WY WA IAVA RNA w NVNWoOo b Pe Pepe a ~ ST oxida, cee tae te | Lace ed Ss - a o* = ir * x Se ee i RP erty te Eg tn KL te SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 80 MANDAN AND HIDATSA MUSIC WASHINGTON GOVERNMENT PRINTING OFFICE 1923 ADDITIONAL COPIES OF THIS PUBLICATION MAY BE PROCURED FROM +» THE SUPERINTENDENT OF DOCUMENTS _ GOVERNMENT PRINTING OFFICE WASHINGTON, D. C. AT 60 CENTS PER COPY PURCHASER AGREES NOT TO RESELL OR DISTRIBUTE THIS COPY FOR PROFIT.—PUB. RES. 57, APPROVED MAY 11, 1922 LETTER OF TRANSMITTAL SMITHSONIAN INSTITUTION, Bureau or AmerricaAn ErTHNoLoey, Washington, D. C., December 15, 1918. Sir: I have the honor to submit herewith the accompanying manuscript, entitled “ Mandan and Hidatsa Music,” by Frances Dens- more, and to recommend its publication as a bulletin of the Bureau of American Ethnology. Very respectfully, J. Watrer FewkeEs, , Chief. Dr. Cuartes D. Watcort, Secretary of the Smithsonian Institution. III FOREWORD A phase of Indian life hitherto untouched by the present writer is shown in this work. The Mandan and Hidatsa lived in houses which were grouped in permanent villages, their environment differ- ing essentially from that of the Chippewa and Sioux in their camps or the Ute in the fastnesses of the mountains. The music of the latter tribes has been analyzed in previous works,! and a comparative statement of results is presented in this volume. The songs of the Mandan and Hidatsa were recorded on the Fort Berthold Reservation in North Dakota during the summers of 1912 and 1915, an additional trip being made in 1918 to complete the material. This research was suggested by Dr. O. J. Libby, secre- tary of the State Historical Society of North Dakota, and the first season’s work was under the auspices of that society. The subsequent work was under the auspices of the Bureau of American Ethnology. The writer desires to acknowledge the valued assistance of her two principal interpreters, Mr. James Holding Eagle, a member of the Mandan tribe, who interpreted and translated that language, and Mr. Fred Huber, who interpreted and translated the Hidatsa. Mr. Holding Eagle was born in 1884, received his early education at the Fort Berthold Mission of the Congregational Church, and graduated from the Santee Normal Training School at Santee, Nebr. He is now engaged in missionary work among his people on the Fort Berthold Reservation. Mr. Huber went to Fort Berthold as a musician with the United States Army, and for more than 30 years spent the majority of his time among the Hidatsa. He died before the completion of the present work. Grateful acknowledgment is made of the assistance rendered by officials of the North Dakota Historical Society, also of the courtesy extended by Dr. C. L. Hall, who for more than 40 years has been a missionary of the Congregational Church on the reservation. The writer desires also to express her appreciation of the assistance cordially given by members of the staff of the Bureau of American Ethnology and the United States National Museum in their re- spective fields of research. Frances DensmorEL 1 Chippewa Music, Bull. 45 ; Chippewa Music II, Bull. 53; Teton Sioux Music, Buil. 61; and Northern Ute Music, Bull. 75, Bur. Amer. Ethn. Vv 4 9 f {aint v CONTENTS Page List of songs by serial numbers__--_--- Disease eS ES ST OL XI imetnorssones by catalogue mumibers... = 2 es eM i ise due) __soxtv Specialy signs assed in transcription) Or Songsh== =) = Ss saa ee ee XVI AEST RUITN GS U1 (Cope LS Cs Vgc Est Reema ee EY A RE EI XVII INANE Se Olt SING CES Senses tae eee ee ene ee tere Sewer ees aE Yan XVII MMOL MAnESE who, did not; record. Songsao— = Sh ee eee Se eee ee XVIII Eronerenames and other Native: Terms. oo aes rege Wigs ete ihe eee. © XIX Character Zaid GUEOreGINe CLS se nk eee ee ey a ee 1 WS aC be af AES SS sO ee meee ee ee ee ee ee Os ene) ee 1 SEI Vey tele as en ie ee ES See a ee 2 Mandanmandmiaidatsa. sindians 22222 a ee Se Serta lie hee 3 IN Gide ee a ne oa 2 ee ees bia Es Saeed eS 3 ENISTORYeeand CHATACTERS CSE 2 ss Sais Ae Toe tLe ae a ten Dee et 8 DP wellines end villages es eras Teh Sue Fe se Cae Pe 4 EO UCT Vp ea a oe es ee ty 5 Burial vcustoms==- 2 Le SSE SABI Bees eed Lae a Shige oe 6 LOE SS Ns ae es ee a ee a ae Re a AIGA eee de ane 6 IM By E00) Kofta eee eS gs Se AIEEE: ESE SS arias Sen Ena Ss Cul 6 RIVET SS ee Rh SE EP PS EE a le 7 V1 SMUT S GTS TN Se Aol pt 8 SNE SULTS a oe re a OS I OP 8 ELEC eg a eer ae Ee ee 2 a at a 8 Wares whistles:=s Sasa pet aE Fr VE er eS A oe) 9 Courtine wihiStles jose ee es pote Sr Sees eaten 9 MAS COlCtS Stes Se ES ee Eee te ee Ie di eee ate 10 Dealings with the United States Government___________ 11 Memo anes an Cin aiSar MUSi C= = = ee a es 1D Pimimodine hana aS lao e ef 4 eat Oe ey os sea ele rere! 12 Tabulated analyses of 820 Chippewa, Sioux, Ute, Mandan, and Le UTESITN S13 TSIOU Sy Lis Nae ee ae pe a Oa NaN STF y a MN oes wT 16 Analysis of Chippewa, Sioux, Ute, Mandan, and Hidatsa songs______ 26 Comparative group analyses of Mandan and Hidatsa songs________ 82 Graphicurenresentation or“ plots i. 34 SECTION 1. MANDAN Cooma Et OR esa sem amerE ne yea buta enn he et te se at 35 Re TOM CARO COME riCs, ewe ease we Ee 36 Phe Anstrucuouss@rooon Wur Robe 220-2 38 VIIr CONTENTS Page. Societies organized by, Good: Hur. Robe sess = se ee 89 The Goose Women Societys 2:23 332 eee 39 Ceremony and meeting of the Goose Women Society______-_--------- 40 The Black: Mouth Society==2 2223.23 2s ne es eee eee AT Meeting of the Black Mouths S0ciehy= =e ee eee 48 Customs:... =. 3 S$ ee ee ee ee eee 52 Singing in: thevgardenss 2) 220 ee al ee ee ee 52 Nagle catching 2222 See See ee ae ee en ee eee 60 Origin of the: custom ofteaelescatching 22s) eee 64 esend $= = 22223 ee ee a eee 80 Origin of the-flageolet=2 += sos A ee eee eee 80 Origin. of ther Buitalo=Dance Society = ee eee eee 84 The- moon ‘and the Gancers2—= 2 522 a eee eee &6 The black-tailed Geepsa 22 = 422 eS eee 87 Nolk. tales. i222 )..= 2222 eee ee 89 The-turtle-who. went tonwara=22 2 2 ae 22 Lee eS ee ee 89 The man whe: married’ the: birds 22s ee ee ee 90 The coyote and the skunk__________ ch Soe A 92 SECTION 2. MANDAN AND HIDATSA Mandan - women’s socictiess =. 322) ee ee ee eee 94 Skunk Society 222 so. ee ee ee eee 94 HMnemy - SOC ety Se a ae Se ee eee ae 95 Little -River SWomen: Soclety22—= == 2-2 ee eee 97 Origin of the Little River Women Sociciy===2=—— 225) ee 97 Ceremony of the Little River Women Society____-_-____--_-_-~- 99 Mandan and Euidatsa men's SOCiehiess. 23 = ee eee 108 Drums, rattles, and whistles used in the societies___________-_______ 112 Sones. of the tsocictics = 2232 Se" ee Ce gla Stone Hammer Society of the Hidatsa_____-___ iui oe Seek. ok i 113 Stone: Hammer. ‘Society: wand -2-=- =) 2. eee 15 Stone: Hammer Society Songs=_ = =. 2 eS eee 116 Hox Society songs 2222 2s 6 ee eee 121 Young Dog: Society. sone]. _- EEE Eee 129 Foolish (or Crazy) Dog Society sonugs22 == eee 129 Dog. Society songs= ==. = = 2 a eS eee 133 Buffalo. Sod@iety.songs¢=2= 2. as ees 138 Horse Society Sones2. 222 i2ekee ae ye ES ee eee 143 War “SOngss 252 2 Se ee ee ee ee 144 Miscellaneous: Songs) 22 22) a ee ee eee 170 Melodie and rhythmic analysis of songs by serial numbers______________ 178 Authorities [cited == +e = 2 3 se 185 Index! os a ee Oe ee ee 187 ILLUSTRATIONS PLATES Page SINC) gem 10) ree ee a ree ee ee eee eee 2 Za james -Holdine magie. 0) Scattered ae ee ee 807 95 os. “He stared. atime -=26 sie. se ee eee fal OOS [te see eee 819 39. Song of “the ‘spirit .womenS=2 oe a ee eee 800 101 AQ: °° "The: “Missouri: Ww Omen a= Ses 0 25S a See ee SOL "A038 410"Sone ‘ofvithe. bears 2 {e222 335 ae AE Se eee 2 SE 2 802 104 42. Song” of-- the shell-2 =.= 2 oe tana eee 803 105 43-:‘Sone*or :the-coyote™(b) =42 et ee eee 804 106 44. Dancing song of the Little River Women Society_____________ 805 106 45. Song of the Little River Women Society (a) —------__-_________ 872° 107 46. Song of the Little River Women Society (b)—----_-___________ S13. 107 SoNnGs oF THE STONE HAMMER SocrIETY (HIDATSA) 47.‘ T- desire to. take-you ‘with me ’i2---— =a 884 117 aS: “ hetus: £0.02 22-5 Se 2 eee See ee De ee ee eee 885 118 AO" § Run aWaye? 2. as Ba ot ee ee ee 886 119 Sones or MEN’s Societies (MANDAN AND HIDATSA) FOX SOCIETY 50, “TF want, to liive®’.. . 52 Ses oe. WE ee i eee 887 120 lee “NCCC de De meiirol Cry eee een Bian nea tie VR A ee 899 121 Ho Hox: .SOCLELY War Song o(a).2 222 2 = = = ieee ee ee ee eee 895 > a2? Ha Ox. SOCIeLY. LUNCKAl SONG ae. 2S eee ee 890 123 4 HOxX Society, wal Sone (i) eee ae ee Se ele aE 5D. Ox. Society ‘Serenade s= "== 25-20 Se ee Silsemal ey 56: OX SOCIELY:. SOM P= eee see ten anes Bee ee oe ee oe ae 57. Pox Society love (song 2- 220 =- 2 ee 868 126 YOUNG DOG SOCIETY 5c Mama EN =a | 0 ena I MN eee Rat SO ANY 9 Sa ela ee 835 127 5O~** Wiiy- did» you sleep? {== 2-2 - es ee ee eee 8386 128 60: Younes: Dog: Society ‘serenade. 222-22) eee eee 870 129 FOOLISH DOG SOCIETY Gl. You. idl tite se ee ee ee 843 1380 62° Foolisk DogsSociety=serennd eo ee ee ee 844 130 63: “-T- cannot-“Sleep 7s = a ee i es ie ee 905 131 64, Teas imy so wan fat 2 Ss ee ee O00 rears DOG SOCIETY Cea MRM El OO 5 Yigg Peet a Ss ab NA Re St Ee SE Se ee 852 1384 66. Dog ‘Society serenade (aye 3-2 SDonilas 67... Dog ‘Society serenade. (b)p = eee 857 186 68; “The enemy are-likeswomen=2_=_.._-=--._-- == se 863 187 LIST OF SONGS BUFFALO SOCIETY Serial No. Catalogue No. GORE tial Om SOLE yE SONG (a) = ee ee oe ee 854 Roa Cites NOCLEDYMIRONGHED a= == = Sa ees ee 855 amit Oe SOCIehy ESONe (C me ae ee ee See 856 (2 UliAlOasOClety, “Ganeing. SONG. a2 2 en 849 aeubiiral oO soctehy screnader (ai)js2==2- =o ee 845 74. ithalos sOclety serenade) (0) S25 oe So eS 904 HORSE SOCIETY Pe LLOT SCR SOCLCUVAS ONS (ay) ee ot ee es De 833 (GST OSC MS GLE bye SOM es (10!) eee a es ae Se ee 834 : WAR SONGS jie NOnes when onganizine +a war party... 22=- ee 888 See vOUNS WOlVeS. COs VOU DCSE 25 2 2 eS Soe eee 865 Sie me Oy LGN aac Tl STL et ee em ee a LN OE eee 896 USE CELE OT CTT SS Cha tee eer ee eg ee ee ee ee 891 egal eemene NC OVUM ED TET Ge aN a VLD Ca Rw tt ere OU ee 846 So eee Lake amen LOE Ne STOUR. wee 8S kel SS ee ee a SL 848 evemeene Legal ae Ops cens emees rm aw Ve se har ole Berrie 2 ge se ay et 3 907 PERO ONIN eS SLCC COM ponte oh srl oe ae es Rte 880 Sees DCMS Su cLON Cem seat Sas ese 2 ce ee ie Se 864 Sos SONS LO. Lenew:. 2 sweallion ss. strenethi ss) 2) Lee 858 iM EATS SCH DG anCersOMpe ee = ae et St oe ie 902 ‘Ststs» BRUT RELO Oy ASA fe gS) C1 yank eRe a Oe Sas Bs Op Se 897 Som NONeeiny prarserof Cenerosityoe = —- 5. = ose ae etl BBL 881 OIF aa V ATC CRT Vien SOUL eee ce eet fey oS kT FT OW ep i oS ees 806 DSL. [SHOVE PONED AB er 0 00 0) 0 a Sa Re eee ape ee ee eee 815 OP eae anolisra, kite: im his hand”? =s<- 2s te 816 Gaeene-CHeMVy Cameras awWOlh 2 Saat ee Se Vee 817 et killed thires 72259828. Tae Gi. Se Lae ONS AAS axe 818 Dosen ISSUISCUHAS ram Duta lO seers (os a ee LU Gn I 847 OO MREE WwiL UTSUE snimMevee ou Se Be EL oe hy ee Pate Ui, 851 Cite bated enem Wees ee eo et ee ee at 866 OR Mee SIOUX: COME meee mer eee de Re el ee 882 PreameeViicth: Was TECVOUSUrUCkK ts 2 =o 0 ke ae 862 Geer Eetl Ora GUs Le Ie sarees ee SS NEE een ree rneed ned aks 879 LOU aner TOOLS Aaa ee Ne en eR SRS os 0 Fe UC sh 908. LO) DNV | SOMO Seen ik ee Se ae ee a ee Fa eit 889 MISCELLANEOUS SONGS RO ASANO Sati oC Kr 1d aba p ee ener ek oe eT £2, yo 982 LOA Ss SOne tora little child2=2 =~ == = 3 3 poe ee ees | OO MOA SONS Oneal NCA Mie Weeks soe OS PS ee 883 WOKS SPA RVG EMCO eS Ti hey Ss een toe St SN LR a Nae A OO ee 898 ire SONS On TO CRISTO nim aemt re eater ta tian ea 8 PSI PA 839 HOS nner Kethlesis) DURMING tomes 8 ees lee Lemar 840 i +) he VOUnEeSst witosgl) tHe Chief 838. a eV BAT uo: Sone.on the to0L oF thie-lodge=s 3. 2 222 900 XIII Page. 138 139 140 141 142 142 143 144 146 147 148 149 150 151 152 153 154 155 155 156 157 158 159 160 161 163 164 165 166 167 168 168 169 170 171 172 173 174 175 176 177 178 XIV LIST OF SONGS 2. ARRANGED IN OrDER or CATALOGUE NUMBERS logue Title of song Name of singer Pane Page 800 | Song of the spirit women. ..-.....-...---- Scattered Corn....| 39 101 801.) “he: Missouri-womenv es v2 52cm yee COU e eases 40 103 8025) SSongottthesbearsses rer eee oe ees ees CO. chore a 41 104 S034 guoneOrtneyshellley: 2S -pet ee ee eee ae eee COs... sea 42 105 S04, | gsong ofthe coy Otel (b) seen en sores eee | eae dO ose eee 43 106 805 | Dancing song of the Little River Women |...-. (Oe ee eS 44 106 Society. S06"| "Waetory:eong 2 -ts+ ce -n eke Sai eee AGtJNIGRS IN 3 90 158 807 |°“He never will return’*> so) ess) *he esses dO Ree 37 95 S08" |The Caniive Sones, a~. eae toe eee eee en Eee G0: [oes 1 42 809 | Song of the Goose Women Society (a). .---|----- (3 ea heer 2 43 S10: | .allivedoniehter?? si... aoe. oe ee eee dats 32 oe 3 44 811 | Song of the Goose Women ee Go eee ee Abn es cies oe 5 46 812. |Song of the Com “Priest. 2.42522 See se) aes eeee dovls Sess ss 4 45 S13. (>" The ‘com is my pleastite ts 545° aac are eae 1 Ko area Pack oe 12 54 SIA Sa am" al One) ce ve are eats cetera Seen eecoe COsaiwnsetee 13 55 $15;|sSong of triumphs... oa aa. eS eee eee dilate 91 159 816 | “He holds a knife in his hand”’...........|....- dare. Fo kik 92 160 817 | “The enemy came as a wolf”’..../...-----|---.- oe a 93 161 S18" (Oe killed stlree Yi see ere eee eg ee eee Os eee 94 163 S19 aioe ie stared sat me spec. e ayaa see ee aS rs fe Ae ae 38 96 820 | Dancine»songtot the skunk: 2) 2 theese see ra Ko epee ete 36 93 Sole p Sone of therpuiialobe yee me eee Ben Benson... .---- 19 70 822° |: Song of the:black eagles: assetcot su ee roe eee do,81 2h Sea 20 71 823 | Song of the coyote (a):2-.-- 2.02 2s eee tecfecs es do: . 22889 tes 21 72 S24) Sone Ol the BAKE.) 6 Ss tere ela saa ae dO: eee re 22 73 825 | Song when making the brush shelter... ...|..--- doseiipe boas 23 74 826 | Song when making the sweat lodge. ......|..--- doiectarie tae 24 75 827 | Song when making the eagle trap.........|.---- MOlLe tec See 25 76 828 | Song when preparing the bait........--.-|-.--- (c Vo vary meicrtager teks 26 Chie 829 | Song of the little wolverine. .....-....---|-.--- (0 oF eee 27 77 830. |-Soneg of the goose: 225s Saree see ed See eee Gothoe ew ahrs 28 78 831) [Song of the swans 2 st eee ee lee eae (CO Seey a eee 29 79 832 | Song concerning the twine. ...........-.-.-}.---- ra La ee ee ee 30 80 833 ‘| -Elorse Society song. (a) 2.254222 = sos sole cee dG... = ene 75 143 834 |\iHorse Society song (b)=. oa eee Saseln ae oS dove 2403 7 144 835. 1 Wake wp ss aint he eres eee davies eve 58 127 836 |S Why did:youw sleep? isc: oa cee alee retane oe aie tus OF cc leey oe 128 837. Soup ol theideenry as eee eee eee ee ee Bear-on-the-flat...| 33 88 838 | Song of the leader of the herd. .......--..)...-. das. J.cscbeeae 31 86 LIST OF SONGS XV Title of song Name of singer Botist Page BomarondeneOnee- sca: 5 me efa nig i (0 ee eas 32 87 EO URGMGN Le sate Naphtetae Sa iaaias cine co's alvin o|-2= = doe se -see eas 61 130 Foolish Dog Society serenade........-.--.|----- dg 62 | 130 Buffalo Society serenade (a)........-.----|----- Cea eee 73 142 eorle Wand Oro ue WANGis 5 3. 5's s-s 1c 2-2 GOs rw ance 6 84 153 XVI LIST OF SONGS Cata- 5 logue Title of song Name of singer eal Page 881 | Song in praise of generosity........-----.. Crow’s Heart ..... 89 157 S82:), "The Sioux -Conie, ?2e. sat eae ee ee d0Jn. Satan 98 167 883-|; Sane of an-elm dream 8-2 Sas2222 = eee er dG: cutis 2) 105 173 884 | “I desire to take you with me”’..........- Panrecs eee 47 117 S85 le et Ms go ee Nee ota tlececas awe oe mowet aa io ELO 2 See cote 48 118 886 “Rim away? Sos A SE. Se pt a abit CQOn ne eee 49 119 SSi- jis Wabb:bO LIVE? os. ans oer oe oe ee eee “ihe Meier a lp 50 120 888 | Song when organizing a war party......... Old Wag. ee. 77 146 B89 Wear sane o2 oo. mee a ee eee erate ee WS reps ers 102 170 890 | Fox Society funeral song......-....-.....|----- C6 (oR aI 53 123 891. |) War medicine sonk.2: 2s fenoce. - ene ee ro Fe panes = vi 80 149 892" 1) Whose tracks tins. tos ae soa ae Wolf Head.......-. 103 171 893 | Song of the turtle who went to war. ...-.--|.---- 10 pga Supe site Oh 34 90 894 | Song of the man who married the birds. . .|.....do.....-.....- 35 92 895.|| Fox Society war song (a)-.-:-----2s22c.2 Jone - ea ka 52 122 S96 | Oldiwar sonpen. coe 3. Glan bao ener Buttertly = -.--- 79 148 $97 |! Buttertly-sswar- song... 2< 722 22 2a2 eect ar = 06 aa a a 88 156 898: “ Wemadefire’:) Soe a2 sn ote cee ee 7 Lo ni, Be a en 106 174 899° |)“ Need: L be airard y"" 2 18-5 see eee Good Bear. ......- 51 121 900 | Song on the roof of the lodge. .........-...|.---- Qt nee see 110 178 901 "| Song toa little ehitd irs. 25.22. Leading One...... 104 172 902.1. Woman’s'scalp dance song: <<: 2 sso 2220 aia. 8 domes. troe 87 155 8053) MGoinig tord aneesn 226s. c tee ss ees Little Crow. .....-- 9 51 904 | Buffalo Society serenade (b).......------]----- 0 0 hepa nd fie 74 142 905.) Shican not sleep Varese se ne eee Little Crow and 63 131 wife. 906. “The first wite laughs”: 0-262 Ae Yellow Hair......- 18 60 907-4 SE willtoo aoe aae es ate aed een ae ee Wolf Ghost....---| 83 152 908") “Siowlare foolusn’ Se 'o" hess ee aes Harry Eaton. ....- 101 169 909 (2S%t ismy Own Tawlte So. £4 es eee oe James Driver... --. 64 132 SPECIAL SIGNS USED IN TRANSCRIPTIONS OF SONGS These signs are intended simply as aids to the student in becom- ing acquainted with the songs. They should be understood as supple- mentary to the descriptive analysis rather than a part of the musical notation. + placed above a note shows that the tone was sung slightly higher than the indicated pitch. Im many instances the tones designated by this and the following sign were “unfocused tones, ” or were tones whose intonation varied in the several renditions of the song. NAMES OF SINGERS XVII The intonation of these tones was not such as to suggest the inten- tional use of “ fractional intervals ” by the singer. — placed above a note shows that the tone was sung slightly lower than the indicated pitch. ( placed above a note shows that the tone was prolonged slightly beyond the indicated time. This and the following sign are used only when the deviation from strict time is less than half the time unit of the song and appears to be unimportant. In many instances the duration of the tones thus marked is variable in the several renditions of the song. ) placed above a note shows that the tone was given slightly less than the indicated time. ; [——] placed above a series of notes indicates that these tones constitute a rhythmic unit. (See footnote to Table 19.) PHONETIC KEY Vowels have the Continental pronunciation— a as in father 1 as in marine 1 as in writ e as in they é as in net o as in note u as in rule ti as in but Consonants have the usual sounds except— ~§ is pronounced sh i represents a strong guttural resembling the Arabic ghain. g& represents a deep sonant guttural resembling the Arabic kha. NAMES OF SINGERS It should be understood, in connection with the following lists, that Mandan is practically an unwritten language and that Hidatsa varies as spoken by different individuals; words belonging to one tribe are also used by the other tribe to some extent. The Mandan words and terms herewith presented were written by James Holding Eagle (pl. 2, a), the son of one of the few remaining full-blood Man- dans. He is the only Mandan who can write his own language to any extent and probably speaks it more correctly than anyone else who can understand English. It was the language of his home when he was a child and he learned at that time what is known as the “old Mandan.” The spelling of the Hidatsa words is that given by Mr. Fred Huber, the writer’s principal Hidatsa interpreter. Work 2118°—23——2 XVIII INFORMANTS WHO DID NOT RECORD SONGS by interpreters employed in 1912 was revised by Mr. Huber in 1915 in order to secure uniformity, especially in the use of the letters d, 7, 7, and n. Mr. Huber died March 13, 1918, and a limited number of words were supplied by other interpreters in the summer of that year. MANDAN Common name Mandan name Translation barat x songs Mrs. Holding Eagle. . -. - - Wor pite <5 “ae eros Scattered Corn. ........ 21 Ben Beason ss: 29-4 ae Marothpa 2h 42.93% oc Buffalo Bull Head...... 16 Wisi ear se Cet eee Ob’sita’mato.......--..| Bear on the Flat........ 13 Wounded Face!........-- 121 eee See. Beh hoe Wounded Face. .... vio 7 Mrs. Little Crow?......-- Beitaken ccs chee! Otter Woman.......... 5 Crow SH Garp) tae Ketkano/ thas ci/stte. ee Orow’s HearGs2s2--2-62 6 Sittine Rabbitt: 2222.22: Ma/hitikikana’ka .......| Sitting Rabbit. ........ ve atthe @rowecs sete ste Ke’kaha’mahe ......... attleGrow= eee ea seeeee 2 Wolf Head*28:3 222 ‘Efa/retu’ paz- 2.2 ee. 2 2 5|’ Walt dea... eee 4 Wolf Ghosts23 3.020 Ha/rétunu’higé......... |) Wolf Ghoste'2 522-23 oeue 1 HIDATSA Holding Eagle °.......... Ma/isuiak’sis...........| Holding Eagle.......... 9 Old “Dogs? 2 feaeo eee Ma/sukati’as -.....+2 32. 47OM Dost. see 4 Butiterily Ss seers ee as Apatite een ceeds White Clay Nose. ...... 3 Pari es eels ere eee WERNAVabc Sipe neesaGood. Pine: Woodecs222: oat 4 Good. Bear’: 252 sae ee een Nahipi’tsitsakis......... Good Beata. % ages 2 Mellow Elaar ?s, 22 S20 05 ee aan tel nee eee ee Yellow Hair)! oa 2 Mrs. Crow’s Heart. ...... AC K@aERe oo See ee Leading One!) .'2: 242225 2 Horry Baton!?. sos 20/522 Is‘tanuwe’tsas......-...- One Hye! 23 Se 1 James) Driver..-2. ses. oe INatkalist ster se ene are Driver if 1Died January 29, 1921. 2 Died October 15, 1921. 3 Died June 10, 1913. Recorded one additional song with his wife, Otter Woman. 4 Died January 1, 1922. 5 Died March 9, 1918. 6 Died January 27, 1916. 7 Died August 11, 1918. 8 Died July 15, 1918. 9 Died January 3, 1917. INFORMANTS WHO DID NOT RECORD SONGS Common name MANDAN Mandan name Siitmme Crowe sees eeneee Water Chieit= 2 esses. ..| Ke’kamaikanu’ka.... Mi’/nakinuma’ksi. .... 1 Died July 20, 1917. Translation Sitting Crow. Water Chief. PROPER NAMES AND OTHER NATIVE TERMS XIX HIDATSA Buffalo Paunch?..-.... Rear et TONS Sec ee me od 5 Buffalo Bull Paunch. Dancing Bulll4?_ 2. -.2.. 7--. K Ki’ dapimadi’sis ...... .. -- Dancing Buffalo Bull. Wench: baakslipa= =o. bad he eae Ps wrote ops + | 2 Died November 8, 1918. 