSION Ree Serial Nos. of songs Interval of a— BAEC oei a Ren sa Ste Se ee ee sa oases anne See eee 1 HOUDt RS ais sees OF eee eee Oar nee EEE EEE 20 Major thirds. * :2icsce tacos cose oats eee se ate eee eee 30 Minorthird's2- - 2.2. he See ee a ee ee eee 29 Major second........- eve wo sdeteatise oo cemcecdeeemresmeaeee 45 Minor SeCOnGe 2 22. 26 aie e eee forge ee Se ee eee 2 | Totals <= Sri SS ee ee ee ee re ee oe ee 127 TABLE 12F.—INTERVALS IN UPWARD PROGRESSION pies Serial Nos. of songs Interval of a— > UGH. arash ona e aa eae eet ans eter ae edcia Ra eae Ne ees 5 OULU SS cues see aso SAS See soa eee nisi cts Seo ee 17 Majorithind’. 32 s02-sssee- cee reccondes beeen ae araeecee 21 ? Minomthird coos se cache Nose eee Senate s isee ener 16 MajOrSeCOnG «sacs sarone she shies cence Saosene Ses oe speeches 35 Minor second: <= 25,5 hates eee wate aele ae oan 2 ROGAN Sos aise p crore 5 mw ajara eee POOR Rec WR IE ween ante seal 96 DENSMORE] NORTHERN UTE MUSIC 185 Hanp GAME Sones—Continued i MELODIC ANALYSIS—continued TABLE 14F,—K EY Ata Serial Nos. of songs Key of— RY TEEREY [OTR ESD ee BRS a nO oe OR ee ee ees 1 | 96. 10) TEE Ree eS Sees So es ase ee ee ee ee ate 1 | 94. 10) TaRy F TEeH) (0) eg eeee Mae Sie a Se ees SCE See ee 1 | 99. ID EY cepee ao ace sae Taso qa Osc e- chee esecante seas = saceeeae 1 | 98. (CHET Pee Se sUlbaa beeen op od odtn ne ao nessa urne ear coopeesoun 2 | 95, 97. PARA aims] Ole eect ee eee ee otto ian riser i ote Baie minis ote 1 | 101. Pininde RCkIN Seen pee Hala see ee ia ore ele ase eee oe Semone 2 | 100, 102. CE RYA) Bo eee Seen IOI Bath LER ea Re SR moe 9 RHYTHMIC ANALYSIS TABLE l5r.—PART OF MEASURE ON WHICH SONG BEGINS pain Serial Nos. of songs Beginning on unaccented part of measure.............-..--.-.-- 2 | 96, 97. Beginning on accented part of measure............-.------------ 7 | 94, 95, 98, 99, 100, 101, 102. ROGAN Ss eresscro reser aie ersne sinioeis Deine eiatele cools ceeicaileniaeswe 9 TABLE 16r.—RHYTHM (METER) OF FIRST MEASURE late Serial Nos. of songs First measure in— mA LINID Saeed ances fas wear orate ete pate em Grate WAS sete ale wieerstale eae ae aie ete 5 | 94, 95, 96, 98, 101. SRE TC AE rE Seen aa ne Ae a poe RR Ds i eieer B tara Mos 4 | 97, 99, 100, 102. ERO LER oes operates oe aotc panera lore ees aleve Yared land ic wreie erele/e;eae See 9 TABLE 177r.—CHANGE OF TIME—MEASURE-LENGTES Number . of songs Serial Nos. of songs Songs containing no change of time.....................-------- 2 | 98, 100. Songs containing # chanpeoftimerssss. cs. s-ss.0+-2 cca feccee coe 7 | 94, 95, 96, 97, 99, 101, 102. TMOG fs 2S son a See Seema Size teecies peinsecs seems 9 186 BUREAU OF AMERICAN ETHNOLOGY (BULL. 75 Hanp Game Sonas—Continued RHYTHMIC ANALYSIS—continued TABLE 18F.—RHYTHM (METER) OF DRUM Number . of songs Serial Nos. of songs Bighth motes mnaceénted: 22) tion. . cs es aa eee ae ease eee 3 | 94, 99, 101. Rotaly aes aee. Bees Pa SaaS ASS $$ 252d0as$o-e estk 20g sies 9 | TABLE 19F.—RHYTHMIC UNIT OF SONG heats Serial Nos. of songs Songs containing— Norby thmicnnit? 2 osck tee aes ore wee ee ee 3 | 97, 99, 102. Onerhythnmncwmitesst sh cease t os sees a ee ree ete ee oe 6 | 94, 95, 96, 98, 100, 101. Oba Spree =o efecto to eee eee ce eine eee aieeeree pikee ae 9 | TABLE 20F.—TIME UNIT OF VOICE (AT BEGINNING OF SONG) pre Serial Nos. of songs Metronome— OO eee ack Maca dekactes talannaa cio Ponies Oe Gaaaleneaeaee cam eee 1} 99. OB seo a ctisiarseaioe see euele bcos alo are’ete cet oanle wares Seisle teas cave aaerciate 1 | 100. BBS ES Re Scie Soe cain Save Slate tie seieis aie misie eleiais le nisitasie © seuielsle sais ata ae 1 | 101. Ose a Saitaiscoad s wowiald Sula cahaarto data tne saraaecoaattesmetos sae 1 | 97. QE Ss aie sare aieictarn Sneed decrate le iaiwi vio te Sefayn wale Moers aloes sietacia=inie 1 | 94. LOO ose tie Sen Bsa oc A wiaon ee re eae Ao Saree ree an ara ejaee 1 | 96. LOS RIE aa scree Hct ere ste seer CS ole ee eee ee eee 1 | 102. 