3 Died January 29, 1918. PROPER NAMES AND OTHER NATIVE TERMS MANDAN Good FurcRobet sca... etod i: Mv/hisi’ ead Ratilessss-2-cs2- 404 ---bagosinanda Bawhide Loop... 2.2.52. .22--- Waru’paha’guské Swinging Corn......-....-..----Ka’hohé Moves Slowly..............-----Ihe’dami Tron Hyes. 2. 25<.-3---5--.2-~. --Mista’wadu’sa Ranning Rabbit. 252.202. 2-2- Ma/htipté“hé PlaekeWOlhoes ee 2: Ha/rétasi HipatTsa One, Butifalozed. oS ie. 225- = Wedok’mahana PE Woman. = oo. with the mixed material through the comparative group analyses on pages 16-26. The first 46 songs are believed to be Mandan, and the remainder are designated as “Mandan and Hidatsa,” the tribal origin of each song, when known, being included in the description of the song. In the following consideration the music of the two tribes is regarded as a unit. The Mandan and Hidatsa songs show in abundance certain char- acteristics which were noted with less frequency in the songs previ- ously analyzed. Chief among these is the rest which appears in 19 per cent of these songs. A rest appeared very rarely in the Chip- pewa songs, in 10 (less than one-half of 1 per cent) of the Sioux songs, and in 13 (more than 11 per cent) of the Ute songs. A rest in Indian music is different from a rest in the music of civilization. The tribes of Indians thus far studied by the writer, when singing, appear to take breath only when they require it, not at stated inter- vals, and the taking of breath is almost imperceptible. Rests, when they occur, are intentional and part of the song.*® In many in- stances it appears that a rest is introduced to give variety to the melody, though there are occasional instances in which a rest occurs at the end of a phrase. Syncopations (nota legato) occurred in 5 of the 340 Chippewa. songs, in 3 of the 240 Sioux songs, and in 4 of 110 Ute songs, but appear in 12 (11 per cent) of the present series. A glissando, or sliding from one tone to another, was prominent in Ute singing, but not used in any marked degree by the Chippewa or Sioux. A downward glissando appeared in the Ute songs of the bear dance and was said to imitate the sound made by a bear, and an upward glissando was used by them in songs connected with the hand game. (See Bull. 75, Bur. Amer. Ethn., pp.58and175.) In the present series a glissando appears only in the Mandan songs (see analysis of No. 1), and appears chiefly at the end of a phrase, the final tone of these songs being followed by a sliding downward of the voice, the degree varying from a whole tone to a fourth and being the same in all renditions of the song. This glissando, as well as %The same peculiarity has been noted in the music of India. ‘“ Rests are seldom written (except in order to break up the meter intentionally in a dramatic way) in any of their songs, at any rate not, as we should, on account of the words: ... They appear to take breath when they want to take it, not at the end of words.” Fox Strangways, Music of Hindostan, pp. 192-193. DENSMORB] MANDAN AND HIDATSA MUSIC 15 the pitch on which it ends, is not sufficiently definite for musical transcription. A peculiarity not observed in the songs of other tribes is the ending on an unaccented part of the measure, the tone not being prolonged into the following measure. This appears in 24 per cent of these songs. A duplication of songs by different singers was more frequent than among other tribes, suggesting that only a limited number of the old songs remain at the present time. The duplication of words was also more frequent, the same words being used with different melodies (see analysis of No. 58). The “special signs ” used in the transcriptions are the same as in previous works, and the custom of writing the final measure as a complete measure is continued, except in songs which begin with an incomplete measure and have no break in the time between the renditions. The analysis of the songs according to their key has been discon- tinued.** The chief purpose of this analysis was to test the range _ of the singers’ voices. From the 720 songs analyzed in this manner ** it was found that A was the tone most frequently used as keynote, next in frequency being G and F. Other tables discontinued are those treating of the tempo of voice and drum.*® From the analysis of 710 songs *° it appears that the largest proportions of voice tempo were J=72 to J=96, and that the largest proportions of drum tempo were slightly faster, being J=92 to J=120. The tempo of the voice is slower than that of the drum in 32 per cent and faster than that of the drum in 16 per cent of these songs. The form of graphic representation of melody by means of a “plot ” on coordinate vertical and horizontal lines‘! is used in this volume only briefly for the purpose of comparison.*? Two slightly different forms have been devised and are here introduced, the first omitting all coordinates and showing the path of the accented melody tones (pls. 11, 12), and the second using the horizontal coordinates and showing the progressions of unaccented as well as accented tones.** In order to simplify the presentation of analyses the serial num- bers of the songs in their several classifications are placed at the conclusion of the text (pp. 178-184) instead of at the end of each group of songs. 37 See analytical table No. 14 in Bulls. 53, 61, and 75, Bur. Amer. Ethn. In these works the term “ key’”’ was “ used in its broad sense, as applicable to nonharmonic mu- sic, inclusive of modes,” %8 Bull. 75, Bur. Amer. Ethn., pp. 42, 43. 39 See analytical tables 20, 21, and 22, Bulls. 53, 61, and 75, Bur. Amer. Ethn.; also Bull. 45, Bur. Amer, Ethn., p. 11. © Bull. 75, Bur. Amer. Ethn., pp. 48-51. “See Bull. 61, Bur. Amer. Ethn., p. 53. 42 See p. 34. 48 See analyses of songs 72 and 92. 16 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 TaBULATED ANALYSIS OF 820 Cuiprewa, Sioux, Urs, Manpan, AND Hipatsa Sones? MELODIC ANALYSIS TABLE 1.—TONALITY : Mandan F Sioux songs Cp pe 4 | recorded by | Sioux songs| Ute songs wee Total 8 Chippewa songs : Num-| Per |Num-| Per |Num-| Per |Num-|} Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent | ber | cent} ber | cent | ber | cent Major tonality... =: ...J.2- 195 57 il 55 93 39 78 71 65 69 | 442 54 Minor tonality 3............ 142 42 9 45 | 145 60 24 22 43 89 | 363 4h Third lacking! 2.27 S32 selesese =| tose sence cela ccese Gees celtcceee 8 7 2 2 10 1 Beginning major, ending Minors ers eee eas 2 Tl sc Soealege Poel anc xehelesmacsl ens ct eee take eee cteeeeee PM Pe Beginning minor, ending PAO eet aot eee eee 1 eRe | Rese 8 stood beer Be pcéber) aoe) lseso8e| bosgcdiocdne< D lcceears Trrepulan-: 24. Ssscc seks bse paieaeeea|Saetee | ooaeee | saeene maeeee 2 Ws 222 See Bids als ovale sces oe eee es 340" 2825.6 20 eo 240))|.5.05: IGE Ase- 1 At CE ear! 820") ese ce 1 The serial numbers of the songs as grouped in these tables are shown on pp. 178-184. 2Songs are thus classified if the third is a major third and the sixth a major sixth above the keynote. 8Songs are thus classified if the third is a minor third and the sixth a minor sixth above the keynote. TABLE 2.-FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE : Mandan Chappeys beet Sioux songs| Ute songs and Total 8 Chippewa Higa gs Num-| Per |Num-| Per |Num-| Per |Num-| Per |Num-} Per |Num-| Per ber | cent | ber | cent |} ber | cent | ber | cent} ber | cent | ber | cent Beginning on the— Mourteenth:: 202 222 oj0<5|- seas |Sssk sal oaee se |aee sare 1S Bore) bopiad eolecs pOsbes moc: +2 iO aor ac Thirteenth. ck. Les 4 Pe eso Nea coeale se cee scectes| acts en [ne ccee | seetes| tamara an) oes welfithic.. 322 oee = 105 31 2 10 28 12 4 3 4 3) 143 17 Bleventh'..- 2 secs eee 3 1 1 6 vh 3 1 1 2 2 14 1 Menthe. .jncise savanc eee 24 10 23 10 2 2 2 2 54 Ninth sei beer Seat 16 5 |-.2222]ec2.-- 9 4 3 Ol Wetsesel Samet. 28 8 Octavels.c2:4 25 s5-e- 61 18 30 56 23 31 28 34 31 188 23 Seventh2--<--s-e oes 6 2 1 § i BASE 1 1 4 8 13 1 Bixthesne- epee aoeeees 10 Silacceeelonaaee 3 if 3 3) 3 19 2 Mth ecsee oases ese 72 21 3 18 69 29 34 31 24 22 201 24 Jive bin steep eel aoa if OD Nec steseeeees 3 1 2 2 2 2 14 1 PhiFd’s Oise ete 10 8 2.) 10 18 8 17 16 19 17 66 8 Seconds te eae 9 3 | teseclocestee 3 1 3 3 2 2 17 2 Keynote.:: = -22s-c2-s2 13 4 3 16 17 7 9 8 14 12 56 7 Trregular ooo 22 2252 es s2k Goel oa cecal aes eee eee eee 2 y lal ave BS teem | ot rat Bake DENSMORB] MANDAN AND HIDATSA MUSIC 17 MELODIC ANALYSIS—continued TABLE 3.—LAST NOTE OF SONG—ITS RELATION TO KEYNOTE : Sioux songs Mandan Chippewa . = and song ‘ee Sioux songs} Ute songs Hidatsa Total songs Num-| Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per ber } cent | ber | cent | ber | cent | ber | cent | ber | cent | ber | cent Ending on the— URN ee ee at Says 2 Soc ol actcloweaaices tloresaaclosvenaloedaacleoeeeclsobess 1 1 i 4a TATiC7LS Lene lease Se 75 22 30 74 31 47 43 51 47 | 253 30 HIT seas sakes oe wee oO! 11 1 6 35 15 8 7 17 16 97 12 WKeyNOtes-= = . couse a sa| sone des ecelecee wlawcaee 1 1 1 1 Pe eee Songs containing a fourth below the final tone, with fourth below in a Previous Measure. - 2.78. ss eb he a aee lee cacc lone seelesoeee teen eee weceed 1 1 bE = Irreguilarsse sh censd acon s | Soo oe hws Melee ae ee ee 2 TB) ntiesae [yaegee te Spee Bosses Slee Totals. cocace atten es 340 occa ae 20°) See see 2A ee Sect LO csc dh! 120) cote ee scon eee TABLE 5—NUMBER OF TONES COMPRISED IN COMPASS OF SONG _lCl ee —— — — — —————————__, i Mandan * -, | 5loux songs chee me | recorded by | Sioux songs| Ute songs one Total. 8 Chippewa ae Num-| Per |Num-| Per |Num-|} Per |Num-] Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent| ber | cent} ber | cent} ber | cent Compass of— Seventeen tones........|.. ccpalcaecec|seeeealeasebe 3 Li csteleee eel cee eee Sh leoamee HikteenitOnes! «26 6 sso. | a sochele sock | saeceelecesbe Ceeee alee eee 1 Tf || dzs cabseuters he | cts Fourteen tones. ........ 9 ulema secl bse cles 5 O Nearer ee 15 2 Thirteen tones......... 29 Salt .ccelenecee 17 7 2 Z 6 6 54 6 Twelve tones........... 103 80 3 16 41 17 10 9 12 11 | 169 21 Eleven tones........... 31 9 5 26 9 4 10 9 23 a1 78 9 Penvtones 4.2.5; hence cee 38 11 4 20 39 16 10 9 14 12} 105 13 Nine tones... 22) 50. Js. 18 6 5 26 28 12 18 16 7 6 76 9 Eight tomes............ 71 21 2 10 83 85 34 81 27 25 | 217 26 Seven tones...........- 16 O:.| cases Seoee 4 2 7 6 6 6 33 4 Simstoness a2. 25 s2ee. 2c 10 8 1 6 8 3 12 11 5 4 36 4 Five tones. =<. 0.-.---.- 13 Kole sche sleenidee Al So cee 3 3 9 8 26 3 Four.tones <..5¢ =o. -- =. Bi = ad etatal| alee ea clone 2 1 1 1 hal Eee Pe OT ei Three tones. (Sete cae seals ca 212 skaos| see ee sees see ee aoeeee 2 IB" Ne ee ae ra Pens DENSMORE] MANDAN AND HIDATSA MUSIC 19 MELODIC ANALYSIS—continued TABLE 6.—TONE MATERIAL A Mandan A Sioux songs Chippewa - and recorded by | Sioux songs | Ute songs : Total. suaes Chippewa eo Num-| Per |Num-| Per |Num-} Per |Num-| Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent | ber | cent | ber | cent | ber | cent First five-toned scale.....-. | ti ee Sel S| ee 1 fe ees See (eats (eee Ken Stes ba Ses Dbl eeea Second five-toned scale.....| 40| 12 Bile doc anole lee S 7 6 5 4| 86 10 Fourth five-toned scale... -. 88 26 6 80 43 18 20 18 20 18 | 177 22 Fifth five-toned scale....... Dh eee el ern ee ge on [cere cee re coe Siclehade | ime retcte,| icra vall wire eters Dialers. < Major triad..........- FieipineS 4 1 hee ee Be Scie Sees 5 6 3 3 13 if Major triad and seventh... . i ee SA SSeS Sears | eee 1 1 1 1 49 eeee 22 Major triad and sixth. .-.... 42 1 ee a ee eerie 4 2 5 & 4 3 55 7 Major triad and fourth... .-. OF Se Vea A | A ed ea a] bape es 3 8 3 3 Bilsoskes Major triad and second. .... 3 Ee Ate eie eae 8 3 17 15 10 9 38 6 MINOR UAC Ss scsc.ccsscasee 1 Te | A cle 2 YL Ve aectes, lay te 1 1 Aste Minor triad and seventh... 3 1 Ta eee eer ee 1 Bal eee 2 2 8 a 14 1 Minor triad and sixth...... 6 Be eek leeen ae nace ales oee a |aaSecalllsrten <> 1 1 (Base Minor triad and fourth... -. 18 6 1 5 30 12 4 4 6 6 59 7 Minor triad and second...-. 1 are A al Pee i MG eee 4 eens) emer 4 3 Ghiesee ee Octave'complete........--. 19 6 2 10 14 6 7 6 9 8 51 6 Octave complete except SGvENthers = oc Scene eee 32 9 2 10 20 8 12 11 9 8 75 i Octave complete except seventh and sixth...-..-. 6 LA eo Seres Re aere 16 7 5 Or (at oe (ee 27 3 Octave complete except seventh, sixth, and POUNpateote se nase te ate sowie act lore aec| eomecte cane | Rel ROR A al ease eet (se esa ios eae 1 al Bane Octave complete except seventh, fifth and second: |!--5--|---3- -|-.-s5.|-.2-:- tesco | clas [cas al ees Sots Pe Goes re Octave complete except seventh, third, and sec- ONG iss oe MEEBO CRO | Godc od Hescns Deeper GCsces ELdest hence Seen Bese 1 1 Deere Octave complete except seventh and fourth!...... 4 5 nl a eee 5 CRA Mamta ea 1 1 10 1 Octave complete except seventh and third........ UY AS Se Pa See nessa Fe) SS) eer Pees 1 1 BS iserhoc Octave complete except seventh and second. ..... il 8 1 6 9 4 3 8 Z 2 26 83 Octave complete except ; CST CE a aha oe Oe ie 15 4 2 10 12 bn | eseu|saeass 4 3 33 4 Octave complete except slxthvand ftth. — os. cacccs occas ames’ 1 Trial (Ree ES ia oar eee sl Be ae Octave complete except sixth and fourth ......... 11 Pes as ee Se 2 1 1 1 1 1 ity Eee Octave complete except SESU NANG THING suas hate |e Sica tel ooecs c|soncee 1g) Sta Mees bere al eae [a DAE pec Octave complete except sixth and second......... Spee forelcte || sain |e civics 6 4 be eel ene es 3 3 Miestsce Octave complete except sixth, fifth, and second...|......].....- 1 6 11 ice S| eae el ee ae (reas IRs cy 2ilse sae 1 These songs are minor in tonality, the mediant being a minor third and the submediant being a minor sixth above the keynote. It will be noted that the seventh and fourth are the omitted scale degrees in the fourth five-toned scale, but in that scale the third and sixth above the keynote are major intervals. 20 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 MELODIC ANALYSIS—continued TABLE 6.—TONE MATERIAL—Continued Sioux songs Mandan ee eet Sioux songs} Ute songs aca Total songs Num-| Per |Num-| Per |Num-| Per |Num-|} Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent} ber | cent | ber | cent | ber | cent Octave complete except . fifth and second...... Gs 5 eae een 3 IBY ee Dales seee| Gacee S| ase bas peers eee ae isso Octave complete except LOULLH 2. fasten eee 5 B:| Jy e228 |Seaees 10 4 3 3 6 6 24 3 Octave complete except fourth and third. ........ | es Pees RS Pere Pte bye eer ra frie brace At | Bateerte Octave complete except fourth and second........ 1h} isn scl boneeatnoaeee 3 Iilnscecleseske 3 3 Foal RSet Octave complete except Chind Fe 25 spew sce coes sor Ree al Bambee reer pence osha een 1 1 2 Wo aea os Octave complete except third’and/secande-§ 5. asco onsets Sseasledoces|ateeee dil eebGec|:wseas|sos ces; ieecdsleeecen 1 ait Octave complete except Seconde.225-c-- bese asets 10 po | eee 11 6 1 1 4 8 26 3 Minor third:and seventh. ~ 2).2 joc] 5. occ e| se ceee eee ee eee alae see Ll anata] seen tT ees Minor third and fourth..... 3 TES eee alee 1 eee 1 (ha OS ae Baar ae oriegeaee Minor third, seventh, and fOUTUD ss -/< Sn 2 se cestnde ae | Set ea bee aes | Reese | ee se eel eee eee 2 5 ha ee Boh 2 eeeoe First, fourth, and fifth tones.|......|......|....-.|--.--- Tilaeotes 1 1 Bene once Pe Se ee First, second, and fifth TONES S332 ec ewcasneeseass 1 Loscacel aoe satelite 2 aseacrlsccsaalsccieeslae'ssee 1 1 Pa ee First, second, fourth, and fifth tones s-seb. ese fl. Se cwomSeetet.| nacte L[eeebieeleseaen 2 Bl Pesala) 3 Vosopee First, second, fifth, and sixthitones <5. .2022s-4 6 Pe Reyer) eis Se, beg ys ea eee 4 # [Sesh see 10 1 First, second, third, and SERUH CONES = as 526 wen ccee 9 8 1 6 2 1 1 Ye rere ees, 13 1 B40) cee Se E: WD | arstetats PAD eos dee MO). .2.3 WO enacs 820. seus TABLE 7.—ACCIDENTALS é Mandan Chippewa ey op ge Sioux songs} Ute songs Hidat Total BS Chippewa mee Num-| Per |Num-| Per |Num-} Per |Num-| Per |Num-| Per |Num-| Per ber | cent | ber | cent} ber | cent} ber | cent | ber | cent} ber | cent Songs containing— No accidentals......... 288 85 18 90} 196 82 | 106 596 89 88 | 697 85 $ 5 ee . ry . ‘ ‘ . . . ‘ ‘ ~ ~ -_ a _ Oo fs _ ~ i) on co bDENSMoRB] MANDAN AND HIDATSA MUSIC MELODIC ANALYSIS—continued TABLE 7.—ACCIDENTALS—Continued : Sioux songs Mandan ply i pores Sioux songs| Ute songs Hidats Total Num-| Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent | ber | cent | ber | cent | ber | cent Songs containing—Contd. Sixth raised a semitone. 9 3 1 5 3 14 ogee ABOSeS 1 1 14 1 Fourth raised a semi- MOM Orcea cee ce seco 2 1 RY meee 6 2 3 8 5 4 16 1 Third raised a semitone. 5 ee a | ae ae Beery Peers eer Reece 1 1 De eat Second raised a semi- LONG! da seacessesTsn: 3 DR Sete eretamiate 3 is | Saas cee wncate 2 2 hh aoee Seventh lowered a SOMIGON Oe tenio cerain IN Ghee oGsond aadmc 3 i lel Beeetens| RRS 3 3 (liane Sixth lowered a semi- CONGES- a3s ace She see 16 Digital eteica a 5 Te ne | |e 1 1 22 2 Fifth lowered a semi- PONCUNS A S ee cies 0 eR baat ScbSke| Roose be ed sdodsdicecsos] ASonckyehecre escent Fourth lowered a semi- TONOLS. $2 Ge eee sto ss DES See Soeysa eee aes 3 Die arate tere state ate ereteravatcll ata stetee fe er Third lowered a semi- EOMClss Sse t eas ones 3 i Bl (eerie Picea 3 118 EEE eS ASH Sa oases) oeace GilkSsace Second lowered a semi- CORO see sok seer ae 6 bo) Reatese Scserac 2 Te ag he Mee Scesea peeaen Sie casra Seventh and fourth raised a semitone..... Dh Bersee lone send Saree TE rseiarel sooece Raeoee 2 a Cid eee’ Sixth and third raised FIROTHICONG Jaehiaoe eo oes cle = Sal eciekicel slemace| se ee ate TR ree ceils sels eck Saaceslesenics Valesutte Fourth raised a semi- tone and second low- ered a semitone. ..-... DOS So cell eae atin |tatcie sul ates aaa as oer [e cies = |b siorwice!| see Sew fewieia et Dy |[oeretese Second raised a semi- tone and sixth and second lowered a Semitanes<¢). see s2-525 Dele ess | Some cn Panes ote orten ee wie wa lowes |Sacee.s|Sccntels|omma'e-c Ti eoees Fourth raised a semi- tone and third and second lowered a SOMMUONG se ctecie ania aellta ssi (ere e|'ses o oie] ese cain Te eae acre eta ets ciel aiee terete oace's Ie Ke aoe Seventh and fourth Towered:a semitone: = .|-22)5.|s<.s0c|oecece| ose aoe il Beets Masel Gaeees| Gearicc cence 1a ee Second, third, and sixth lowered a semi- LONOLee tsa t niece cee ileeeciae| sateen pot wel seteeclsosticnl cence acct cs| tee eases ent |e ee UrrePulany case denaacsseebes | Sneehas secs culsecsaclsanece 2 yh SN Re PR BS) Ree Fae a Ee Pile aeers otaley. wisses s,s we 8405255 2. 20 le sats Pa HO e253 PD Scere S20 Pee oe 21 22 BUREAU OF AMERICAN ETHNOLOGY [RULL. 80 MELODIC ANALYSIS—continued TABLE 8.—STRUCTURE F Mandan . Sioux songs Chippewa - and songs redler Sioux songs} Ute songs Pirdatcc Total songs Num-| Per |Num-} Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per ber | cent | ber | cent) ber | cent ber | cent} ber | cent | ber | cent Melodies. 2052-8 5. en eens 222 66 iv 85 | 158 66 54 49 31 28 | 482 59 Melodic with harmonic PAMOWOrK 2. fhe see aes ose 35 10 3 16 47 20 32 29 44 40 | 161 19 Harm onic 8.52. scsi 83 CAM Bee oe | aera 33 14 24 22 35 380 | 175 21 Ieregulat 2 oss. c cen neceas aac oanstee aeeane seemee ieee 7) Pepe eel Enenir Sqace 4 sacs|ars 85" YM = Total esesoie sees eee 340 atiwee 2025-322 ZA0:||Sa ss 110-5525 TIO! Sconce S20u\4eecee 1 Songs are thus classified if contiguous accented tones do not bear a simple chord relation to each other. 2 Songs are thus classified if only a portion of the contiguous accented tones bear a simple chord relation to each other. 3 Songs are thus classified if all the contiguous accented tones bear a simple chord relation to each other. TABLE 9.—FIRST PROGRESSION—DOWNWARD AND UPWARD P Mandan . Sioux songs Chippewa |, - ; and ecorded by | Sioux songs} Ute songs : Total songs f Hidatsa Chippewa songs Num-} Per |Num-| Per |Num-| Per |Num-} Per |Num-| Per |Num-) Per ber | cent] ber | cent} ber | cent | ber | cent} ber | cent | ber | cent 238 70 12 60 | 165 69 76 69 56 61 | 547 67 102 380 8 40 75 31 34 31 54 49 | 278 53 B4U ase Sas 20)\css2s 24D) cooee 1107 |S. 52 oe LOG | Sasa 20h eee “TABLE 10.—TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD1 é Mandan : Sioux songs pe a recorded by | Sioux songs| Ute songs ae Total gs Chi Hidatsa ppewa songs Num-| Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent | ber | cent] ber | cent} ber | cent 5, 422 65| 346 64) 4,651 63| 1, 887 61| 1,733 63)14, 039 64 2, 864 35| 198 36) 2, 674 37] 1, 226) 39| 1,038 37) 8,000 36 852865. 2.2 54d lo eee po20|Sacese 3 Palibi aces PR ALN epee. 22, 039). - ~~ 1 Ina group of Slovak songs analyzed according to this methodit was found that the minor third occurred one-fourth to one-half as frequently as in Indian songs, while the minor second occurred from three to four times as frequently. (Bull. 75, Bur. Amer. Ethn., p. 55.) In the music of the Hindusit has been found that ‘‘The augmented Fourth and diminished Fifth, which we avoid,are common with them. . . No less surprising than the presence of intervals which seem to us unvocal is the comparative absence of what we should call vocalintervals—the Thirds, Perfect Fourth and Fifth, and the Sixths... . in fact, is habitually taken as a changing note: . indeed, in any way but as a harmonic interval.” Fox Strangways, Music of of tentative way: ... Hindostan, pp. 324-325. . . or agrace-note: . A Third, . . or, especially in ascent, nia sort DENSMORE] MANDAN AND HIDATSA MUSIC 23. MELODIC ANALYSIS—continued TABLE 11—INTERVALS IN DOWNWARD PROGRESSION ‘ . Mandan A Sioux songs Chippewa | recorded by | Si and ) y | Sioux songs} Ute songs : Total songs | Chippewa Ee Num-| Per |Num-} Per |Num-] Per |Num-| Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent} ber | cent | ber | cent] ber | cent Intervals of a— Pwelfthsw = 225-0555 « Does Ses See oc ess calere ell amese ala comals ew ale ae Se eae INTs Stoo ono ke PAS See cd| ates culancete | seiee acl 4s csie| tereemelee sace|tdeecs |aecece Pye ote MCtAVOte Sone os tees 7 [se oe ie a Re |e | ee Le oe | ao (| (A Diller <2 Seventh: 20. 2.2.2.5. Bi Seren ae eeal Socteros anette wale deanlecucesllcacacs|e niece Dbl aaa Wisionsixtl a o22 06.5 ee 1 i em dig eae) ee 1 Sa AC Sos) Ne ciel emeioel eee 1D MATION SER ee sy cS eAle coal ese Siete il va tl eae Nase Fy) ae 20) | aan IfEheerte ete tes! he 59 1 Oi || saciewe 26 1 30 2 DOs ee L2Snieas Ss OE ee eee Ses 421 8 22 6 | 525 11 281 18 | 239 14 |1, 488 10 Majorthinds <22% 2°. .s52 628 11 4 1 343 a | 5243 15 | 206 14 |1, 424 10 Mintorthird sss e-—.52=- 1, 824 34 114 33 1,396 380 | 446 24) 567 33 |4,347 31 Augmented second.....