1) ie Res Sai Oe eee ee a: Smee = See oe ad es ea cha 1 | 98. DOO eee ate hicok mt tated iste ei Rae Teepe eRe ee omeee 1 | 95. Totals <2 sirseysise 2 SSS ae Se ere he see 9 TABLE 21F.—TIME UNIT OF DRUM pedis Serial Nos. of songs Metronome— OBere coe cte s ol Saw kote uo Sec aetns caere ee eee een ee aan See be 1 | 100. 100. sass Hacer cesses Coe ee ee es See OO a eee 1 | 96. NE is a Ste neni a as ee an BRRD ee enea RCO Se ae Hee 1 } 102. DD ces estaba Oo ten UO wee ne PS ae ae Se eee oe 1 | 98. AY eS eee ge ara ad Rete See ttle pane se cle, 1 | 97. LAO is so Fee A eS, ee ee eee Rees eee 1 | 95. Drum Not recorded Wess 6 22ers ee ae eee 3 | 94, 99, 101. DENSMORE | NORTHERN UTE MUSIC 187 Hanp GAME Sones—Continued RHYTHMIC ANALYSIS—continued TABLE 22F.—_COMPARISON OF TIME UNIT OF VOICE AND DRUM Number + of songs Serial Nos. of songs Time unit of voice and drum the same...........-..-.---------- 5 | 95, 96, 98, 100, 102. Woicaslowelbnaim Grail: 22s nc -to ss nase aisiens Soe eee aise elses hel eee Drimimnot recorded: ~ =); <== -< +2012 See ee aes 3 | 94, 99, 101. Gay 1 Ee ete iy eS AS le eae ee 9 MISCELLANEOUS SONGS The three songs next following were called “‘smoking songs” and were recorded by Kolorow, a member of the Uncompahgre band of Utes. Kolorow stated that the first of the songs (No. 103) was sung by a party of men on their way to the lodge of the chief. On their arrival the chief lit a pipe and offered it to each man in turn. The men were seated in a circle on the ground and the second song (No. 104) was sung. After they had smoked for a while they stood in a circle and sang the third song of the group (No. 105). No. 103. Smoking Song (a) (Catalogue No. 781) Recorded by SincER No. 21 VoIcE d= 120 Drum A = 120 Drum-rhythm similar to No. 20 = ee oni Sana Pee eee Analysis.—This song is irregular in its melodic structure, but is classified according to the latter portion, which contains the triad of B flat minor. All the tones of the octave except the sixth are present in the melody, which has a compass of 11 tones. About three-fourths of the intervals are minor thirds and major seconds. 188 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 104. Smoking Song (b) (Catalogue No. 782) Recorded by SinGER No. 21 VOICE = 84 Drum = 84 Drum-rhythm similar to No. 20 pay oe engericte ger ai Blip ere sueeaa Eee es ePee croc | Analysis.—Harmonic in structure, this melody contains only the tones of the minor triad and fourth. It has a range of nine tones and contains 32 progressions, more than half of which are a major third or larger than a major third. No. 105. Smoking Song (c) (Catalogue No. 783) Recorded by StncEr No. 21 Voice s= 72 Drum d= 72 Drum-rhythm similar to No. 100 € Sify io it toni toiata Bere aia Bh feat eames oaaaeaeseeaca: ey ae” Analysis.—This song opens with the same phrase which formed the rhythmic unit of the preceding song, but as there is no phrase - resembling it in the remainder of the song it is not considered a rhythmic unit. The compass of the song is only six tones, this being much smaller than that of the preceding songs. The melody tones are those of the fourth five-toned scale. A rapid drumbeat charac- terizes the song, only one other song of this series (No. 100) having the same drum rhythm. In explanation of the following song it was said that “when an Indian had a little tobacco which he had gotten from a white man DENSMORE] NORTHERN UTE MUSIC 189 the other Indians went to his house and sang this song. Then he would give them some of the tobacco. Afterwards they would go and sing somewhere else.” No. 106. Song when begging for tobacco (Catalogue No. 727) Recorded by StncEr No. 16 VoicE j= 72 Drum a 72 Drum-rhythm similar to No. 18 Eee, ah ca z = (|}3-0 0 ,— ee, 12 +— 2S 58S) 2 ee Mae S eee tee! Analysis.