|......|.....- el ee Ch BES a Beeson Beeeae PBS os ae ee Major second. .........|2,472 42) 198 57 |2,085 46 | 824 44) 612 84 |6,191 4h Monorsecond's -'-/-- sb |oseetelonsce< 4 1| 264 6|-+ 54 3 92 6 | 414 3 MGtalewr cette so. Pd Det eee 346155204 CGS ee ande 1 887 |Soce IBS id eee 14,039|..-... TABLE 12.—INTERVALS IN UPWARD PROGRESSION zi Mandan . Sioux songs Chispews recorded by | Sioux songs| Ute songs and Total gs Chi Hidatsa 12181 songs Num-} Per |Num-} Per |Num-| Per |Num-] Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent} ber | cent | ber | cent | ber | cent Intervals of a— | Fourteenth. ........-.. Wi eraraete | chert eral| atelate tcilleats ote | esta cece ue Stators Sevel| Aa Sehr llie ereiers UF eae SR WOLLL ot seer ree canon Lf rae att fra clave aN ce aha gern teed tee altel steps ite oleae Cee arian clearoe,2 AB Nee Hleventh. < o..s.2c.--0 Sh Absa Boss Bae ae erate eel ee eamtera| neers E o| Pemere oflasiee Sic YN ee Menthe. acacisGoswos ces A) es ee eae Gilzrode claacmer lace ste Sa esses 14 jreeree ININGH ts. Saeco oust DiS aeerke 2 Giloseat Ai erste eerie laseece i ee Ogtave-+- sso ra. cssaste 43 1 2 63 2 12 1 14 1 134 1 Deventhyes 3555 1ee ee OMPecee ke a eolewnges 13 Pe a CN eee ee PH eee aS eee Majorsimths 3-2-2 c0.. 47 2 Pilesosee 4 29 eee 12 1 14 1 90 1 IS TERY STECYD. Gl lpm as Oona ae Gel Pagar a ai bay a 3 1 30 1 22 2 20 2 Hy BAe eer iit heteee soe ee Sn ee 196 7 11 6) 051 6 89 7 50 | 497 6 LACO Ub § ees Se es et rope 388 14 31 16 | 422 16 | 198 16 | 233 23 1,272 16 Majoritinrds ts ss.-csee 345 12 9 4 201 109) Aad 14) 128 12 | 919 11 Minorihind=esssseusce. 800 29 51 26 710 27 | 246 20} 281 a7 |2,088 26 Major second... ......./1, 009 85 85 43 | 818 31 439 86 | 256 25 |2,607 83 Minorserond = ceees neler eee ae cee Z 1 167 6 29 2 42 4} 240 3 ER QUA thy. oi Pee eee Peele) eae 198) Jos 322. Py? ale Tee 15226 5|\ae ods. 1, 0881\S.cae2 8,000: 15 o= 2. 24 BUREAU OF AMERICAN ETHNOLOGY [BULL 80 MELODIC ANALYSIS—continued TABLE 13.—AVERAGE NUMBER OF SEMITONES IN AN INTERVAL Sioux Compar- Manda: ; Old | ativel ae Chippewa] _ S°D8s : Y | Ute and songs jee ae pe node songs | Hidatsa | Total Chippewa songs songs Numberiofsongss.-ste22es- enc 340 20 147 93 110 110 820 Nun_ber of intervals............ 8, 286 544 4,445 2, 880 3, 113 2,771 22,039 Number of semitones........... 25, 791 1, 592 12, 864 8, 558 9,777 9, 080 67, 662 Average number of semitones in AWINteKValy-.= mo ee et eee 3.1 2.93 2. 89 2.97 3.14 3.27 3.07 RHYTHMIC ANALYSIS TABLE 14.—PART OF MEASURE ON WHICH SONG BEGINS = Mandan . Sioux songs Chippewa . and recorded by | Siouxsongs| Ute songs * Total songs f Hidatsa Chippewa songs Num-| Per |Num-| Per |Num-| Per |Num-) Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent} ber | cent] ber | cent | ber | cent Beginning on unaccented part of measure. ......... 109 87 12 60 96 40 25 23 47 43) 289 87 Beginning on accented part Of measure - 255 oe. seeerae 189 63 8 40 | 144 60 85 76 63 57 | 489 63 Transcribed in outline...... 82). nw slawcaee| oe smaa| sa eee leet a daaee lao meea looms a See BD on eee Total es; eee ee 340 os. 52 7. Vi ae Se Os esss ELL) [Pecos DIO: eee 820) | 22 sess TABLE 15—RHYTHM (METER) OF FIRST MEASURE eee eee F Mandan seven ig recorded by Sioux songs} Ute songs LES Total ee songs Num-| Per |Num-|} Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per ber | cent | ber | cent | ber | cent | ber | cent} ber | cent | ber | cent First measure in— 2-ATIMNG ect ve eke aes 149 50 9 45 | 142 59 68 62 61 55 | 429 56 3-Stimel....i- eee eee 120 40 6 30 94 39 39 35 47 43 | 305 89 4-SHIMOs2 = site . Sw eecee 9 Bi secs sales seelecctae eset saeasloseoes| semene locas 9 1 ee Gb tts yeh eaee ae ee 9 3 4 20) |\.c22 25 Snaseelesoree| senses | Feaeeelas sees 13 1 6-4 time. - . ae |e RS Bees CSecers OSES Serco Geese Peano mSranc memcee i en 7-4time....... 2 DN oa ciSe law atts eee ees em oe eee ae ee teeed oe ee [oie meee ee sees Dest 3-Sibime-! -i 52 sen en 4 Bose Sal dem esl tetera Meco ee ws nc see Seal aes ore | eee A eines 4-Stime i. eke Fo aaa ee leneoae Ree oes aoe eee 3 1 2 O5)| 23 one LT hee 5-8 time. . . Lessee Bie a 1 5 1 1 1 1 1 1 Golan VS bMS Bas coo! scan Slee bee leew ae Sisecee teeecias | eee ae een eee a ee 1 1 je eens, PANINI GS 2% ole eta ata Qbleasseelaae Terminology, throughout the present study of Indian music, is intended chiefly as a guide to the student and a means of calling attention to certain peculiarities which seem of interest and importance in the study of Indian music. DENSMoRE] MANDAN AND HIDATSA MUSIC aa of Ute dance song and by the several distinct drumbeats of the Chippewa or the “fancy drumming” noted among the Sioux. In 87 per cent of the Mandan and Hidatsa songs the drumbeat is with- out division into accented groups. The time unit is a quarter note (one drum beat with each melody count) more frequently than it is an eighth note (two drumbeats with each melody count). In one song, which is in triple time, we find two drumbeats in each meas- -ure, the voice and drum being synchronous on the first count of the measure. Summary.—In observing this material as a whole we note that the accented tones in 41 per cent of the songs suggest a fundamental tone, and the simplest of its upper partials—namely, the octave, twelfth, second octave, and the major third in that octave. These tenes, if placed in the compass of one octave, constitute the major triad. From this fact it appears that these Indians are semicon- sciously aware of certain tones which, in various intensities, are naturally present in other tones and that they find pleasure in these tones, amplifying them by other tones according to their liking. The minor third is the interval of most frequent occurrence except the major second and is approximately the average interval in the songs under consideration. This interval appears to be especially pleasing to uncultured peoples and has been noted by explorers as well as by students of primitive music. It seems reasonable to conclude, in view of these observations, that a semiconscious conformity to natu- ral law and a certain form of estheticism are governing factors in the music of these Indians. Resemblances between the songs of the Chippewa, Sioux, Mandan, and Hidatsa occur more frequently than between these tribes and the mountain-dwelling Utes, but these resemblances are not sufli- cient, either in number or importance, to justify an opinion that the physical environment of these tribes has had an effect on the form of their songs. On the contrary, the differences between the classes of songs within a tribe may be regarded as an indication that the mental concept which prompts a song has a distinct influence on the melody and rhythm of the song. Points of difference in these songs are noted as follows: The Mandan and Hidatsa songs differ from those of the other tribes under analysis in a more frequent use of rests and syncopations (nota legato) and in a downward glissando at the close of a phrase or of the entire song. The five tribes under analysis differ among themselves chiefly in the use of the drum. Certain ordinary drum- beats are used by all the tribes, but in addition to these each tribe has certain peculiarities of drumming which are more or less pronounced. The differences between the songs of these tribes are no greater, 82 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 and even may be said to be less, than the differences between some of the classes of songs within the tribes. CoMPARATIVE Group ANALYSES OF MANDAN AND Hipatsa Sones The several groups of these songs are found to differ among them- selves in melodic and rhythmic peculiarities. These differences may not, in every instance, be evident to the unaccustomed ear, but they appear in the analyses and the graphic plots of the songs. Their presence is an evidence of the correctness of the Indian in asserting that he “can tell the kind of song when he hears it.” No explana- tion of these differences is offered, nor does it seem necessary at this time to attribute them to any definite causes. The first 10 songs are those of the societies said to have been or- ganized by Good Fur Robe, and they may therefore be considered among the oldest songs of the series. Seven of these songs have a range of more than an octave, 7 have a rhythmic unit, and 18 per cent of the entire number of intervals are fourths. In other respects the songs vary, showing no group characteristic. The songs in major and minor tonality are equal in number. Following these are eight songs that were sung in the gardens. These are a distinct type, and we note that seven are major, none have a compass of less than an octave, and they are chiefly melodic in structure. They are not rhythmic in character like the preceding group, as only two of the eight songs contain a rhythmic unit; neither do they resemble the former songs in their progressions, as 84 per cent of the entire number of intervals contain two, three. or four semitones, being intervals of a major second, a minor third, or a major third. / Following this group are the songs connected with eagle catching, all of which were said to have been received from animals and to have what may be termed “supernatural power.” These songs have a small compass and large progressions, contrasted with the group next preceding, in which the compass was large and the progres- sions small. Only two of these songs have a range of more than an octave, while 78 per cent of the intervals contain other than two, three, or four semitones. All are characterized by a wide variety of progressions, They are rhythmic in character, all but two having a rhythmic unit, and they are strongly harmonic in feeling, only two of the 12 songs being purely melodic in structure. The next 16 songs (Nos. 31-46) show a remarkable evenness. This section includes songs of legends, folk tales, and Mandan women’s societies. The only point of interest is that all but three of these songs contain a rhythmic unit. DENSMORE] MANDAN AND HIDATSA MUSIC 33 With the next songs we enter the Hidatsa material and that in which the two tribes are more or less mingled. The 11 songs of the Stone Hammer and Fox Societies follow, and are combined for convenience of observation.. We note that 43 per cent of the intervals are whole tones (major seconds), an un- usually large proportion of this interval. All but two contain rhythmic units, are major in tonality, and begin with a downward progression. The next 11 songs are those of the Dog Society in its various divisions and show striking peculiarities of their own. Major and minor are about equally divided. The range is large, only one song having a compass as small as an octave, while one has a range of 14 tones. They are strongly harmonic in feeling, only one song having a purely melodic structure. Attention is directed to the feeling for the dominant in these songs, five of which begin and eight end on the dominant. Every song except one has a rhythmic unit and contains a change of measure lengths. The next eight songs (Nos. 69-76) are in some respects the opposite of the preceding group. These are songs of the Buffalo and Horse Societies, all of which are melodic in structure. All but two are major in tonality and all except one begin on the accented portion of the measure, which is an unusually large proportion. Like the other songs of societies, they are rhythmic in character and all but two contain a rhythmic unit. The war songs (Nos. 77-102) are not rhythmic in character, only half the number containing a rhythmic unit. In six of these songs there is no change of measure length, which indicates an unusually steady time. Fourteen begin with an upward progression, which is a proportion larger than the average. In these, as in the songs of the Buffalo and Horse Societies, there is a strong feeling for the dominant, five beginning and 14 ending on that tone. Twelve of ‘these songs are purely melodic in structure. The remaining eight songs are of various classes, grouped as “ mis- cellaneous,” and, like the songs connected with legends and folk tales (Nos. 31 to 36), they are quite evenly divided in all their character- istics. Three of the eight contain no rhythmic unit, which is smaller than the average percentage indicated in Table 17, page 25. Summary.—The general conclusion from the foregoing analysis is that many of the groups of songs have individual characteristics. It is interesting to note that the songs of the Dog Society are chiefly harmonic in structure, while all the songs of the Buffalo and Horse Societies are melodic. The contrast between these groups is further shown in their graphic outlines (pls. 11,12). Attention is directed to the lack of rhythmic unit in the war songs, combined with an unusu- ally large proportion of songs containing no change of measure 34 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 lengths. In all these groups we note that songs with a large compass frequently have a predominance of small intervals (one, two, three, or four semitones), while songs with a small compass contain an unusu- ally large number of larger intervals (five or more semitones). GraPHic REPRESENTATION oR “ Prots ” 4° Five classes, or “ prevailing types,” were noted in the plots of the Sioux songs. The first two are general throughout the songs and do not appear to be connected with any particular idea. These two classes or types appear also in the present series, and for comparison the Sioux songs selected as represen- tative of these classes are here re- printed together with similar songs of the Mandan and Hidatsa (fig. 2). The present series contains no songs of sadness, which constituted Class E of the Sioux songs. Classes C and D comprised songs expressing positiveness or self-confidence, and songs connected with animals, each class showing a peculiarity of out- Bee. Gt ee. Bull. 80, No. 20. line. Songs of similar nature in the US eet be fis apres eon present series show somewhat simi- lar characteristics. It is not the in- tention, however, to attribute undue importance to a connection be- tween the idea of a song and a certain outline. In order to present this subject in a form which is more con- venient for observation the coordinate lines, shown in figure 2, are omitted and the plots are reduced in size (pls. 11, 12). A descending 484 form of graphic representation, or “ plotting,’ of melodies was devised by the writer in order that the trend of Indian melodies might be more apparent to the eye than in the musical transcriptions. The general method 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 determined 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 the lines connecting 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 intersections 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 course of the melody between the accented tones would, in many instances, vary widely from these lines if it 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 (see Table 8, foot- note). Since the sole purpose of these plots is to show the trend of the melodies, it seems permissible to omit from the representation not only the unaccented tones, but also a distinction between whole tones and semitones in progressions and a distinction between double and triple time in measure lengths. BUREAU OF AMERICAN ETHNOLOGY BUEEETIN 80) PEATE 11 Songs of Goose Women and Black Mouth Societies ee Wis 2 3 5 i Garden Songs as 14 16 17 Songs connected with Eagle Catching ee 21 22 24 25 26 27 * 28 Songs connected with Legends 31 By 33 34 35 PLOTS OF MANDAN AND HIDATSA SONGS BUREAU OF AMERICAN ETHNOLOGY BULLETIN 80 PLATE 12 Songs of Women’s Societies Wh 46 Songs of Men’s Societies IN 1h Se War Songs Ba ce ae 77 80 st WL 94 97 Miscellaneous Songs ve aa 110 PLOTS OF MANDAN AND HIDATSA SONGS DENSMoRB | MANDAN AND HIDATSA MUSIC 35 trend is evident in all the classes of songs, but the plots selected for iulustration are those most typical of each class. Another form of plotting, which shows all the progressions in the melody, is used with Nos. 72 and 92, and is given in connection with the analyses of those songs. GOOD FUR ROBE* Throughout the study of the Mandan and Hidatsa there runs an interesting comparison between the beliefs which were held by these tribes in the past and those of the present time. An instance of this is afforded by the beliefs concerning Good Fur Robe and the story with which his name is associated. According to this story (p. 7) the Mandans once lived beneath the earth. Good Fur Robe is said to have been their chief at that time, and to have established certain organizations and customs for the good of the tribe. There may be persons on the Fort Berthold Reservation who still believe the story of the grapevine, but all the writer’s informants stated that “it is said” the tribe came to the earth in this manner, declining to ex- press a personal opinion in the matter. However, when asked whether they believed that Good Fur Robe was a tradition or a man, they replied without hesitation that he was a living chief, like the other chiefs, but much wiser than they. It is interesting to note that the beneficent character of this traditional chief, or culture hero, has made him a living personality in the minds of those who, from con- tact with the white man, have lost faith in the old legends. He is still to them a human leader, kindly, far-sighted. and wonderful in his power. Good Fur Robe always strove for the highest good of the people. He wanted them to have plenty of corn and vegetables, so he “ puri- fied” the seed, making it fruitful; he wanted the children to be healthy and the young men to succeed in war, so he organized the Goose Women Society, which, in addition to its other functions, had power to benefit the people (see pp. 39-47) ; and he wanted the village to be secure, so he organized the Black Mouth Society for its defence. Associated with Good Fur Robe were two chiefs and their “ sister.” The chief next in power was Head Rattle, the third was Rawhide Loop, and their sister’s name was Swinging Corn. 47The Mandan equivalent of this word was given by James Holding Eagle as Mi’hisi, meaning ‘“‘robe with heavy, handsome fur on it.” Dr. Gilbert L. Wilson, in personal conversation with the writer. stated that the full form of the word is Mi’-he-hi’-si, from m’-hé, robe, hi’, fur, and si, good, and that ‘‘ when the syllable hé follows a vowel it is often omitted, or nearly so, if pronounced rapidly.”’” The name was given the chief because of a particularly fine fur robe which he wore. Dr. Gilbert states that this was the hide of a 2-year-old buffalo cow, and that the chief wore it with the hair outside, 36 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 Tue OFFICE or Corn Priest The corn and the buffalo were the chief subsistence of the Plains tribes, and the extent to which the procuring of these entered into their worship is an interesting study. The Omaha appear to have had the most highly developed rituals and beliefs relating to the corn and its cultivation.** There are corn origin myths among many Indian tribes and a wealth of corn legends in the southwest, while the Pueblos have many clans named for varieties of corn. Among the Mandan and Hidatsa the Corn Priest and the rites associated with him constituted the agency for securing an abundant supply of corn; and buffalo dances were held by the people as a means of ob- taining these animals for food. Such dances were distinct from dances of the Buffalo Society (p. 138) and formed part of a cere- mony known as the Okeepa. The Buffalo dance is described by Maxi- milian*® and by Catlin®® in connection with the Okeepa. Boller mentions a similar ceremony called the “ Bull Medicine,” having for its object the securing of buffalo and also success in war and in the capture of horses.®* | The origin of the Dance Society is given on pages 84 and 85. Since the food supply was a constant source of anxiety to primi- tive people, it is not strange that a man who claimed to control that supply was regarded as a man of supernatural power. It is impos- sible to translate into English the religious concepts of an alien race without using words which are associated with the religion of the white race. In preceding works it is explained that the Sioux word wakay’ and the Chippewa manido’ are purely native terms and that their significance must be largely inferred from the connection in which they are used. (See Bull. 61, Bur. Amer. Ethn., footnotes, pp. 85, 88.) The Mandan word of this character is fo’pinis, which is somewhat imperfectly expressed by the English word “holy.” Instances of its use in the present work are as follows: He who was qualified to perform certain rites and to fructify the seed of corn or vegetables was called kohé pinkus, freely translated “ priest;” the mysterious beings who brought the Little River Women Society and its songs to the Mandan were called malio’ pinimi, translated “ spirit women”; the old man who made a wand for a novitiate of the Stone Hammer Society offered a petition to ma’hopaikti’a, literally “ great medicine,” the word fo’pa meaning “charm or spell.” The word ‘malio’pinidé, occurring in song No. 4, is translated “I am holy.” When the Corn Priest purified the seed, he was called ko’hayté (corn) kaka’naka (purifier), the latter word meaning literally “to 48 See Fletcher and La Flesche, The Omaha Tribe, pp. 261—269. Similar rites among the Osage have been intensively studied by Mr. La Flesche. #9 Maximilian, Travels, pt. 11, pp. 324-333. 50 Catlin, ‘“‘ O-kee-pa,’’ pp. 16—25. 