—Six renditions of this song were recorded, the last three being like the transcription and the others differing slightly in the fourth and fifth measures from the end. The song is melodic in structure, has a compass of 12 tones, and contains the major triad and second. The principal interval is the major second, comprising 71 per cent of the intervals. (See No. 24.) The song contains no rhythmic unit and is not rhythmic in general character. The following song was sung on the arrival of visitors. The informant said: ‘‘We sang this song in the old days to show that we were glad to see our visitors. Then they gave us presents—a horse, a rifle, or a buffalo robe.’”’ 7 No. 107. Song when welcoming visitors (Catalogue No. 728) Recorded by StncEr No. 16 VoIcr e= 80 Drum = 80 Drum-rhythm similar to No. 20 et ea lssseeee pEzzeesea—= Analysis.—This song is characterized by the interval of the fourth, one-third of the intervals being fourths. The song has no rhythmic 36 Before recording the song on the phonograph the singer recorded a few sentences which were trans- lated. In these he said that after the singing of this song it was always customary to give a present, and as the writer was a visitor he hoped that the usual custom would be observed. The writer accordingly \presented him with a small American flag. 190 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 interest, which may account for the fact that the renditions differ in tone values, the transcription being from the first rendition. In structure the song is melodic, in tonality it is major, and it contains all the tones of the octave except the sixth and seventh. It has a compass of seven tones. The two songs next following were said to have been sung to an accompaniment of pounding on a rawhide. The rhythm of this pounding is different from that of the drumbeat in the other Ute songs under analysis. This rhythm is transcribed with song No. 108. The unaccented stroke of the drummer’s stick is in the nature of a rebound and might be expected when the pounding is upon a stiff but unstretched material. A similar rhythm was noted among the Chippewa and described in Bulletin 45, page 6, as follows: “In beginning the rhythm of the woman’s fens the drummers give the unaccented beat with a rebound of the stick, so that it seems to be connected with the beat which precedes rather than that which follows it. As soon as the rhythm is well established, however, the unaccented beat clearly connects itself with the succeeding beat.” Thus the rhythm of the drum at the opening of a certain performance was as described above, and changing to the rhythm noted with No. 36 of this series. This rhythm is further considered in Bulletin 53, page 10, the observation being made that the rhythm is similar to that of the adult heart. The rhythm occurs with only two Chippewa songs (Nos. 11 and 12, Bull. 53). These are the songs of a war messenger and the song which was sung on his return. Concerning the preparation of the rawhide used with the Ute songs it was said that two large buffalo hides were sewed together and allowed to dry, so that they were very stiff. Holes were cut at inter- vals along the edge and a thong passed through the holes. Both men and women stood around the rawhide holding the thong with the left hand and pounding the rawhide with a stick held in the right hand. Often 10 or 12 persons stood around the rawhide. When singing No. 108, a party of men carried the rawhide from tent to tent. No gifts were expected, the song being one of the “serenades” which are noted among numerous tribes. DENSMORE] NORTHERN UTE MUSIC 191 No. 108. Serenade (Catalogue No. 729) Recorded by StncEr No. 16 Voice d= 72 BEATING ON RAWHIDE a= 72 See rhythm below Rhythm rN aN es oo. 3 8 Lda Pda D Analysis.—This song is harmonic in structure and contains the tones of the fourth five-toned scale. It progresses chiefly by whole tones, about 61 per cent of the intervals being major seconds. (See No. 24.) The fourth is also a prominent interval. The singer who recorded the following song did not describe it as a “serenade.” He said that men and women stood around the raw- hide, and that “they did this only once in a while in a large village, at night.” 