51 Boller, Among the Indians, pp. 100—111. DENSMORE] MANDAN AND HIDATSA MUSIC 37 wipe off impurities.” This term was applied to the Corn Priest in only one of his ceremonial activities. The duties of Corn Priest were twofold in character and comprised the distribution of seed which he had in his possession, and the fructifying, or “ purifying” of seed which was brought to him for that purpose. The first was performed every year in the spring, but the second did not always occur. Concerning the distribution of seed, it was said that the Corn Priest kept a supply of every variety of corn and knew what variety each family usually planted, for he noticed the scaffolds in the fall with their braids of drying corn. If by any chance he forgot the variety, he asked the woman who made the request and was informed whether her family raised white, yellow, red, “ pink,” or other corn. No one knew where the Corn Priest obtained his seed corn, but he always had an abundance. The request for seed was always accompanied by a gift, and he gave each woman a few kernels which she mixed with her own corn, thus rendering it productive. The ceremony of purifying the corn was performed in accord- ance with the instructions of Good Fur Robe. A “map of the earth,” drawn on buckskin, and a ceremonial pipe, to be described in a subsequent paragraph, were used at this time. The corn or other seed was spread on the ground, and the buckskin map was hung between the seed and the Corn Priest in such a position that its lower edge rested on the ground. The Corn Priest sprinkled the seed with water and sang certain songs, but these died with Moves Slowly, the last man who had the right to sing them. It is said that neither drum nor rattle was used with these songs. According to Will and Hyde the Corn Priest “then takes brushes of mint and performs the actual cleansing by brushing over all of the seed, and all of the people as well.”*? After performing this ceremony the Corn’ Purifier was “holy” until the harvest. He painted himself and stayed in his lodge, eating only dried vegetables and corn of the previous year. It was believed that if he ate so much as one kernel of fresh corn a frost would come that night and destroy the entire crop. A Corn Priest who for some reason had not performed the ceremony of purifying the seed was under no restrictions and could eat whatever he liked. Among the regulations pertaining to the season was a rule that no one should use a knife on a cornstalk at the time of the purifying of the corn. If an extended drought en- dangered the crop, it was customary for a group of men, or one of the men’s societies, to gather a large quantity of gifts and take them to the Corn Priest with-a request that he secure rain. If he were unable to do this, the gifts were taken to the medicine men, each of 52 Corn among the Indians of the Upper Missouri, p. 263. Subsequent duties of the Corn Purifier are enumerated on pages 264—268 of this work, 38 BUREAU OF AMERICAN ETHNOLOGY [BULD. 80 whom in turn tried to bring rain.** Otter Woman said that her father, Black Tongue, was often called upon and-that the people “poured a great deal of water on his head, and he secured rain for the corn.” Two of Black Tongue’s songs are included in this series as Nos. 16 and 17. In the summer evenings, after it was dark, the Goose Women some- times went to the lodge of the Corn Priest and sang with him. The Corn Priest was closely associated with this organization and had a part in its ceremonies (see p. 45). Tue Instructions or Goop Fur Rost When Good Fur Robe, the first Corn Priest, grew to old age and realized that he had not long to live, he selected a man as his suc- cessor and instructed him in the duties of the office. He also in- structed certain of his descendants so they could act as Corn Priests and gave them a special commission that, when he and the other male chiefs died, they should keep the three skulls, saying that as long as they did this the people would have good crops of corn.* His instructions were obeyed and it is said that the skulls are now in the possession of the only descendant of the three chiefs. Good Fur Robe told his successors to keep a “map of the earth,” which he drew on buckskin, and the ceremonial pipe which was smoked only by the Corn Priest. The map and pipe were de- stroyed by fire when Moves Slowly’s lodge was burned and were never replaced. This fire took place prior to 1884, but the exact date could not be ascertained. A tradition concerning the origin of the ceremonial pipe is remembered by a few of the old people. They say that Good Fur Robe wanted to make such a pipe and that his brother sought for suitable material. He found the quarry of red pipestone located in what is now the State of South Dakota and called it to the attention of Good Fur Robe, who refused to use it for a ceremonial pipe because the red color symbolized blood. The red pipestone was therefore used only for common pipes and the ceremonial pipe was made of wood.** When Good Fur Robe had finished making this pipe, he said, “ This pipe represents the earth. It is one pipe, yet it can be taken apart, the stem from the bowl. The land on the north of the Missouri River can be represented by 53 Informants differed on this point, some saying that the request was made first of the medicine men, and that if they failed, it was taken to the Corn Priest. ' It is the custom of some tribes of the southern plains to place the skull of a chief ‘in their shrine. Pepper and Wilson state that the ‘‘ Hidatsa eagle-man ” said in his old age, ‘‘ My skull and my friend’s skull shall be the medicines of my band... And so long as my skull is thus kept in honor, my spirit will remain with it to help the people and be their guide.” (An Hidasta shrine and the beliefs respecting it, p. 293.) ; 55 A wooden pipe was among the articles in the Hidatsa shrine. See Pepper and Wilson, An Hidatsa shrine, p. 285, DENSMORE] MANDAN AND HIDATSA MUSIC 39 one part of the pipe and that on the south by the other part, but they are joined together as one.” SOCIETIES ORGANIZED BY GOOD FUR ROBE Tuer Gooszk WomMEN Socrery Good Fur Robe organized this society and it is said to have been ~“holy,” because Good Fur Robe was at the head of it and he was a “holy man” (priest). He selected certain women as the first mem- bers of the society and divided them into two companies, telling one company to paint their mouths black and the other to paint their mouths blue. He also gave them certain songs and told them how to conduct their ceremony. He said this society would “look after the corn,” and that if there were an early frost the Goose Women _must bring presents to him so that he could prevent damage to the crop. Good Fur Robe told the man whom he trained as his succes- sor that he must sing with the Goose Women when they danced and select two others to sing with him. In later years four men sometimes sang at the dances of the Goose Women. In addition to their duties in connection with the corn and the holding of a cere- mony in the spring, the Goose Women were believed to have special powers for good. Thus, if a child were ailing, its parents took presents to the Goose Women, and it is said that after a time the child grew straight and sturdy as the young corn. If a young man were going on the warpath he might betake himself to the Goose Women and ask them to give him success. The exact nature of their help was not ascertained except that they “sang hymns which were prayers.” From the time of Good Fur Robe until the old customs were lost in the life of civilization this gentle sisterhood was perpetuated, being an honored and important part of the tribal organization. Young girls of suitable temperament were selected and trained for membership, the Goose Women watching constantly for those adapted to a place among them. The character and traditional origin of the society is thus empha- sized in order, so far as possible, to vivify the early life of the Mandan. The writer’s informants did not indicate the Goose Women as an age society in the usual acceptance of the term. Lowie states that “it is evident that the Goose Society is of a distinctly more religious character than either the Skunk or the Enemy So- ciety,°* and presents a detailed study of the organization.” Maxi- milian lists it only as an Hidatsa organization, describing it ‘as a medicine feast under the name of “the corn dance feast of the 56 Lowie, Societies of the Hidatsa and Mandan Indians, p. 338. 57 {bid., pp. 323, 830-338. 40 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 women.” His account has many resemblances to that herewith pre- sented.** Curtis describes an Hidatsa ceremony in honor of the mythical Old-woman-who-never-dies, for the purpose of securing abundant crops of corn.” CEREMONY AND MEetIne OF THE GoosE WomMEN Socretry When the geese went away in the fall a woman might say, “I promise, O geese, to give a feast for the Goose Women when you return in the spring.” Such a woman began her preparations for the feast before the coming of the geese and several of her friends helped her. Together they made a rack of poles with sticks laid across the poles, and on this rack they hung slices of beef or other meat and of fat. This feast was held in connection with the cere- mony of the Goose Women Society which took place in the spring of the year.® The ceremony of the Goose Women took place during the day, and its meeting, with dancing, was held that evening. ‘The cere- mony was held in the open air, near the rack of poles on which was hung the meat. Coming ftom one of the lodges, the Goose Women appeared carrying large sheaves of fresh sage in their arms. Four songs were sung during the ceremony, exclusive of that sung by the Corn Priest alone. During the first and second songs (Nos. 1 and 2) the Goose Women swayed to and fro like the corn in the field. The third and fourth songs of the group (Nos. 3 and 5) were connected with a trance which formed part of the ceremony. All these were “sacred songs.” In all the songs of the Goose Women Society it was customary for three or four men to sing with the women, this being one of the regulations imposed by Good Fur Robe when he organized the so- ciety. Each of these men beat upon a hand drum similar to those used in the men’s societies, but much smaller and decorated all around the rawhide head with goose tracks placed close together near the edge of the drum. The specimen illustrated (pl. 18, a) is very old and is in the possession of the North Dakota Historical Society. The rawhide is so discolored with age that only one goose track is discernible. This track is 14 inches in length and about the same in width. The drum is warped by the strain of the rawhide, and 58 Maximilian, Travels, pt. 11, pp. 334-336. 5° Curtis, The North American Indian, vol. Iv, pp. 148-152. 6 Maximilian mentions an autumn feast of the Goose Women, and Will and Hyde state that the autumn ceremony was considered more important than that held in the spring. ‘‘ Meat racks were set up and the women danced four dances, just as in the spring corn dance; but the fall dance was primarily a buffalo ceremony, intended to insure a good fall hunt.” (Corn among the Indians of the Upper Missouri, p. 275.) ig eee ae I cannot see Analysis —A slight rising in pitch is noted in the four renditions of this song, as in No. 5. The tone material is that of the fourth five- toned scale. The melody progresses chiefly by whole tones, the inter- val of a major second constituting 53 per cent of the entire number of intervals. The preceding song, while expressing loneliness, is still the song of a young girl. The two songs next following are those of a widow. In 1912 Otter Woman (pl. 14, a) and Little Crow, her husband, re- corded No. 63. Little Crow died soon afterwards, and when the writer returned in 1915 Otter Woman recorded these two songs, saying she had put her own words to old melodies and sung them ever since her husband died. She was so overcome with emotion that the songs were transcribed with difficulty. The melodies are those of old-time garden songs. The words of No. 14 are freely translated as follows: “The man who was my lover is dead and gone. I wonder where he is gone. I am lonely every day. If I could go to him as I am I would go, no matter how far away.” No. 14. “ My Lover is Dead ” (Catalogue No. 875) Recorded by OTTER WOMAN VOICE J = 56 Drum not recorded Analysis —The tempo of this song is particularly slow. The sub- dominant is prominent, a peculiarity that was noted in songs of sad- ness among the Chippewa. More than half the progressions are minor thirds, and the song has a compass of 12 tones. DENSMORE] MANDAN AND HIDATSA MUSIC 57 The words of this song are freely translated as follows: “A Dog Society man went north to war and was killed there. I am sad every day because I did not see him coming back. My sweetheart, if I could go to you just as I am, I would go.” No. 15. “My Heart Aches Every Day” (Catalogue No. 878) Recorded by OTTER WOMAN VOICE d = 56 Drum not recorded Analysis——This song contains all the tones of the octave except the sixth and seventh, but the only accented tones are those of the major triad. The range is from the dominant above the tonic to the dominant in the lower octave. The song progresses by intervals con- taining two, three, or four semitones, the only interval other than these being the descending fourth at the close of the song. Otter Woman said that she learned the next two songs from Black Tongue, her father. It was said that her father sang No. 16 in the varden, and that “it was sung even before his time.” It is interest- ing to note that the intervals are larger in these two songs than in the preceding garden songs (Nos. 11-15), which were composed and sung by women. 58 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 16. “ This is Her Village” (Catalogue No. 874) Recorded by OTTER WoMAN VOICE d = 96 Drum not recorded Suk-mi-he - @ = nus ta- mi - ti wa - he wa-hus hi-do te-o-to te WORDS (MANDAN) sukimighen so oe ee eee the maiden PATA Gis Sas ant ees Sea, her village Wiel Ge as A ee aa cee to see Wahltisie 2 *2eae es ae ee I came nivdo witetoter sss ee ee this it is (Free translation: ‘‘The maiden I came to see, this is her village.’ ) Analysis —Fifty intervals occur in this song, 19 of which are fourths and 22 are major seconds. The song shows a descent of 11 tones in the first 10 measures, this descending trend being repeated in the second portion of the song. The interval of a fourth was clearly given, though the intonation on other intervals was wavering in the three renditions. The song contains all the tones of the octave except the second and seventh, DENSMORE] MANDAN AND HIDATSA MUSIC 59 Black Tongue, said to have been the owner of this and the pre- ceding song, is remembered as one of the principal medicine men among the Mandan. Otter Woman was 74 years old when she recorded her father’s songs and said that he died when she was about 30 years old. She said that when the people wanted rain so the corn would grow they brought water and poured it on her father’s head, and it always rained. In the following song he “spoke to the corn,” -and said, “ You have all come back.” No. 17. Song to the Corn (Catalogue No. 876) Recorded by OTTER WoMAN VOICE di. 52 Drum not recorded Analysis —The interval of a major third does not occur in this song, which is major in tonality. The interval of a fourth comprises almost 25 per cent of the intervals and the minor third occurs with about the same frequency. Like the other garden songs, it is not rhythmic, though a short unit of rhythm appears twice. The tone material is the fourth five-toned scale, and the song has a compass of 12 tones. An echo of another side of the village life appears in the following song, which was recorded by Yellow Hair (pl. 15, a), wife of Butter- fly (pl. 15, c). The songs of Butterfly are Nos. 79, 88, and 106 in this series. The words of this song were not recorded, but were said to mean “The first (or present) wife laughs when the next wife is brought to the lodge.” 60 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 18. “The First Wife Laughs” (Catalogue No. 906) Recorded by YELLow Harr VOICE d - 48 Drum not recorded Analysis —This song contains four rhythmic periods, the second containing two measures and the others containing three measures. A taunting effect is given by the count divisions in the middle por- tion of the song. Other songs expressing derision are Nos. 93 and 107. Other songs containing syncopations are noted in the analysis of No. 1. With the exception of an ascending major sixth, the melody progresses entirely by intervals containing two, three, or four semitones. Eacir CaTcHING Early travelers in the Northwest mention the custom of eagle catching, but Matthews states that his is the first complete descrip- tion of it.°° This differs from the accounts given the present writer in that, according to him, the birds were allowed their liberty after their tail feathers had been removed. The writer’s Mandan and Hidatsa informants agreed that the eagles were killed, and the Hidatsa informants stated that they were buried with some cere- mony. The custom appears to have been common to both tribes and widely practiced in that region. The principal information, with the songs herewith presented, is from the Mandan, but certain notes are given from the Hidatsa. ® Matthews, Ethnography of the Hidatsa, pp. 58-60. Cf. also Pepper and Wilson. An Hidatsa shrine, pp. 310-314. In this account a black bear instructed a man in the art of eagle catching, and the stuffed skin of a young black bear was the eagle catcher’s fetish. The writer’s interpreter stated that the animal referred to in the tradition was “something like a bear,’ but that “as near as he could make out it must have been a wolverine.” Because of his uncertainty, he used the term “little animal” in his inter- preting, but, with this explanation, the word ‘‘ wolverine’’ is used in this material. The eatching of eagles by means of pits was practiced by the Blackfeet, Sioux, Cheyenne, and Arapaho, and presumably by all the Plains tribes. The custom among the Black- feet, with a mention of ‘‘ eagle songs,” is recorded by George Bird Grinnell in Blackfoot Lodge Tales, pp. 236-240, DENSMORB] MANDAN AND HIDATSA MUSIC 61 The Mandan material comprised in this section was supplied by Ben Benson, the last Mandan who has the hereditary right to sing the eagle-catching songs. He has in his possession the eagle catcher’s fetish, consisting of the skin of a wolverine, which he inherited from Iron Eyes, his father. He also has two “mushroom rattles” - (see pp. 62-63) which were used in certain ceremonies of the eagle camp. Iron Eyes gave four horses in exchange for the skin of the _ wolverine, though it was his by inheritance, and so great is the respect shown this fetish in the camp that it is seldom, if ever, taken from the lodge of its owner. In accordance with native custom, Ben Benson brought a witness with him for this important con- ference, selecting Water Chief, a leading member of the tribe, who occasionally made suggestions or was consulted by Benson. The interpreter was Mr. Fred Huber, an Hidatsa, as a Mandan inter- preter was not available and Benson spoke the two languages with equal fluency. Benson’s information is as follows: The man in charge of the eagle camp was called Old Wolverine, referring to the legend of the origin of the custom (pp. 64-69), and the office was hereditary, as already indicated. The duties of Old Wolverine included the selection of the place for the camp and the direction of all its arrangements. The eagle-catching camp was made in the autumn, soon after the corn harvest, and the people remained in it “until the ice was along the edge of the rivers and little pools.” The eagle traps were located out of sight of the camp and about a mile and a half distant from it. While in the eagle camp the men did not sleep at home, but in a large lodge, where they lay with their heads on one long log. An eagle trap consisted of a hollow in the ground covered with a matting. The foundation of this matting was of brush and it is said that grass and weeds were so cleverly interwoven with the brush and were placed above it in such a manner that a casual observer would not notice any difference between the trap and the hillside on which it was placed. The traps were usually located on the slope of a knoll or butte, about one-third the distance below the summit. It is said this location was chosen because the eagles were frequently seen to sweep to the ground just after flying over a knoll. Beside the woven matting, at the side next the summit of the knoll, the bait was fastened to the ground. This was usually a rabbit from which the skin had been removed, but a fox was sometimes used for the purpose. The eagle catcher seated himself in the hollow con- cealed by the brush matting, and when an eagle alighted on the mat- ting he secured it by reaching upward and grasping its feet. Traps were placed in locations where eagles were often seen, and much care 2118°—23——_6 62 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 was bestowed on the selection of suitable places, but this in itself was not considered sufficient to insure success. Benson stated that “it was a very solemn thing to go out to catch eagles, and if a man were not serious he would not succeed.” The eagle-catching songs recorded by Benson are Nos. 19 to 30. The writer visited an eagle trap, which had been in disuse for about 75 years. It was near the house of Running Rabbit, at the edge of the “bad lands,” and was considered a particularly well- located trap in the old days. Running Rabbit’s father had used it so many times that when the land on the reservation was divided among the Indians he asked that the knoll on which it was located be made part of his allotment. His wish was granted, and the land is now in the possession of his son. The trap is situated on the western slope of a butte, which is one of a long series, all being somewhat similar in contour. From the eagle trap there is a wide view toward the north and northwest (pl. 17, a, 6). The spot selected for the trap was a small bench, or bit of comparatively level Jand, not much larger than the trap itself. Weeds and brush had filled the hollow, but these were easily cut away and the writer descended into it. The hollow was found to be 3 feet deep and less than 4 feet in width. It was intended that the proportions of the trap should be such that when a man was seated in it his head would be only a little below the brush matting, thus enabling him to reach up and grasp the feet of the eagle. A bone was found sticking upright in the ground close to the trap on the side toward the summit of the knoll. This bone (pl. 16, a) had apparently been used for fastening the bait. It was identified as an upright vertebra of the buffalo, is about 14 inches in length, and on it there remains a trace of red paint.