192 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 No. 109. Song around a rawhide (Catalogue No. 785) Recorded by SINGER No. 2 Voice _ — 96 BEATING ON RAWHIDE g= 96 Rhythm similar to No. 108 Analysis.—In this song the fourth is raised a semitone. The song contains all the tones of the octave except the seventh and is har- monic in structure. The progressions number 44, somewhat more than the usual number in Ute songs. Only four of these intervals are larger than a minor third. The following is an example of an old dream song. As indicated in the songs of the Bear dance, it is not unusual for young men at the present time to “receive songs in dreams.’ (See p. 60.) This song, however, was recorded by Kanay (pl. 10, 6), an aged man, who said that his uncle “dreamed” it and that he used to sing it when he was alone. The words were not recorded, but were said to mean “ We are playing along the shore.” DENSMORE] NORTHERN UTE MUSIC 193 No. 110. Dream Song (Catalogue No. 799) Recorded by Stneer No. 23 VoIcE ad = 120 Drum not recorded (l) = SSS eae lista. ates Teme eae a @ payer tf PES pee Sana betas ees Be tren Analysis.—Four renditions of this little melody were recorded with- out a break in the time. The keynote is A, and the melody contains only this tone and its second, third, and sixth—a tone material not occurring in the songs previously analyzed by the writer. More than 65 per cent of the progressions are whole tones. (See No. 28.) Part of the melody lies above and part below the keynote. Two rhythmic units occur, the first in triple and the second in double time. Piots oF MisceELLANEOuS Sonas This group of songs is diversified in character and the plots show no prevailing type. The following outlines are interesting in their variety and-may be compared with the corresponding songs: A ee J] Sa i i fe fi sf fo BAG OF Aves eeans PERE eee SSS) ee tereneeeenencea (U0EEE BD’ shRh' SUS TREES SSeSEREnAS BLL eset Seah At HH fF a | |S P/N SASS SESSGUSURANn//S@nRben\ann No. 109, Fic. 18.—Plots, Group 14 (Miscellaneous songs), 25043 ° —22—_13 194 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 PARADE AND MISCELLANEOUS SONGS MELODIC ANALYSIS TABLE 1G.—TONALITY Number of songs | Major tonality .....-.-.---------------- +--+ 2222 eee ee eee eens ee 16 Minonbonality: > sec cea) -oaeciwe see cose seein nem eee ee 3 MM OGaY = fac een cic cements Soe eee la soles amtela al ola ome Sle Sta 19 Serial Nos. of songs 83, 84, 85, 86, 87, 8, 89, 90, 92, 93, 105, 106, 107, 108, 109, 110. 91, 103, 104. TABLE 2G.—FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE Number of songs Beginning on the— Wigven Hess o.oo sa ce cae Se Soe eee eeisine be aptalciea voime'ewmislntain ee 1 Nin thes see aon case st tes = ons ett ee aeeieetea sain emma 2 Octave soo soe oo ee ee tee ela ee ene dé es g. (Sections e toh, pl. 16) b, Tone photographs of close of second and all of third measure f Lame dance sons (Secti | uorsod surpuodsoari00 Jo ydeasojoyd ouo0y yIA ‘(7 07 2 SuOT}OOS) SuOs OoURp S,UBUI0 AA JO SUOTI0d Jo UOTdTIOSUeIY, py PE CREE OTR eS 6 KEES So RE a0 e ee PSO e ea owe | vl 3ALV1id SZ NILATING ASOIONHLA NVOIYAWY SO NVAYN| WIBISVIP YITA ‘(607 T Sornsvour ‘7¢ ) SUOS 9OUBP S,URUIO AA JO WOT10d Jo sto dtoswery, $74) oy a? fy, TEN OE, Da aN ee SY Ge Hee aS tae he gfhargdnp becbgene ery : J : es Sag hes + rgomerinnffe ong beeper weet | Oo Ge ghrp Hy <- pon Perper eb eno tl Sho ke ee Reger d “67 ye onl ameony ise £ Sexien é g ry ke "72 re : ya ; re A Wey) ee oe Or et. ke we ster 4 . m se “f : Z Ay eB aged PG, On STOUT St A1V1id S/ NILATINE ASOTIONHLA NVOIMSAWY 4O Nvayung a MWIVISVIP YITM “(CT 07 § SoIMsvoUT ‘pe “ON JO MOTYVaT[Unp) Sos doUp ouTe'T Jo uorq10d Jo suordrrosuery, Siar ee eT Wak ne Tew * oe ie Vb) 07) CIES rm) es a ae “9 oy 9t41V1d SZ NILaNING ASOTONHLA NVOINSAWYV SO NVAYNG DENSMORE] NORTHERN UTE MUSIC 207 The first purpose of the study was to determine the relation of the drumbeats to the accents of the voice. In the photograph there are 62 drumbeats, which are indicated on the photograph by white *’s, and they are numbered consecutively by numerals in circles as @. The effect of the drumbeat is to produce a short series of vibrations of the general pattern shown in figure 20. When the voice is very soft or silent, the drum record is as shown at ® and @; when it is superposed on the voice, the effect is shown _ by a few extra wide vibrations, as at @, @, and ©. By careful study it has been possible to identify all of the drumbeats, though some of them are faint. The dots in a row below the sound record are time signals one one- hundredth second apart. In taking this photograph the film was moved by hand, resulting in a varying speed; when the dots are nearer together, the corresponding speed is slower. The numerals between the *’s are the time intervals between the drumbeats in hundredths of a second. The first study of the photograph shows a remarkable regularity in the rhythmic beats of the drum. The beats occur in pairs follow- ing an accented tone of the voice; 30 pairs are shown on the photo- Ratio of 2:3 e e e e ® e e ® e Ratio of 1:2 e e e e e e ® Fig. 21.—Ratios of drumbeats graph. The interval between the two beats of a pair is, in 17 instances, 0.29 second; there are six intervals of 0.28 second, four of 0.30 second, two of 0.27 second, and one of 0.31 second. The interval may then be said to be 0.29 second, with a variation rarely exceeding 0.01 second either way. The average of intervals between the pairs of beats is 0.45 second, there being seven of this length; there are 10 intervals of 0.44 second, five of 0.46 second, three of 0.43 second, and five of 0.47 second. Thus the average interval between pairs is 0.45 second, the variation from this value rarely being more than 0.01 second and never being more than 0.02 second. The ratio of the interval between the two beats of a pair to the interval between pairs is almost exactly 2:3, and this ratio is main- tained with mechanical regularity throughout the song. It was suggested that the drumbeats might be thought of as occurring in triplicate with one beat of each triplet omitted. This would require aratio of 1:2. The difference between the two ratios is shown in the spacing of the dots in the following rows (fig. 21): A further noticeable peculiarity is that the first beat of a pair of drumbeats follows the beginning of an accented voice tone with great regularity. Of 25 such instances identified on the photograph 208 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 the drumbeat follows the voice by 0.12 second in 12 cases, and in no instance does the interval differ from this by more than 0.02 second. A comparison has been made of a portion of the photographic record, about 20 feet long, between drumbeats @ and @, with the phonograph reproduction timed with a stop watch. In this manner it was possible to locate the principal notes in exact time. Figure 1 [pl. 15] is the music as originally submitted, transcribed from the phonographic record. The letters A, B, C, ete., indicate certain distinct notes of the phonographic rendition; the correspond- ing portions are marked with the same letters on the upper edge of the photograph. While listening to the phonograph the relation of the pairs of drumbeats to the music was noted by ear and roughly marked on the score thus: 0‘O‘O‘O‘O*. Thirty-four of these beats are numbered on the score, and the same beats were identified on the photograph and correspondingly numbered. By noting the rela- tion of the drumbeats to the notes of the score and by observing the variations in the width (loudness or rhythm) of the photographic record as related to the corresponding drumbeats on the photograph it is possible to locate the beginning of each note of the music. The corresponding notes of the score and the photograph are lettered a, b, cp, 4, 7. Figure 2 [pl. 15] is a diagram showing the exact time relations of the drumbeats and notes, as determined by counting the hundredths of seconds on the photograph. The spacing along the staff shows the exact time value of each note and the relation of each note to the drumbeats. The bars [marked @, @, @, etc.