°® The-writer also visited the location of the eagle catcher’s camp, about a mile distant from this trap. Benson stated that at the close of the eagle-catching camp there occurred a period of fasting, which continued four days. During this time certain ceremonial rattles were used by Old Wolverine. The rattles are known as “mushroom rattles” because of their shape; two used in the old times, as already indicated, are in the possession of Ben Benson. Old Wolverine held a rattle in each hand and struck them together, either the edges or the flat tops, after which he shook them in the usual manner of using a rattle. The specimen illustrated (pl. 9, d) belonged to Moves Slowly and is in the possession of the North Dakota Historical Society, having 66 A buffalo skull showing traces of red paint was found by the writer on the site of a Sioux sun dance held in 1882. It is interesting to note the persistence of the native vermilion, though exposed to the severity of the weather in that region. (Bull, 61, Bur, Amer, Ethn., p. 93.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 80 PLATE 15 -a. Yellow Hair c. Butterfly b. Sitting Rabbit BUREAU OF AMERICAN ETHNOLOGY BULLETIN 80 PLATE 16 a c a. Bone used for fastening bait in eagle catching. b, c. “ Kick-ball’’ BUIEEE TING GOs PISA 7 BUREAU OF AMERICAN ETHNOLOGY a. Eagle trap (filled by vegetation in foreground) b. View from eagle trap o[seq SuIPlOH “a MOIN SUI} *D 8L aLVId O08 NILAIING ADOIONHLA NVOIWSAWV 3O Nvadnad DBNSMORE) MANDAN AND HIDATSA MUSIC 63 been photographed for this work through the courtesy of Dr. Melvin ' R. Gilmore. It is made of rawhide sewn over a small wooden hoop at one end. The rattle is 5? inches in total length, the handle is 24 inches long, and the top is 44 inches in diameter. The handle is decorated with wild sage and the entire rattle is painted with native vermilion. So much time was required for recording the eagle-catching songs, with the information concerning them, that it was impossible to secure further details concerning the camp. Accordingly, the fore- going narrative was translated to Buffalo Paunch and Dancing Bull, members of the Hidatsa tribe, and an inquiry was made from them on the subject. They stated that the custom of their tribe was substantially the same that Benson had related concerning the Man- dan and added the following information as supplementary to his. They said that eagle catching among the Hidatsa was called a/masi mire’r, meaning “cache going into,” and referring to the position of the eagle catcher when at his work.*? Although many men camped together, each had his own eagle trap, which he never entered unless the wind was in the west. The remainder of the time was spent in the camp or in securing food. Those who were most “serious in mind” were accustomed to make a great effort to secure success. There was a sweat lodge in the camp, and some men tortured themselves in the sweat lodge, crying aloud as they prayed to the spirits for success in securing eagles. It was not unusual for a man to ask that cuts be inflicted in his breast or back similar to those sometimes inflicted during the sun dance. These were not made by Old Wolverine, but by the man’s “ clan fathers,” or “clan brothers.” A man who, after prolonged effort, was un- able to secure any eagles sometimes tortured himself severely in his effort to secure assistance from the spirits. A frequent cus- tom, in such instances, was to bend down a sapling so that when a man was suspended from it-by the flesh of his breast or back his toes would touch the ground. Usually a man enduring this tor- ture was released at midnight by Old Wolverine, but if the man had expressed a desire to remain in that position during the entire night Old Wolverine did not go to his relief until daybreak. This was a severe ordeal, as the nights at that season of the year were frosty and the man suffered from cold as well as from the pain of sus- pension. It was said that, in the old days, this torture was repeated from 10 to 30 times if it did not sooner bring success in catching eagles. &7 Matthews states that the covered hole or trap is called ‘‘amasi’.”” Op. cit., p. 58. 64 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 Those who were less serious in temperament spent much time in the diversions of the camp. One of the principal diversions was the telling of stories. In ordinary times a man who desired to hear some of the old stories might send for a story-teller, cook a feast, give him a few gifts, and ask him to tell his stories, but at an eagle camp the story-telling was more expensive, and a man might even give his wife to the story-teller in return for his services. When a man seated in an eagle trap secured an eagle, he strangled it with twine made of tough wood fiber (see p. 60). He then pulled out the tail feathers and took the body of the eagle to Old Wolverine, who cut off the wings and returned them to him. Old Wolverine then asked some one to dig a grave for the eagle and “there was a little ceremony when the eagle was buried.” Before going tothe eagle camp the people ‘provided pieces of cloth about a yard in length. No special color was preferred, but the cloth must be new. When an eagle was buried it was customary to “ offer ” these pieces of cloth to him, with native tobacco,® these articles being placed in the grave. When this was finished, the successful eagle catcher gave a feast to his friends, and also offered food to the spirit. of the eagle. In the latter action they tied the feathers and wings of the eagle to a pole in front of the lodge, so located that the sun would strike it, and the food was eaten within the lodge. ORIGIN OF THE CUSTOM OF EAGLE CATCHING The following narrative was given by Ben Benson, with Water Chief present for consultation. The authority of Ben Benson on this matter has been established in the preceding section. Benson said: “ Down near Painted Woods Creek there was once a Mandan village called the Brown Earth village. The man considered leader of that village was named Sun. He and his wife had several daughters, but only one son, of whom they were very proud. The boy’s name was Black Wolf. They loved the boy so much that they would not let him work and indulged him in everything. But when the crier went through the camp, calling for young men to go out and look for game, this boy’s name was never called. One night the crier came near the place where this boy was courting a girl, and the boy said, ‘Call my name.’ He did this in order to impress the girl, but the crier called his name with those of five others. They were required to start at daybreak the next morning, and the crier sent them toward the north. It was autumn, and about the month of October, when they started. 68 A specimen of this plant was collected and identified as Cubelium concolor (Forst) Raf. by Mr. Paul C, Standley, assistant curator, Division of Plants, United States National Museum, Washington, D. C. DENSMoRD] MANDAN AND HIDATSA MUSIC 65 “ Black Wolf supposed that his companions were friendly to him, but this was not true. They were all jealous of him because they were afraid he had been courting their wives, so they decided to lose him. They knew that they could do this easily because he had not been in the habit of going far from the camp. So as soon as they started out one after another ran away from him, dashing ahead as fast as possible. They did this to tease him and wear him out. As _he did not know the country he was always left behind. At day- light they said that they would stop for a little while and rest. Black Wolf, never having been on such an expedition nor treated so roughly, was tired out and soon fell asleep. The others lay down also, but wakened very soon and ran away, while Black Wolf slept long and soundly. When at last he awoke he found himself alone in a strange place. Rising quickly, he began to walk back and forth and to call the names of his companions. He did this for a long time, and then he realized that he was lost. He carried a large bow lance, but had no weapon, not even a knife. He was well clothed, but had no means of getting food. Then he took from his bow the decorations of eagle feathers and otter fur and ‘ prayed to the buffalo skull, ® giv- ing to this object of his supplication all the decorations from his bow and all his clothing until at last he had nothing left except the bare bow. Several days passed and the weather grew cold. He could get no food and was sitting in a patch of buckbrush thinking that his end was near when he looked up and saw an eagle. It was the time when the eagles flew south, and looking at it the boy re- membered his father. He saw the eagle fly over a knoll and down the sheltered side of the knoll; there he saw it flutter and disappear. He went to the place and there he found a hole covered with brush, and in the hole there was a little animal called 7’sina gont’ga. This animal was a little like a bear (supposed to be a wolverine). It had caught the eagle and seemed to have drawn it down into the hole by ‘the feet. When the animal saw Black Wolf it said, ‘ You have arrived, my brother,’ and Black Wolf replied ‘ Yes, where is your lodge?’ The little wolverine said, ‘ There is my trail, you can see it. My father told me to catch only one eagle to-day.’ Black Wolf asked ‘ How did you catch the eagle?’ The little wolverine replied, ‘IT spit on my left hand and held it up through the brush, and when the eagle came J caught it with my right hand.’ “ Black Wolf and the little wolverine followed the trail and came to a lodge made of bark and grass,’° into which they entered. The . ® The presence of a buffalo skull in an Hidatsa shrine and of offerings to “‘ the spirit of the buffalo skull’ are mentioned by Pepper and Wilson, An Hidatsa shrine, pp. 297-298, also p. 314. 70 A lodge similar to this is used by men in the camp, all the customs of the eagle catchers being derived from this legend. 66 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 inside of the lodge was lined with the tail feathers of the eagle. There were many people there and they ate nothing but eagles, but the little wolverine had to get all the food. When they entered the lodge, the little wolverine said, ‘I have brought my little brother,’ and his father said, ‘Good, bring him in.’ So Black Wolf was taken into the lodge and warmed and fed. Some of the family had that day obtained fresh buffalo meat, and they gave him some of it with water. They were very kind to him in every way. “ After a time Black Wolf said to the little wolverine: ‘ Let us go together to catch an eagle.’ They consulted the people in the lodge, who gave their permission; then they started together for the eagle trap. They had been there only a short time when an eagle came and was caught. Black Wolf said ‘Fine! Let me catch the next one all alone.’ Soon there came a black eagle and Black Wolf said, ‘Let us get him,’ but the little wolverine said, ‘No; my father says that black eagles are very quick and must be let alone.’ But Black Wolf finally persuaded the little wolverine to help him try to catch the black eagle. As they were trying to hold the eagle it bit the hand of the little wolverine and it was hard work to get the talons out of the flesh. The little animal cried with pain and started home. Black Wolf was sad to think he had brought trouble to those who had been kind to him, so he began to cry in sympathy and the two went home in tears. When they reached the lodge, the old people asked Black Wolf what had hap- pened and he replied, ‘I asked him to help me catch a black eagle.’ The little wolverine cried still harder. Then the old people said, ‘We told him not to catch a black eagle. Now you have gotten your little brother into trouble.’ They felt very badly and showed it so plainly that Black Wolf was greatly embarrassed. He went out to search for roots which might be medicinal, and he found a root called the ‘black medicine.’ Taking it into the lodge he said, ‘ Lit- tle brother, come here and I will doctor your hand.’ The little wolverine went to him and Black Wolf chewed the root and spit upon his hand and the pain stopped at once. The old people wanted him to get more of the root so that the man could include it among his medicinal herbs, so Black Wolf found some more of the herb and the man put it with his medicines. “ Black Wolf continued to live in the lodge, but after a time he grew lonely. One day he and the little wolverine were sitting on a hill, when the little wolverine asked ‘ What is the matter?’ Black Wolf replied ‘I am lonesome.’ His companion said, ‘I will go and tell my father.’ So he ran to the lodge and soon came back saying, ‘Father says you may go back to your own people, and you had DENSMORE] MANDAN AND HIDATSA MUSIC 67 better go right away. When you go back to the lodge and they ask when you are going you had better say “ Now,” for if you say “ To- morrow” they will make you stay a year, and if you say “In two days” they will make you wait two years, and so on.’ “ So they started back to the lodge, and when they reached there the old man said ‘I understand that you want to go home. Your home is not far away. When do you want to start?’ Black Wolf replied ‘Now.’ The old man said ‘ All right,’ and told the little wolverine to select some nice eagle tails for Black Wolf to take home with him, as his people valued them. The little animal spread the eagle tails on the ground and made a big heavy bundle of them for Black Wolf. “The old man said, ‘ There is a certain chief in your village who has two daughters. They will offer you these two girls for your wives.? I want them for my daughters-in-law and you must be sure to get them. I will help you prepare the medicine necessary to secure them.’ “When Black Wolf was ready to start the next morning, the old man took white sage and tied it in four bundles, which he gave to Black Wolf, saying that two were to be used as ‘stepping bundles’ and the other two were to be carried in his arms. He told Black Wolf to lay one bundle on the ground and step on it, then lay down the other, step on it, and pick up the one which lay behind him, say- ing that when he had performed this action four times he would be at the top of the village. He said, ‘And when you come back you are to give the other two bundles to my daughter-in-law and she must come back in the same way.’ “The last night that Black Wolf slept with the little wolverine they talked of Black Wolf’s journey and the littie wolverine told him what to do. He said,‘ When you come back be sure to bring with you a corn ball* and a pipe. I will get the corn ball and we will always be together.’ He also said, ‘When you see my father, on your return, you must cry and say, “I want madawanusgi mawahéts.”’™ “Black Wolf started the next morning and did as he had been instructed. After stepping four times from one bundle to another he found himself in his own village. As soon as he entered the vil- lage everyone remarked on the fact that he was not starved, that he had good clothing, and had brought home many eagle feathers. 4 Black Wolf was supposed to get two wives, but the narrative later mentions only one. 71 These corn balls were much liked by children of the tribe. The shelled corn was dried in the sun, parched over a fire, and then pounded in a mortar, after which it was mixed with grease and made into rolls about 3 inches long and 1% inches in diameter. 72 Freely translated, this means “I. want to place the hide of a small animal on a frame for drying.” 68 BUREAU OF AMERICAN ETHNOLOGY [BULL 80 This came to the ears of the chief whose name had been mentioned by the father of the little wolverine and he sent for Black Wolf. When Black Wolf entered his lodge they talked together and the chief gave him his two daughters for wives and also gave him a white buffalo robe. Black Wolf said ‘Aha! I will have a fine robe for my father’ (meaning the father of the little wolverine). He then promised the robe to the father of the little wolverine, who heard him and called back ‘thank you.’ The chief commended him for this. “Black Wolf then went to see his natural father, who asked why the chief had sent for him. Black Wolf told him all the particu- lars and said that he had promised the white buffalo robe to his adoptive father. Then his natural father said, ‘Good, we all have plenty of robes; you had better go right up north and give it to him.’ “So Black Wolf started back to the home of his adoptive father, having secured the corn ball and the pipe, and he explained to his wife about the sage bundles and the way to step from one to another. When he neared the wolverine camp he began to cry ‘Madawanus gi mawahéts, as the little wolverine had told him to do. He went to the lodge of his adoptive father. For quite a long time his father took no notice of him, but at last he said, ‘ Well, my son, it may be so. Come in.’ So Black Wolf went into the lodge. When he had entered, he took out the corn ball and pipe and gave them to his father. After taking them his father told him to go and sit down with his wife, pointing to the place where they were to sit. Black Wolf did as he was told. The place was full of black and brown wolverines who had been invited because he was coming. The old man told the little wolverine to bring food for Black Wolf and his wife. When they had finished eating this food, the crowd was divided into two parts, the black wolver- ines going to one side of the lodge and the brown to the other. When this had been done and all were again seated, the old man said, ‘Comrades, I want you to study about this. Our friend has again used the word madawanusgi mawahéts. See what you can do for him.’ He handed his unlighted pipe to the man next him, who sat a while in silence, studying the problem, then gave it up and passed the pipe to the man next him. So the pipe was _ passed from one to another until it came to the little wolverine. He let it pass him and it went around the circle and came back to him again. He let it pass unlighted a second time. It returned to his father, who started it around the circle for the third time. ~ DENSMoRB] MANDAN AND HIDATSA MUSIC 69 When it reached the little wolverine the third time, he paid no attention to the pipe but snatched the corn ball. His father said, ‘Here, what are you doing? Light the pipe.’ The little wolverine thrust the pipe in the fire and puffed it. Then he said, ‘I did not mean to give you any corn ball but I will.’ So he broke the corn ball in two and gave them part of it. “ Afterwards all the wolverines went to sleep. The next morning _ the old man said to Black Wolf, ‘Go out with your brother, tickle him until he dies, then remove his skin carefully, fill it with grass in a nice shape, and bring it to me.’ “Black Wolf did this and brought the skin to the old man. They set it in the back of the lodge and it looked exactly like a little wolverine, eyes and all. Then the old man said, ‘ This shall be your fetish. Keep it always with you.’ He then told Black Wolf to re- turn to his natural father and say, ‘In four days we will be with you to make medicine.’ He said to Black Wolf, ‘When you get home you must prepare corn balls and all kinds of food and there must be plenty of robes. Tell all your friends to help you. We will be there on the night of the fourth day.’ “ After telling the boy to go the old man said to his people, ‘ We had better give the boy some food to take with him as they may be all starving in his village.’ The people consented, and it was de- cided to have a good buffalo hunt near the village and to give all the meat to the boy. They said, ‘We will begin it at once.’ Just as this was settled an old buffalo came to the old man and said: ‘ Com- rade, this is what I always do—give my body to the Indians. I would like to be in this.’ The old man said: ‘If that is the case you shall be treated the same as I myself. My son has brought this girl to be my daughter-in-law, you shall be the same as I.’ “The old buffalo said: ‘Sing my song and whatever you desire will come to you. If you desire the wind, it will come to you, or the buffalo will come, or the eagles will come when you sing this song.’ “The old man said: ‘Friend, that is a good song. You have treated me well and I will do as you say.’ ” All the songs of eagle catching were recorded by Benson. He said that he could sing the words of the songs in either Mandan or Hidatsa, but as no Mandan interpreter was available he sang them in Hidatsa. It is probable that the words of other songs weuld have been recorded if a Mandan had been interpreting. This is the buffalo’s song. 70 BUREAU OF AMERICAN ETHNOLOGY [ BULL, 80 No. 19. Song of the Buffalo (Catalogue No, 821) VOICE d = 69 Drum not recor ted WORDS (HIDATSA, NOT TRANSCRIBED) Eee Distt ee Ra Sas 4 eigree lodge Wish sete: #526.) iene ee ee eee ee we arrived SULTS es Se oe ee ie lodge TSI Cts seers ee ep fa LE alana Gina Kel Analysis —The tone used in singing this song was not a clear, musical tone; the transcription, therefore, is not so accurate as in a ° majority of these songs. The outlining tones (D-B-G-—D) were approximately correct in all the renditions and the rhythmic unit was steadily maintained. The interest of the song lies in its har- monic structure, descending trend, and peculiar rhythmic unit. The descending progressions, as in several other songs of the eagle catch- ing, were sung glissando. Then came a black eagle who said, “ Why, you have a son here and T did not know anything about it. You like my children best of all; you can not do without me; you must let me be in this. I will teach you my song.” So the black eagle taught him his song. DENSMoRE] MANDAN AND HIDATSA MUSIC Gls No. 20. Song of the Black Eagle (Catalogue No. 822) VOICE d - 92 Drum not recorded ~~ a@- wa-a-ku-hak ma - ni-rits WORDS (HIDATSA) Wale on = yee Be ee Se above the earth MTT ES tent sop tee ee I walk PDS Welly Wee UL eal eek 2c pe ee ens eS on the earth MAN TCS ee eee I walk Analysis —In this, as in the song next preceding, the intonation was wavering, but the harmonic form and the rhythmic unit are interesting. ‘The song is minor in tonality and contains only the tones of the minor triad and seventh. Four renditions were re- corded. The second, third, and fourth renditions are uniform in every respect and from them the transcription was made, the first rendition differing in some unimportant respects. Next came the coyote, who said: “ You are forgetting me. I am the one who runs around and sees everything. You can not do with- out me and I want you to include my song.” So the coyote taught him this song. 72 BUREAU OF AMERICAN ETHNOLOGY [BULL 80 No. 21. Song of the Coyote (a) (Catalogue No. 823) VOICE | = 144 Drum not recorded MiIs@eare festa ele eee ee old woman mada hia = Alek Re ates in the fall of the year iii! dQ 2ee3 ie ee ee ees .here MA TC! cat BESS an BE ie Ree Be I go niWhupairustal = Seaeres your medicine is strongest 73This is a term sometimes used by a man in addressing his wife and is translated “old woman.” Its use in connection with the coyote is said to have had its origin in a mythical contest between Old Man Coyote and Cedar Post. Mr. Fred Huber related the following version of this legend: ‘‘ In the center of the old Mandan village there was a cedar post surrounded by a paling of slabs about six feet high. The post represented First Man, who made everything and who had a kindly disposition. Beside him, there was another, known as Coyote Chief, who was always making mischief. In early times DENSMORB] MANDAN AND HIDATSA MUSIC 73 Analysis —The rhythmic unit is strongly in evidence in this song and was steadily maintained in the three renditions. The tone material is more interesting than in the songs next preceding, as it comprises all the tones of the octave except the seventh, and contains one accidental—the fourth raised a semitone. Thirty-nine progres- sions occur in the song, about two-thirds being downward. There is a strong feeling for the tonic chord (B flat-D-F) throughout the -melody, yet C frequently appears as an accented tone. The song is therefore classified in structure as melodic with harmonic frame- work, Then came the snake, who said, “ I want to be in this, I am fond of downy eagle plumes. When you get one you may offer it to me in my hole if you like.“ I will give you my song.” So the snake taught him this song. No. 22. Song of the Snake (Catalogue No. 824) VOICE d - 112 Drum not recorded Analysis —F ive renditions of this song were recorded, the second differing slightly from the others. The song is built upon the tonic triad, descending from the octave to the tonic, with only one accented tone which is not part of that chord. The rhythm is interesting, but contains no unit. Two-thirds of the intervals are descending progressions, the interval of the fourth being especially prominent. they had a dispute as to which should call the other Younger Brother, so they said: ‘ Let us leave our bodies here, near together, and wander around for four years; then we will return and see which looks the freshest. This will decide.’ So they left their bodies (the cedar post and the coyote body) and went away. The coyote came back first. He found the coyote body all dry—nothing remained but skin and bones, but he breathed on it, rubbed it, and after a while it was a good, living coyote. He looked at the cedar post and it was badly decayed. Soon the other came back and in a short time the cedar post was all right. They looked at each other and saw they were alike, so they said: ‘Neither of us shall call the other Younger Brother.’ So they addressed each other by a term which a man uses when addressing his wife, the nearest English equivalent being “old woman.” Cf. p.7. “Tn explanation of this it was said that ‘“ the eagle catching is late in the fall and the snakes go into their holes before this takes place, so the snake can not be present at the eagle catching.”’ 74 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 Then the old man said, “ You four may come. We will go a little way, and stop and sing the buffalo’s song; then we will go a little farther, and stop and sing the black eagle’s song; then go a little farther, and stop and sing the coyote’s song; when we reach the entrance of the village we will sing the snake’s song; and when we enter the lodge I will sing my own four songs. ” The old man told Black Wolf how to catch the eagles and said, “Now I will teach you my four songs. The first is to be sung when you make the brush shelter under which you are to catch the eagles, the second is to be sung when you make the sweat lodge in the eagle- catching camp, the third is the song of the hollow in which you are to sit while watching for the eagles, and the fourth is the song for the bait.” So he taught Black Wolf the four following songs. No. 23. Song When Making the Brush Shelter (Catalogue No. 825) VOICE eb 80 Drum not recorded Analysis —-Two rhythmic units occur in this song, the entire rhyth- mic form of which is well developed. It will be noted that in the first rhythmic unit the group of two eighth notes precedes the dotted quarter and eighth, while in the second unit the group follows the dotted quarter and eighth. The change of time occurred in both renditions. (See No. 8.) Twenty-nine progressions occur in the song, 15 of which are descending and 14 ascending intervals. The close of this, as of several other songs, was marked by a glissando. bENSMoRE] MANDAN AND HIDATSA MUSIC 75 No. 24. Song When Making the Sweat Lodge (Catalogue No. 826) VOICE - 168 Drum not recorded = i ee he ey a a es ae ee a —H [a rh |} po Fy; __{______t La ee Ea Analysis —The rhythm of this song is peculiar but was accu- rately given in both renditions. In melodic material the song com- prises only five tones and is analyzed as having C as the keynote, this placing the song on the fourth five-toned scale. The structure of the song is melodic with harmonic framework. Twenty-two progres- sions occur, 15 of which are descending intervals, 76 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 25. Song When Making the Eagle Trap (Catalogue No. 827) VOICE oe 88 (d)- 476) Drum not recorded WORDS (HIDATSA) AWalSiet Saat ee ne eee the fog PU" a2 2 he et eee I summon Analysis —Two renditions of this song were recorded and show no points of difference. This is interesting in view of the fact that the song comprises a rhythmic unit four times repeated, and that this unit contains a measure in three-four time followed by a meas- ure in seven-eight time, this in turn being succeeded by one in triple time. The final measure of the unit is slightly changed in its second and fourth occurrences. The intonation was wavering, yet the intervals of a major triad were unmistakable. From the last three tones there was a downward glissando which cannot be indicated in notation and which did not end on a definite tone. This suggested a trailing of the voice. Only one interval other than a third occurs in the song, this being an ascending fifth midway through the song. Twenty-three progressions occur in the melody, 14 of which are | minor thirds, yet the tonality of the song is major, the only tones occurring in it being B flat—-D-F. puNSMoRE] MANDAN AND HIDATSA MUSIC 77 No. 26. Song When Preparing the Bait (Catalogue No. 828) VOICE d - 160 Drum not recorded Analysis —This song is transcribed from the first rendition, the following renditions being interspersed with frequent cries and glissando calls. The melody contains no tones except those of the tonic triad and has only six progressions. After teaching Black Wolf these songs the old man said: “ I have given you my son. Treat him kindly and do not make him angry. lf you make him angry he may leave you, but if you are kind to him he may stay with you a long time. If you were bad to him, his spirit would still be faithful and come back to you, but it is much better that he remain with you himself. I will now teach you four more songs—the song of my son, the little wolverine, a goose song, a swan song, and a song of the twine we use in the eagle catching.” The latter was probably twine used in strangling the eagle. No. 27. Song of the Little Wolverine (Catalogue No. 829) des Drum not recorded Analysis —This melody comprises five periods, the first three and the last of which contain exact repetitions of a rhythmic unit, while 2118°—23——7 78 BUREAU OF AMERICAN ETHNOLOGY [BULL. go the fourth period contains a suggestion of the rhythmic unit in the count divisions. The two renditions of the song do not differ in any respect. The song is harmonic in structure, containing only the tones of the minor triad. The compass is small, comprising only six tones. No. 28. Song of the Goose (Catalogue No. 830) d =e OOr, Drum not recorded WORDS (HIDATSA) NYT 0 i: eee eee Soe uey Sects eee abreast Te os ee ee the geese dance Analysis —This song is peculiar in that 14 of the 19 intervals are thirds, 6 of which are in ascending and 6 in descending progression. The major and minor thirds are equal in number. The other in- tervals consist of 3 fourths and 2 fifths. The song is strongly harmonic in feeling and contains only the tones of the minor triad and seventh. The first three measures comprise a rhythmic unit which is twice repeated, the only variation being in the final measures. Two renditions were recorded, and they are uniform in every respect. DENSMoRE] MANDAN AND HIDATSA MUSIC 79 No. 29. Song of the Swan (Catalogue No, 831) VOICE d = 88 Drum not recorded (1) Analysis —The changes of time in this song, though slight, were identical in its three renditions. Two rhythmic units occur, each appearing three times. The singer had difficulty in repeating a tone several times without lowering the pitch, a peculiarity often noted among Indian singers. The tones in this melody are those of the fourth five-toned scale and the song is melodic in structure. Twenty- eight progressions occur, 14 being ascending and 14 descending in- tervals, 80 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 30. Song Concerning the Twine (Catalogue No. 832) VOICE d - 66 Drum not recorded Analysis —The rhythmic unit of this song is short and not dis- tinctive. All the tones of the octave occur in the song, which is melodic in structure and major in tonality. At the close of the song the voice trailed downward in a glissando which is impossible of transcription. LEGENDS ORIGIN OF THE FLAGEOLET RELATED BY BEN BENSON At a place called the “ Round Missouri” Granny had her home. A creek called “True Earth Creek” flowed into the Short Missouri, and around the Short Missouri was a flat on which Granny’s garden patch was located.”* Old Granny often went to look at her field. Once, just before reaching the mouth of the creek, she saw the print of a little child’s foot in the soft ground, and when she reached the er ee 7% The Old Woman Who Never Dies was sometimes called Grandmother, and her con- nection with the corn has already been ncted (p. 41). Will and Hyde, summarizing an account by Maximilian, state that ‘‘ Her residence was for a long time on the west side of the Missouri, some 10 miles below the Little Missouri River, on the banks of a little slough known as the Short Missouri. A single large house-ring here is pointed out as the site of her home, and the high bottom there is said to have been the Grandmother’s field. According to the traditions, she became impatient at the too frequent visits of the Hidatsas and moved into the west.’’ (Corn among the Indians of the Upper Mis- souri, p. 223.) The location is evidently the same as that given in connection with this legend, identifying ‘‘ Granny ” as the Old Woman Who Never Dies. A somewhat different version of this tale is recorded by Kroeber, with the title “ Moon-child.” The boy is the child of the Moon and an earth woman. His mother escapes to the earth and is killed, but he lingers near her body and steals his food from the garden of an old woman. He is discovered by the old woman, who addresses him as “My grandchild Moon-child.” This version contains no mention of a flageolet, Kroeber, Gros Ventre Myths and Tales, pp. 90-94. : DENSMOR®] MANDAN AND HIDATSA MUSIC 81 field she found her squashes crushed and corn broken down. “That is strange,” said Granny. .The next time she came to her field she saw the same things. She thought this was very strange and re- solved to find out who did it. So she went home and made a “ kick- ball” (pl. 16, 6, ¢), such as is used in a certain woman’s game,”* and also a bow and arrows. All these she took to her garden and left them there. The next time she went to her garden the bow and arrows were gone and the ball and squashes were shot full of arrows. Evidently it was a boy and not a girl who was spoiling her garden. Granny decided to watch for the boy and soon she saw him coming, shooting his little arrows into the squashes. “Why do you do that?” asked Granny. “My mother is dead,” said the child. “She is near here.” “Let us go and see,” said Granny. The child was so small that he could not tell how it all hap- pened, but Granny saw the dead mother and realized that there was nothing for her to do but to take the child to her house and make a home for him. This she did, and as the child grew older he was sometimes allowed to go hunting alone. Granny said, “ Be careful, something may happen to you.” Now the boy observed something which he could not at all under- stand. He noticed that Granny always put a kettle of “stir- about”? in her bed, and that the kettle was empty when she took it out. He investigated and found a big snake. “So this is what eats Granny’s stir-about,” said the little boy. He thought about it a great deal, saying to himself, “That big snake has been eating Granny’s stir-about.” At last he took his bow and arrows and shot the snake. When Granny came home he told her what he had done. The snake was her husband; but she did not like to tell this to the little boy, so she said, “Good, I will go and bury him.” So she took the big snake outdoors and talked to him, saying, “ Husband, the boy is foolish. Sometimes I am almost afraid of him myself. He killed you, but I will put you in a good place.” She took him to the Missouri River, but he didn’t like that, so she took him back to the round lake. He liked that place and said if she would put him there the lake would never be dry. She put him there, and to this day the lake has never been dry. 76‘ The women are expert at playing with a large leathern ball, which they let fall alternately on their foot and knee, again throwing it up and catching it, and thus keeping it in motion for a length of time without letting it fall to the ground. Prizes are given, and they often play high. The ball is often very neat and curiously covered with dyed porcupine quills.’ Maximilian, op. cit., p. 209. The specimen illustrated was made for the writer, and is of buffalo hide, filled with buffalo hair. 7 4 kind of pudding or mush made of ground corn and water, which is a favorite article of food amorg these Indians. 82 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 80 Granny again warned the boy that he must be very careful when he was traveling about the country alone. One day the boy started out by himself and came to a place where two men were butchering a buffalo cow with an unborn calf. One of the men was a rough fellow and he followed the boy, carrying the calf and calling out: “Take this to Granny and tell her to cook it for you.” The little boy was afraid of the man, and in trying to escape he backed against a leaning tree, then he backed up the tree and along its branches to the farthest end. The men put the calf in the crotch of the tree and they went on butchering the buffalo cow. After this they went away, leaving the boy in the tree. He stayed there a long time. At last the two men came back, and the more sensible of the two said to his companion, “I told you not to scare that little boy. He is still in the tree.” He went near and called to him, saying, “ Why do you stay in the tree?” The little boy replied, “ I’m afraid of the calf.” The man said, “If you will take a message to Granny, we will take down the calf and go home.” The little boy consented to do this, and the man said, “Tell Granny that we want her for our daughter-in-law. ” When the little boy came home, Granny pretended to be much pleased, though she had been hoping that he would never come back. She said, “I thought surely you were lost.” ‘The little boy told his strange experience and said, “The only way I could get back was by promising to tell you that these men want you for their daughter- in-law.” Of course this meant that they wanted the gifts, such as robes and meat, which would accompany a daughter-in-law. Granny said, “ You did exactly right. Go back to the men and tell them we have decided to do as they say. We will feed and clothe them well, but in return we ask for one of their bows and arrows.” The boy went back to the men and gave Granny’s message, saying that they were good hunters and he also hunted a good deal, so he would like one of their bows. They gave him one, but as soon as Granny saw it, she said: “That bow is not good. Their medicine bow is patched with string and hangs opposite the door. Go back again and say you have wounded a deer and that the string on your bow is broken. Say that you want a bow to kill the deer, then snatch the medicine bow and run as fast as you can. They will not stop you, for you have already given part payment for it.” The boy did as Granny told him, and brought back the bow. She sald, “ They made you suffer, now we will make them suffer a little.” Granny went into the field and got a large sunflower stalk. She took a long section of this, bored a hole lengthwise through it, and cut seven holes in one side of it. She said the seven holes represented the seven months of winter, and told the boy that when he blew in DENSMORE] MANDAN AND HIDATSA MUSIC 83 it something would come out of it which would resemble snow. It was her intention to bring the snow to punish the two men for frightening the little boy. So she told the boy to blow in the end of the sunflower stalk and taught him to play the following melody on it. A. number of Mandan and Hidatsa said this melody “ sounded right,” though they did not recall hearing the exact succession of tones played on the flageolet. The rhythmic form of the melody is clear and the structure is harmonic (fig. 4). _ Granny clothed the boy from head to foot in smoked buffalo hide and told him exactly what to do. She told him to travel in four circles, each smaller than the other, and to play his flute all the time. The first circle was to be at the foot of the clouds (horizon), 89 Fic, 4.—Flageolet melody. the next a little smaller, until the fourth would bring him near the hunters. Granny said, “ When you come near to your fathers, they will know it.” The boy started out and traveled in a circle at the foot of the clouds, playing on the cornstalk flute which Granny had made for him. The two men were hunting as usual, and when the boy began to play, the snow began to fall. The two men said, “Something is wrong.” They made a lodge to stay in until the snow should stop falling, but the snow came faster and faster, cov- ering the lodge until only the peak was above the snow. Their medi- cine bow was gone, and they could kill no game. ‘Then the more sensible of the two men said, “Someone is causing this.” And the other said, “It must be so.” The boy kept circling closer and closer, playing on his flute, and the snow kept falling. The hunters had no food, and they had only 84 BUREAU OF AMERICAN ETHNOLOGY [BULL Bo * melted snow to drink. When the boy came in sight, they said, “ Son, we are having a very bad time.” The boy replied: “That is what you gave me when I was up in the tree. Now it is my turn to make you do something for me.” They said that they would, and, after talking it over, they decided to transpose their relationship, so that he would be their father instead of their son. The boy said, “ All right.” He stopped playing on his flute and the snow stopped fall- ing. The boy made all the snow disappear. The men were too weak to hunt, so the boy got plenty of game for — and made them comfortable. Then he went home. When he reached home the old Granny said, “ What have you done?” The boy told her all about it, and she said: “That is good. You gave them some of their own treatment.” After that the two men had to get food and gifts of clothing for the boy, because they had agreed that he should be their father. When the two men had secured these gifts they came to the lodge and told Granny and her grandchild that they had everything to satisfy all requirements, and that they would return with the articles in four days. Bear-on-the-flat (pl. 14, 6), who related the three legends next following and recorded their songs, is one of the “story-tellers” of the Mandan tribe. He said that autumn is the time for story-telling, which is continued until a time approximately New Year’s, when it ceases. He said that he used to go to a story-teller, offer him gifts, and ask him to tell his stories, but that now he tells stories himself and people come to him with similar requests. He added that those who come to hear him always sleep at his house, as he “talks al- most all night.” Wolf Head, who related two “folk tales” aa recorded their songs, iS one of the old Mandans. His material, as well as the folk tale and its song by Scattered Corn, was abtiined when the writer was camping among the Indians. OrIGIN OF THE Burrato Dance Society RELATED BY BEAR-ON-THE-FLAT In relating this legend Bear-on-the-flat said that the society had not been in existence during his life, but that he had heard “ the old people” tell of it. He said they told him that the society orig- inated in a dream, or vision, by a man whom they thought must have been a buffalo, though he lived among human beings. They said that perhaps the man had lived among human beings so long he had forgotten that he was a buffalo. At about the time when houses were first built at Heart River this man had a dream and DENS MoRE] MANDAN AND HIDATSA MUSIC 85 saw a spirit approaching him. The old people thought this spirit was a buffalo. It said to the man, “Start a dance society.” The man replied, “ How shall I do it?” The spirit said, “Select men about 60 or 70 years old and tell them that after the society is started whoever dances must give a war bonnet or gift of equal value. There will be no hardships connected with the society and _we will dance when the sun turns back” (meaning during the short days of winter). The name of the society was “Pasa’Sa,” and there was a great deal about it that. was sacred. The headdress worn by members of the society was made of buffalo hide and had no horns. Except for this they wore no special costume. The men offered a pipe to the headdresses which were laid in a row. They offered the pipe to the headdresses and afterwards to the sky, the cardinal points, and the earth. The only exception was that if a man had a personal fetish he offered his pipe to that before offering it to the sky and the cardinal points. Those who could afford to ae so brought presents to the headdresses. They also took coals from the fire, put them in a separate place and laid cedar on them, then they held the headdress in the smoke of the cedar and then shook it to bring a snowstorm, as though the snow were being shaken out of the headdress. It was said that this would bring a blinding snow which would drive the buffalo from the open prairie to the timber and hills where the Indians could get them. The old people said this usually succeeded and the Indians secured many buffalo in this man- ner. In those days there were few horses and the Iwans traveled afoot. The young men knew it was good to have the buffalo driven to the timber and hills, and they willingly gave presents so the old men would dance AS buffalo dance. Then they would go and get the buffalo. The old men would not dance this dance a their own accord—only when requested to do so with gifts, and the dance must take place at the full moon. They dined fod days. They _ danced until they were exhausted and then slept in the lodge, re- suming the dance as soon as they wakened. They had an abundance of food, as this was part of the offering made with the request. for the dance. The members always visited the sweat lodge when the dancing was finished. It is said that the society numbered 90 or 100 men, who elected their leader. Women were allowed to witness the dancing but took no part in it. The words of the song were Mandan and are not transcribed. A free translation is as follows: “The leader of the herd says, ‘ We will walk in that mud.’” The buffalo always avoid mud holes when they are traveling, but in this song the leader of the herd assures them that he will take them safely through. 