}] are the drum- beats, numbered as on the photograph, thus (8). The numbers between the circles are the intervals, in hundredths of a second, between the drumbeats. The numbers above the notes are the inter- vals, in hundredths of a second, between the beginning of the notes and the succeeding drumbeats, as counted on the photograph. The numbers below the staff, as 109, 39, 27, etc., are the intervals between notes (length of notes) in hundredths of a second. Inspec- tion shows that 9 is approximately a common divisor of this number, and for purposes of comparison they were divided by 9, the approxi- mate results being given in the next row of figures, as 12, 44, ete. These numbers are proportional to the lengths of the notes. Assum- ing 8 to correspond to a quarter note, the first note is a dotted quarter, and the second is an eighth note, etc. The interpretation of the lengths of the note in musical notation may then be written as in the last line of figure 2 [pl. 15], and inspection of this series enables the divi- sion of the notes into appropriate groups for the bars of music. This latter operation should properly be done in connection with the phrasing and rhythm of the words. DENSMORE] NORTHERN UTE MUSIC 209 The pitches of the notes having been obtained from the tran- scribed record,” the completed musical transcription is obtained as given in figure 3 [pl. 15]. The revised location of the drumbeats is shown by the dots below the score. One of the interesting results of the quantitative transcription of this phrase is the fact that it agrees so well with the original musical transcription. There is no essential difference. Perhaps the omis- sion of the measure in 3-4 time is not justified, though the exact time value is as given in figure 3 [pl. 15]. A more extended study would certainly make possible an exact transcription of the whole song, but the close agreement of the two methods hardly justifies the great amount of labor involved in the photographic method. This study was undertaken principally to learn what could be done if it were desirable. LAME DANCE—NO. 39 The portion of the music of the Lame dance of about 15 seconds’ duration as reproduced by the phonograph was photographed with the phonodeik, making a film record about 19 feet long. The part of the song which is photographed begins when the stylus of the reproducer of the phonograph is about 2-3; inches from the beginning end of the wax cylinder record. The original musical transcription of the portion photographed is given in figure 4 [pl. 16]. The pur- pose of the study was to determine the relation of the drumbeats to the rhythm of the voice. The record of a drumbeat appears on the photograph as a short series of vibrations of the pattern shown in figure 20. Thirteen consecutive drumbeats have been identified, and they have been marked by *’s and numbered by serial numbers in circles, as @, ®. The dots in a row below the sound record are time signals, one one-hundredth second apart. The numbers below the dots between the *’s are the time intervals between the drumbeats in hundredths of a second. The notes of the music which have distinct accents as heard on the phonograph are marked A—G on both the score, figure 4 [pl. 16], and on the upper edge of the photograph. Each note of the score is marked with a letter, as a, b, c-w, and the same notes when identified are similarly marked on the photograph. There is a remarkable regularity in the beats of the drum. The 12 