86 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 31. Song of the Leader of the Herd (Catalogue No. 838) Recorded by BEAR-ON-THE-FLAT VOICE d =A6 DRUM @ = 76 See drum-rhythm below Drum - rhythm niin Analysis —The rhythm of this song is peculiar, but was steadily maintained throughout four renditions; the intonation, however, was wavering. In rhythmic form the melody resembles many under analysis in that the rhythmic unit appears at the beginning and end, while the third period is in a free rhythm suggesting but not repeating the rhythmic unit. All the tones of the octave occur in the song, which is melodic in structure. More than one-third of the intervals are minor thirds. Tuer Moon Aanp THE DANCERS Concerning the following song Bear-on-the-flat said: “Below where the city of Bismarck stands there are two buttes, one on each side of the river.*®* Once the dancers of the young girls’ society 78 Two buttes, similarly located, are mentioned in the Origin of the Little River Women Society, p. 97. DENS MORE] MANDAN AND HIDATSA MUSIC 87 were dancing there and the moon fell in love with them. The moon said, ‘I will give you one of my songs to include in the group of your own songs.’ So the moon sang this song, which was after- wards used in the victory dances and also when the young girls danced from house to house in the village.” No. 32. Song of the Moon (Catalogue No. 842) Recorded by BEAR-ON-THE-FLAT VOICE d - 69 ee 438) DRUM d = 69 See drum-rhythm below Drum - rhythm Jisidids Analysis—This song contains only the tones of the minor triad and seventh. It is harmonic in structure and two-thirds of the intervals are downward progressions. The fourth is prominent, though often broken by a passing tone. More than half of the intervals are minor thirds. The rhythmic unit is long and oc- curs three times. It is interesting to note that the 5-8 measures were uniform in all the renditions. Tue Buack-TAILED DEER The following legend was related by Bear-on-the flat: In the old days when the people were pressed for food they dug pitfalls. One man had made such a trap and one day, late in the fall, he found a fat black-tailed deer in it. He took his bow and arrow to shoot, but the deer said, “ Don’t send it.” The man hesitated, but the deer said again, “ Don’t send it.” This happened three times, and the fourth time the deer said, “I am fat and in good condition. If you kill me you will probably have a good feast, but it will last only a day or 88 BUREAU OF AMERICAN ETHNOLOGY [BULL 80 two, while if you let me go I will consider something good for you which will last a long time.” The man thought that the deer must be a person to talk in this way, so he pulled it out of the pitfall, wiped it off, and told it-to go free. Thence the deer started off slowly, stretching itself from being so long in a cramped position. When it was about far enough away so that an arrow could not reach it the deer stopped and stood broadside to the man while it sung the following song: No. 33. Song of the Deer (Catalogue No. 837) Recorded by BEAR-ON-THE-FLAT VOICE ae 66 Drum not recorded SMa piMaAtal = eee aaa eee eee the first snowstorm tsagi du et a Oe 2 eee is good ma" piss seas sre heer e eae the day a Wack ta Tals eee ee ___.not seeing (Free translation: “At the first snowstorm times are good. I came near never seeing that day again.’’) Analysis——The rhythmic form of this song is interesting, the rhythmic unit appearing at the beginning and end, while the third period consists chiefly of phrases which resemble the rhythmic unit. The “working out” of the rhythm in the third period of a song has been noted among the Chippewa and Sioux, as well as in songs of the present series. Several renditions of this song were recorded, differing only in the length of the tone which follows the third oc- currence of the rhythmic unit. The melody contains the tones of the fourth five-toned scale, yet 22 of the 30 intervals are minor thirds. DENSMORB] MANDAN AND HIDATSA MUSIC 89 FOLK TALES Tue TurttE WuHo Went To War RELATED BY WoLFr Heap ” There was once a snapping turtle *° who wanted to go to war. He asked the coyote to go with him and said, “ Run around and let me ‘see how fast you can run.” The coyote ran very fast and the turtle did not take him because he ran so fast. Next he asked the frog and said, “ Let me see how fast you can go.” The frog went just about as fast as the turtle, so he decided to take the frog with him. Their enemies lived across the river. The turtle said, “ Where shall we kill our enemies? Shall we stay down by the water or go up to their village?” The frog said, “‘ We are such great men that we ought to go right into their houses and cut off their heads. ” They swam across the river and the turtle went into the enemy’s house first, the frog coming after him. The turtle cut off the head of one of the chiefs of the enemy and took his scalp. He also killed the wife of the chief. Then the turtle tried to get out of the door but the doorsill was so high that he could not get out. So he went in the hole for the stones in the sweat lodge, taking the scalp with him. The turtle hid himself there. The enemy looked around and found the turtle with the scalps. Then the enemy called a neighboring chief to come and kill the turtle. This chief came over and wanted to put the turtle in a corn mortar and smash him. The turtle said, “ The corn mortar is my house.” Then the enemy chief said, “The fire is my medicine, let us put the turtle in the fire and burn him.” The turtle said, “ That is my house.” Then the enemy chief said, “The water current is my medicine. Ifa log comes down the river the water cur- rent whirls it around, so I will put the turtle in the water current.” The turtle acted very much afraid when he heard this, so the enemy chief called every one to come to the river. He sang four songs, and as he sang the fourth song he threw the turtle into the river. As the chief threw the turtle into the river the turtle pulled off his scalp. So the turtle was in the water with two scalps. He showed himself in the water and sang the following song: 7 This story was translated to Scattered Corn and to Wounded Face, who made no corrections in it. Ben Benson added the incident of the testing of the coyote. The same story was recorded among the Chippewa in 1908 by the present writer. The Chippewa version included the testing of several animals preliminary to the starting of the expedi- tion and the taking of scalps at the close. In the Chippewa version the war party comprised a lange turtle and a company of small turtles. 8° This variety of turtle is called by the Mandan puké. It grows to great size and hides in the mud. It is said that one of these turtles has been known to attempt to drag a man into the current of the river. 90 BUREAU OF AMERICAN ETHNOLOGY [BULL 80 No. 34. Song of the Turtle Wh'o Went to War (Catalogue No. 893) Recorded by Woir Heap VOICE 3 - 16 Drum not recorded (Free translation of words: ‘The turtle is going to war. He kills a man and a woman. Who hits it? (counting coup). The frog hits it. They had a good time dancing with the scalps they took.) Analysis—This melody contains only the minor triad and the seventh which is raised a semitone in its only occurrence. The rhythmic form is interesting and clear. Three rhythmic units occur, each containing a count-division of an eighth and two sixteenth notes. The melody progresses chiefly by minor sixths and minor thirds, which is an unusual characteristic. These intervals are almost equal in number in ascending and descending progression, and constitute three-fourths of the entire number of intervals. Tue Man Wuo Marriep THE Birps RELATED BY WOLF HEAD A man lived down in the south and he went toward the west on a journey. This man on his journey came to a large lake in which there were many birds. Every bird that can swim was on that lake. The man said, “I will make a trap and catch these birds for my living.” Then he said to himself, “I had better make a house for myself first and then make the trap.” He went into the woods and met a porcupine woman, whom he married. He said to the porcu- pine woman, “ I have found lots of birds that we can catch and eat.” When his house was finished, he went to the lake and caught a goose, but instead of killing the goose he married her. The next day he DENSMORE] MANDAN AND HIDATSA MUSIC 91 went to the lake to look at his trap and found a white goose, whom he married also. The third day he went to the lake to look at his trap and he found a crane, whom he married also. The next day he went again and found another bird, a heron, whom he married. The next day he got a duck and married her, and the day after that he found a diving duck with a white bill, whom he married also. ‘The porcupine woman said, “ How is this? You said we would have birds to eat but you marry them all.” The next day the man went over to the lake and caught a little yellow bird, whom he married. The next day he went and got a big bird (Mandan term, vst), and married her also. The man said, “ We will all dance.” The wives said, “ How are we going to dance?” He said, “ Wait for me.” This was in the fall of the year. He went out and got a great deal of “ white fox” (a plumed grass) and gave each of his wives as much as they could hold; he also gave them white and yellow corn. Then he said, “I have to make a drum before we dance.” He went out and saw a leaf and said, “This will be a drum, and the cover will be antelope hide, trimmed with a pattern of goose tracks around the side.” Then the leaf turned into a drum covered with antelope hide and with a pattern of goose tracks around the edge. He took another leaf and said, “This will be my rattle.” So the leaf turned into a rattle. When they started to dance he said to the porcupine woman, “ You must dance last, behind the birds.” The first goose whom he married was the leader. The man said,“ We are going to dance four days and the dance will be called the Goose Dance.” So they went out to dance and they danced four times and then went back to their house. The second day that they danced the man was out also, and one of the geese said to him, “ Winter is coming. Perhaps you will kill us.” This was in the late fall and it was snowing. The man sang every day while they danced and he always shut his eyes. On the third day when the man shut his eyes the same goose said, “ If you sing and shut your eyes again we will fly away and save our lives.” They went out to dance on the fourth day and the man shut his eyes again as he sang. Before that day the geese had sung with the man, but on that day, after his eyes had been shut for a while, he noticed that the birds were not singing. Then he opened his eyes and saw them all flying away. He ran after them and said, “ Do not fly away. I have always loved you.” But the geese and all the birds kept flying away toward the south. After the birds had flown away he went back to his house to find the porcupine woman, but she was gone too. 92 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 35. Song of the Man Who Married the Birds (Catalogue No. 894) Recorded by WoLtr HEAD VOICE d - 104 Drum not recorded Analysis —This song resembles the preceding in its minor tonality but differs from it in both melodic and rhythmic form. The preced- ing song was characterized by minor sixths and minor thirds; the present song is characterized by fourths, which constitute two-thirds of the intervals. There is more action in this story, and the interval of a fourth has been noted repeatedly in similar songs. This melody has no rhythmic unit and contains all the tones of the octave except the sixth and seventh. Tue Coyore AND THE SKUNK RELATED BY SCATTERED Corn ™ The coyote and the skunk were both hungry, so the coyote said, “Let us get up a play (or pretense). We will go over to that prairie dog village and get some food.” Then he went into the lake and cut some hollow rushes. He cut them in sections about a foot long and tied several to each ear of the skunk and also to his tail. He told the skunk to dance, and the hollow reeds rattled. The coyote de- cided that the skunk should dance and he would be the drummer, so they went together to the prairie dog village. All the prairie dogs said, “ Come and see this wonderful thing that has come to our village.” The skunk danced and the coyote drummed and all the prairie dogs came to look at them. Slowly the skunk and the coyote moved away from the village. The prairie dogs did not notice this because they were so interested, and they followed the skunk and the coyote, who led them a long way from their village. Then the coyote and the skunk ate all the prairie dogs. This story has been made into a play by the little girls, who walk in a line singing the following song and each holding the dress of the girl in front of her. 81'This folk tale was related also by Wolf Head and Crow’s Heart. The several versions were compared and the one herewith presented was found to be the most complete. DENSMORE] MANDAN AND HIDATSA MUSIC 93 No. 36. Daneing Song of the Skunk (Catalogue No. 820) Recorded by ScaTTERED CoRN VOICE d = 63 Drum not recorded We-su -te - he-do - he-do we -su -te - lie-do + he-do na- ta-he-do - he - do na- ta- le-do- he-do a - me-si-ko - hka a - me- si-ko - hka WORDS (MANDAN) we’sutelie’dohe’do .......- my tail rattles mi/nakohe’dohe’do.......- my ears rattle na/tahe’dohe’do....... ---- each end rattles SAMS ROMAN ooo aod nh Se my whole body rattles mista hue Puss a. 5. = my face is striped minahe kahe Uo sa my back is striped Analysis —The accented tones of this song present an unusual monotony. The first four measures begin with an accented G, the next five with D, and the last two with E. The descent of an octave in the third measure from the last extends the compass of the song to 13 tones. The low tone is short and was simply touched by the voice, as it was below the singer’s natural range. Forty-nine progressions occur in the song, 28 of which are minor thirds. The song is melodic in structure and contains the tones of the major triad and sixth. 2118°—23——8 94 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 MANDAN WOMEN’S SOCIETIES ® Songs of three Mandan women’s societies are here presented, these being the Skunk, Enemy, and Little River Women Societies. The Goose Women Society is considered in a previous section (see pp. 39-47). The Skunk and Enemy Societies are said to have been of Hidatsa origin, but organizations appear to have existed independ- ently in the two tribes. The Little River Women Society is admit- ted to have been Mandan in its origin. SxunxK Sociery This was said to include little girls betwen the ages of 8 and 13. After the return of a successful war party they went at evening and “serenaded the warriors,” for which they were rewarded with gifts. One singer usually led the society in these serenades. Lowie** amplifies this information by stating that the faces of the girls were “painted black with charcoal except for a triangular area tapering from the center of the forehead toward the nose, which was daubed with white clay. An eagle plume was stuck upright in the back of the head. There was a single male singer with a drum.” He states further that the painting of the face was intended to represent the appearance of skunks. Admission into the society was purchased from a “ mother” by many gifts, and a four nights’ dance followed by a feast signalized the recognition of girls as mem- bers of the organization. Four songs of this society were recorded, but only one is tran- scribed. 82 Cf, Lowie, Societies of the Hidatsa and Mandan Indians, pp. 323-354. 83 Tbid., p. 325. DENSMore] MANDAN AND HIDATSA MUSIC 95 : No. 37. “ He Never Will Return” (Catalogue No. 807) Recorded by SCATTERED CoRN VOICE d = 16 DRUM @ = "6 See drum-rhythm below Drum- rhythm WORDS (MANDAN) Walhikeniise.s = 5...) werenn Te Tey that bad one | Eel Red 08 L100 (i lecepengeet? aetna ER, Spee eee peed will never return home SHO kconare ete es a the coyotes NASA NAMAKE S22 2 Se pee Do will prey upon his body Analysis—This melody progresses chiefly by major seconds, though the fourth and minor third are frequent intervals. The tone material is that of the fourth five-toned scale. In structure the song is harmonic, with a compass of an octave. While rhythmic in general character, it contains no rhythmic unit. ENEMY SOCIETY Scattered Corn said that she belonged to this society when she was about 10 years old, adding that “no one ever bought the society from us, so we still keep it.” Concerning this society Lowie says:** “A crier called all the women together. The members marched two abreast. Two long Opi cit,, De ot 96 BUREAU OF AMERICAN ETHNOLOGY [BULL 80 hooked poles were stuck into the ground by a man, and two such sticks were afterwards carried by the two leaders and a similar pair by the two women in the rear of the procession. The poles were wrapped with otter skin and decorated with eagle feathers. All the women wore a headband decorated with crossing eagle feathers and a bunch of feathers dyed red.... The dance took place originally as a jubilee over a slain enemy ; in later times it was performed whenever some member, or outsider, provided a feast for the society. In dancing the performers approached the fire- place and then moved back again. There was no uniform step; some danced faster, others more slowly. A performance lasted four nights.” Hairy-coat sang for Dr. Lowie a song with the same words as the song herewith presented. It is unfortunate that the melody is not available for comparison. The words recorded by Dr. Lowie, with their translation, are as follows: *° “ Makooxpa’ _na’kirac ru mi i’kata’ruc___sihiri’ts Woman friend your husband fixedly ( ?) me he looks at he did it na/cirihito’k ? Will you throw him away? No. 38. “He Stared At Me” (Catalogue No. 819) Recorded by ScATTERED CORN VOICE d = 80 Drum not recorded WORDS (HIDATSA) macuah bale elie Ce ee my dear friend na kidas $wijsel . tee pie your husband UCIT er A ee ee at me ikatarus hidite-< >". 275.2 how he stared! na’ Hidetoks = ee will you throw him away? ERA Aen emer Se AL ek) es Sa oe ES ee ee 8 Op. cit., p. 350. 86 The first syllable of this word was omitted by the singer. DENSMORE] MANDAN AND HIDATSA MUSIC 97 Analysis Several renditions of this song were recorded, and in them all the intonation and time were somewhat wavering. The rhythmic unit is short and crisp, but, in accordance with a frequent custom, it does not appear in the portion of the song which contains the words. Only one interval larger than a minor third occurs in the song, this being an ascending fourth. All the tones of the octave except the second are used in the song, which is melodic in struc- ture and minor in tonality. The song ends on the unaccented portion of the measure. (Cf. No. 12.) Tue Larrue River WoMEN Socrety ** Young girls 12 to 18 years of age joined this society by purchasing the songs from women who had been members for about 10 years and who thereby retired from participation in the ceremony. A woman who “sold the songs” received valuable gifts from the young girl to whom she sold them, such gifts usually including a horse or a buffalo robe. She also made the headdress worn by the girl at the first meeting of the society which she attended. Meetings of the society were always held in the spring and might be repeated in the fall if some one wished to join the society at that time. Scattered Corn, who recorded the ceremonial songs of the society and contrib- uted many details to the accompanying description, was a member of the society from her sixteenth to her twenty-seventh year. In de- scribing the society she mentioned the names of 37 women who were members of it during the term of her own membership. Wounded Face, who assisted in this narrative, was present when she joined the society and was the only person living (in 1915) who attended that ceremony. Sitting Rabbit (pl. 15, 6) also was familiar with the usage of the society, and contributed information concerning it. — ORIGIN OF THE LITTLE RIVER WOMEN SOCIETY On the west bank of the Missouri River is a bare peak known as Eagle Nose,** and on the opposite bank of the river is another peak. In ‘Eagle Nose Peak, as well as in all the buttes and in the trees, there used to live certain strange beings called “spirit women.” 87 This subject was first studied in 1912 with Bear-on-the-flat as informant, Mr. C. Hoffman interpreting, the material being translated through the Hidatsa language, as no Mandan interpreter was available. Later it was taken up with Seattered Corn, and a few days later with Sitting Rabbit, James Holding Eagle interpreting the Mandan lan- guage. The account given by all was substantially the same, differing only in details. This material was combined and in 1915 was translated into Mandan by James Holding Eagle, and was discussed by Scattered Corn and other of the older Mandan. Some details were added and the principal songs were recorded a second time (see pp. 100— 101). eee have you come? maim ike eee ee eee eee from a bare peak well Qo0tes S22 0s ee eee I have come 1 mupate eee eee my best friend (a term used by one young girl in addressing another) [ BULL. 80 Analysis.—The transcriptions of this song as recorded in 1912 and 1915 are typical examples of a somewhat imperfect and a more exact Duplication of preceding VOICE d = 100 Drum not recorded Tii-mi-kiawochu => lac 4 rendition of an Indian song. This was the first song recorded by Scattered Corn and the strangeness of the process may have dis- tracted her attention, or there may have been some circumstance at the time, or some person present who made it difficult for her to con- DENSMoRE] MANDAN AND HIDATSA MUSIC 103 centrate her mind on the singing. The second form of the melody is undoubtedly the correct form, as it has a rhythmic coherence which did not vary in the four repetitions of the song. It will be noted that the record made in 1912 contains no rhythmic unit, while that made in 1915 contains two rhythmic units. No drum was used when the songs were recorded in 1912 but in the later recording a drum was used, the drum and voice maintaining the same tempo. Attention is directed to the compass of the melody (13 tones), the extreme intervals of which were sung with good intonation, though the lowest tone was sung softly. The song is harmonic in structure and contains only the tones of the major triad and sixth. Two-thirds of the progressions are downward and 71 per cent are major and minor thirds. No. 40. “The Missouri Women” (Catalogue No. 801) Recorded by SCATTERED CoRN VOICE d = 152 DRUM @ = 152 Drum-rhythm similar to No. 37 WORDS (MANDAN) CHA EA Ch oti hd On Oe See PUNE eae a the Missouri (River) women SMG OTM EG see ae eee ee es are the best Analysis.—In the analysis of this song as recorded in 1912 it was stated that “the intonation is wavering in the latter portion of the song but the tone transcribed as B natural is always kept in semitone relation to the tones which precede and follow it.” The intonation was good throughout the four renditions of the song recorded in 1915, the singer having a poise and confidence which was lacking on 104 BUREAU OF AMERICAN ETHNOLOGY [BULL 80 the former occasion. The song is harmonic in structure and minor in tonality. Two-thirds of the intervals are downward, as in the preceding song. The interval of a fourth is prominent in the struc- ture of the melody, though it appears only three times as a progres- sion, The tones are those of the minor triad and seventh (see No. 12). No. 41. Song of the Bear (Catalogue No. 802) Recorded by SCATTERED CORN VOICE d = 144 DRUM @ = 144 Drum-rhythm similar to No.37 hido’wahan’kété_____________ here I am Analysis—Five renditions of this song were recorded in 1916, the pitch, tempo, tone-values, and words being the same as in the renditions of 1912. The melody is somewhat more elaborate than the two preceding. It contains the tones of the fourth five-toned scale and in structure is melodic with harmonic framework. One-half the progressions are major seconds, the next in frequency being minor thirds. The rhythmic unit is clear and occurs four times with a_ partial repetition after the third phrase. | DENSMoRD] MANDAN AND HIDATSA MUSIC 105 No. 42. Song of the Shell (Catalogue No. 803) Recorded by ScatrrreD Corn VOICE d = 160 DRUM = 160 Drum-rhythm similar to No.37 WORDS (MANDAN) = Wa tanudo testes. 2s =a here are shells Analysis —The indicated tempo of this song is that of the measures containing the rhythmic unit, the others being sung somewhat rubato. It is interesting to note that the slight hastening or retarding of the tempo occurred on the same measures in the records made in 1912 and 1915, the indicated tempo being identical. At already stated, there are slight differences in the tone values of the first four measures, after which the transcriptions of the two records are uniform. Seven renditions were recorded in 1912 and about the same number in 1915, the song being short and the singer being allowed to continue until the phonograph cylinder was filled. Almost half the intervals are fourths. The song has a compass of 11 tones and is major in tonality. 106 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 48. Song of the Coyote (b) (Catalogue No. 804) Recorded by SCATTERED CoRN VOICE d - 104 DRUM @ = 104 Drum-rhythm similar to No.37 1 Analysis —FEight renditions of this song were recorded, differing only in that the first phrase was omitted in two renditions and that one had a slightly different ending. There was no break in the time between the renditions, which is somewhat unusual in this series. Repetitions of the rhythmic units comprise the entire song, the second occurrence of each unit beginning with a slightly different count- division than the first. The song is minor in tonality and progresses chiefly by minor thirds, which constitute more than half the entire number of intervals. - No. 44. Dancing Song of the Little River Women Society (Catalogue No. 805) Recorded by SCATTERED CoRN : X VOICE D. 444 DRUM ne 144 Drum- rhythm similar to No. 32 [fac ce eee el Analysis —This is a bright, lively melody, major in tonality and containing all the tones of the octave except the seventh. Seven renditions were recorded without a break in the time. The descent of an octave in the second measure is interesting and the movement of the entire melody is broader than in a majority of the present series of songs. peNSMoRE] MANDAN AND HIDATSA MUSIC 107 No. 45. Song of the Little River Women Society (a) (Catalogue No. 872) Recorded by Srrrring RABBIT VOICE d - 168 Drum not recorded Analysis —This and the next song were recorded by a man who had been one of the “singers” at meetings of the Little River Women Society. This song begins and ends on the same tone, the first inter- val carrying the melody up to the highest tone in its compass. The melodic material is scanty, comprising only the minor triad and fourth. The principal interval of progression is a whole tone. No. 46. Song of the Little River Women Society (b) (Catalogue No. 873) Recorded by SritTrInG RABBIT VOICE d = 712 Drum not recorded Analysis —This song is entirely different in character from the preceding and contains the tones of the major triad and fourth. The two songs have about the same number of intervals, but No. 46 has a compass of 11 tones and No. 45 of only 5 tones. The present melody progresses chiefly by major thirds. © 108 BUREAU OF AMERICAN ETHNOLOGY (BULL. 80 MANDAN AND HIDATSA MEN’S SOCIETIES It is not the intention of the present paper to offer an extended consideration of Mandan and Hidatsa societies. Maximilian noted these societies,®° and his information corresponds in its most impor- tant phases with that secured in 1910 and 1911 by Doctor Lowie.** Wounded Face, one of Doctor Lowie’s informants, was consulted by the writer in 1912, 1915, and 1918, resulting in some duplication of material. Certain societies existed in both tribes, while others were limitéd to one tribe, the most important of the latter being the Stone Hammer Society of the Hidatsa. Songs of this society are here- with presented, but it has not seemed expedient to attempt a tribal classification of the songs of other societies. If a song were attribu- ted to one tribe, this statement is contained in the description of the song. According to the writer’s informants the sequence of Hidatsa age- societies was as follows:*? Notched Stick, Stone Hammer, Fox, Lumpwood, Black Mouth, Crazy Dog, Intended (or wanted) -to-be- a-dog, Half-shaved-heads, Buffalo, and Bad Ear. The sequence of the Mandan societies was: White, Fox, Dog (including Young Dog and Foolish Dog), Black Mouth, Buffalo, and Horse (Wounded Face said this society did not originate with the Mandan but was bought by them from the Sioux. He has seen dances of this society). The very old men were said to belong to the Coarse Hair Society. The manner of purchasing admission to a society and of progress- ing from one to another has been described by previous writers and need not be repeated. The term “Stone Hammer” given as the name of the second Hidatsa society was criticized by the writer’s inform- ants, who said the native word referred to the mallet used for pound- ing meat or crushing bones, an implement with a stone head, the ends of which were alike. They said the Hidatsa have another word for “hammer,” an implement in which the two ends of the head are different in shape. The former term is continued, as it is familiar by usage. The native term is mdz, stone, maw’ paki, literally mallet. The word “ Lumpwood ” was also regarded by those who spoke both languages as an inadequate translation. They said the native term (mi dahi’ si, mi’da, wood, hi’si, red) was almost identical with the word meaning “basket.” The literal translation is “red wood,” as indicated, but they said it meant “round wood,” probably referring to the shape of an insignia of the society which may have been painted red. They said that “two kinds of weapons (insignia) were used in the society, one being flat and the other round. Both were made °° Maximilian, op. cit., pp. 291-295, 371. ®1 Lowie, op. cit., p. 221. . The native names of -these societies are on pages XIX-xXx. DENSMORD] MANDAN AND HIDATSA MUSIC 109 of wood. The flat ones were trimmed with raven feathers and some- times with white feathers. The round ones had feathers in the mid- dle. The round ones were made in one piece, a knot or lump on the wood being worked into a round end and the rest of the wood form- ing the handle.” The translation “ Lumpwood,” being commonly used, is continued in the present work. _ Good Bear said that the Fox Society, which precedes the Lump- - wood in the serial order, was named for “a small animal, not much larger than a cat, with a black tip at the end of its tail.” He said “these foxes were spry and quick, these being qualities greatly de- sired by the young men. They watch in ambush and jump on their prey when it is at the right distance.” Societies named for the kit fox are common to many tribes of Indians. A similar society existed among the Mandan, but the principal informants on this subject were Hidatsa, the following singers belonging to the Fox Society: Holding Eagle (pl. 18, 6), Old Dog, Good Bear, and Harry Eaton. They said the society was still in existence, as the last members had never sold their membership. Interesting information on this sub- ject was also given by Sitting Crow (pl. 18, a). Young men joined the society when about 21 years of age. The headdress worn by mem- bers of this society consisted of a row of fox jaws, sometimes painted red, yellow, or green, and the men who had “coup feathers” wore them erect at the back of the head. The meetings were held by special appointment, when food was abundant. They did not steal the food for their feast, as the Stone Hammers did. The society was chiefly social in character, and there were no leaders except the men who carried lances. These lances were wrapped with strips of otter fur, placed around the staff of the lance. Pan said that in war a man who placed one of these lances upright in the ground could not retreat from the spot, but if a friend saw that the man would surely be killed he could seize the lance and carry it to a place of safety, the lance owner following without disgrace. Sometimes a lance owner gave his lance to a girl who sang in the scalp songs and made another for himself. If one of the lance bearers were killed in war the society elected another in his place. The lance was used in touching an enemy to “count coup” and also in stabbing an enemy. When the society paraded around the village these lance bearers were preceded by a man who was specially distinguished for bravery. The men always “ went on a trot” and they selected from among the spectators a particularly brave man to go at the end of the proces- sion. After completing the circuit of the village they went to the feast in their lodge. An Hidatsa in explaining the meaning of the term “crazy dog” as applied to the society in his tribe, said it meant that the men were 2118°—23-——-9 110 BUREAU OF AMERICAN ETHNOLOGY [BULL 80 like dogs in their determination to accomplish their purpose. It was as though they were, for the time, possessed of the spirit of dogs. _ The purpose of the “Crazy Dogs” was said to be the protection of the women and children in time of war and loyalty of its members to one another when in battle, its members being required to rescue a comrade, though it were at the risk of their own lives. The mark of membership in the “ Half-shaved-heads” was the cutting of the hair short on both sides of the head, leaving a stiff, erect crest of hair extending from the forehead to the nape of the neck. The first age-society of the Mandan was called So’lita, meaning White. Wounded Face said that he was at a loss to explain this name, as the native term was used only to designate a color. He belonged to the society when a boy and never sold his membership, the society passing out of existence because of changes in the life of the tribe. The boys were not trained in stealth, as were the boys of the Stone Hammer Society among the Hidatsa. The Fox Society is common to many tribes of the plains, the term usually referring to the kit fox. It was said that the Young Dog, Foolish (or Crazy) Dog, and Dog Societies were “all the same organization.” The significance and purpose of the society was undoubtedly the same as among the Hidatsa. The origin and character of the Black Mouth Society, as well as a legend concerning the origin of the Buffalo Society, have already been noted (pp. 47, 84-85). The distinction between dances of the Buffalo Society and the “ Buffalo medicine dance” is mentioned on page 36. Wounded Face said that members of the Coarse Hair Society wore a headdress of buffalo hair, which was twisted together, making long strands that hung down before their faces. Bear-on-the-flat related certain experiences which are of interest in connection with admission to the boy’s societies. He said that when he and a few other boys were too young to join the Fox Society they wanted to “hang around ” at the time of the meetings, but the Fox Society would not let them. So they voluntarily carried wood and water for the Young Dog Society whenever they had a meeting. — This was appreciated and the little boys were allowed to sit in the dusky edge of the lodge during the meetings of the Young Dog Society. In this manner the boys learned many songs, and as soon as they were old enough they joined the Young Dog Society. He said that a boy, when joining this society, was said to “purchase the songs” from an old man of the same clan whom he called his “father.” The boy was required to spend a certain number of even- ings with the old man, rehearsing the songs which he sang at the first meeting he attended. The songs transmitted in this manner DENSMoRE] MANDAN AND HIDATSA MUSIC 111 were not original compositions, like the “ dream songs” of the Chip- pewa and Sioux medicine men, but were old songs that had been handed down for many generations in the society. The full num- ber of rehearsals was 40 or 50, but some could be deducted in return for each valuable present given the old man. It was required that the boy give him food every night that they were singing together. During this time the boy addressed the old man as “ father,” and - this continued until the songs were sung at the society. Bear-on-the-flat said that the meetings of the society were held in the afternoon and that the members required the entire morning for preparation. They cut the hair short on one side of the head, tied a black cloth around the head, and stuck a feather upright in this band. Long strings of beads were hung at either side of their faces. The gayest raiment was worn and both men and horses were painted, the latter being decorated according to the owner’s fancy. The men wore a whistle suspended around the neck, blowing on it occasionally, and they usually carried a gun or a bow and arrows. The procession of the society that preceded their meeting was led by two men with rattles and behind them walked two men carrying long staves, one of which was wound with otter fur and one with wolf fur. These were followed by members of the society, either on horseback or walking two by two. The rattles were shaken vigorously and the men “ trot- ted” on their way around the village circle. Sometimes the proces- sion paused in front of a lodge and the men danced until gifts were brought out and distributed. These were various articles and not gifts of food, as a feast awaited the members of the society in their lodge. At this meeting the “ fathers” presented their respective “sons” with elaborate garments, often including red cloth for a suit that cost 10 buffalo robes at the trader’s store. If the young men were married, their wives received similar gifts. This was an occasion of much rivalry, the spectators being curious to see which boy had chosen the best “ father.” The boy also contributed gifts that were distributed at the feast. Many dancing songs were used in the lodge, and after any of them a warrior might rise, go forward, and strike the drum as a signal that he wished to relate one of his deeds of valor. This was said to “ give the singers and drummers a’ chance to rest.” The rattle and whistle used in this society are noted on pages 8 and 9. See also plate 19, bd. Bear-on-the-flat said that if the enemy were believed to be ready to attack the village, so that a battle might be expected on the mor- row, it was customary for the Crazy Dogs to go around the village late in the afternoon singing their war songs, while at a distance the old men sat together singing their personal songs to encourage the young warriors. 112 BUREAU OF AMERICAN ETHNOLOGY [BULE. 80 The Black Mouth Society comprised warriors who were in the prime of life, having passed the age of reckless daring but lost none of their vigor (see pp. 47-52). Maximilian calls the fourth age soci- ety of the Mandan the “Soldiers,” but his description of the face painting and other customs identify it as the Black Mouth Society. The Buffalo Society was composed of men 50 to 60 years of age. Little Crow said that the society held its principal meeting in the spring, “ when the grass was just starting.” In this dance the men reenacted their exploits on the warpath. Spectators were not allowed to approach the dancers; and if they did so, the warriors “fired a blank charge at them.” It was said that members of the Buffalo Society went to war, if necessary, but they do not seem to have been part of the active and constant defense of the tribe. Hold- ing Eagle said that “two men represented buffalo and wore head- dresses with horns. The members of the society wore buffalo-hide decorations, but did not wear a whole headdress of it.” Crow’s Heart was one of those who were privileged to wear the headdress representing a buffalo (pl. 19, a). None of the songs of this society were designated as war songs. Drums, Rarries, AND WuistLEs Usep IN THE SOCIETIES The drums used in the several societies were hand drums and usually were of medium size (pl. 9, a, 6). There were said to be three or four drums in each society, a certain responsibility resting with the head drummer, as he was expected to open his own lodge at any time for meetings of the society. The rattles were of two types (see p. 8). Each society had its own sort of rattle which was used in the dances. Whistles or “ war pipes ” of different sizes were used by the societies (see p. 9). The specimens and descriptions obtained by the present writer differed in no essential respects from those recorded by Maximilian. SonGs OF THE SOCIETIES These songs are of three general classes: (1) Dancing songs, (2) war sorfgs, and (3) “serenades,” the latter being sung by members of the society when going around the village or sitting on top of the lodges. To these may be added the love songs, which differed from the serenades, but were sung in a somewhat similar manner. Songs were always referred to a certain society, the title being given as a “ Fox Society war song,” or a “ Dog Society serenade.” Some of the following songs were undoubtedly Mandan and others Hidatsa in origin; but as the societies, with one exception, were common to both tribes, it is not expedient to attempt a tribal grouping of the songs, BUREAU OF AMERICAN ETHNOLOGY BULLETIN 80 PLATE 19 a. Headdress worn in Buffalo Society c. Head of Stone Hammer Society wand b. Stone Hammer Society wand and Foolish Dog Society rattle DENSMORE] MANDAN AND HIDATSA MUSIC 1138 beyond the presentation of the Hidatsa Stone Hammer Society in a separate section. This society, as already stated, was not found among the Mandan. In many instances Hidatsa words were sung to an old melody because they were easier to sing and were more generally understood. Thus the language of the words does not always indicate the tribal origin of a song. Sronr Hammer Socrery or tHe Hipartsa This