intervals between beats, in hundredths of a second, are 92, 92, 38 A certified test of the author’s pitch discrimination was made in 1914 by Prof. Carl E. Seashore, dean of the Graduate College, University of lowa, lowa City, lowa. 25043 °—22——_14 210 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 89, 91, 92, 90, 91, 90, 94, 93, 93, 91. The average interval is 0.92 second. Figure 5 [pl. 16] is a diagram of the time relations of the various elements of the music drawn to exact scale, 1 millimeter being equal to +55 second. The drumbeats are marked by bars and _ these and the notes are marked as aiready described. The numbers above the notes are the intervals in hundredths of a second between the beginning of the note and the preceding or succeeding drumbeat, as counted on the photograph. The numbers, as 39, 193, etc., are the intervals between notes (lengths of notes) in hundredths of a second. The note c is 0.39 second long; e and f together are 0.74 second long; g and h, 0.74 second long; and J, 0.71 second long. It would appear that a quarter note may be taken as equal to 0.74 second, exactly the same value as is very definitely shown to exist in the Woman’s dance. The first note of the diagram is then an eighth note, the second is a dotted half note, etc. The interpretation of the length of the notes in musical notation may then be written as in the last line of figure 5 [pl. 16].. The phrase thus interpreted is hardly long enough to determine the length of the bar, but the piece seems to be in 2—4 time, with bars as indicated. ‘This is in substantial agreement with the original transcription. From this study of the photograph of the Lame dance it is difficult to determine any definite relation between the drumbeats, which occur with mechanical regularity, and the voice, which has a varying accent and rhythm. Perhaps it may be said that a drumbeat follows an accented vocal note, as beats @, @, and @ follow the accented notes ef, gh, and 7k. On the other hand, the strongly accented note w follows beat @ after a short interval of 0.11 second. In the Woman’s dance each pair of drumbeats seems to correspond very directly to the 2-4 measure of the musical notation, and such a measure has a length of 0.29+0.45=0.74 second, which is the period of the pairs of beats. In the Lame dance the quarter note of the voice seems to be exactly the same as for the Woman’s dance, 0.74 second, but in the Lame dance there is no apparent relation of this interval to the drumbeats, which are 0.92 second apart. Dayton C. MILLER. ApriL 9, 1918. INDEX Page. ACCIDENTALS, table showing use of. ........- 37, 75, 91, 123, 142, 162, 183, 195 ANALYSIS, TABULATED— GieBeanidance SOMES nee cianialelemis'e tees ajacos 73-79 of Chippewa, Sioux, and Utesongs...... 30-51 OMEAnd samme SOULS 2) = s... eee 166 KE YNOTE— plots OL; Ses 3. k= 5-2 eee eee 174 relatior of first note to................-.- 31, | PEGAROOS, PAUL, asinger...........-... 17, 18,19 73, 90, 121, 141, 161, 182,194 | PERANK, EUGENE, a Singer.............- 17,18, 19 relation oflast note to. -2....--.sc<5-0-- 32 | PHONODEIK, photographs taken with........ 206 74, 90, 121, 142, 161, 182, 194 Ko.Lorow, JIM— DSUNPCR eS May rca comin se ses ean caeee toe 17, 18, 19 Songs recorded Dy.-.52. = Yate 2eanc 2 5 ee eee ee 156 SongS Of: =235. scsee noe eee eee eee 157-158 SCALPs, customs concerning ..........-.----- 152 SCRAPING-STICK, Use 0f- => -2-4-o2 2 no eee eee 7 SEMITONES, average number of, in each inter- Valitse sara aeeeeeen 5 42, 76, 92, 124, 144, 163, 184, 197 SERENADE See! << a6 554252. 5-52oe eee 191 SICK; treatment) of282.- 252-420 sesso eee 127-130 SICKNEsS, cured by Sun dance.........--..-- 79-80 SIGNS, SPECIAL, used in transcription of songs. 16-17 SI0UX, CHIPPEWA, AND UTE SONGS, tabulated ‘analysis’ Off. 2 esas sstesc oe re cee eee 30-51 SLOVAK SONGS, compared with those of Chip- pewas, Sioux, and Ute: 25... oo. scene 55-56 SMOKING SONGS=: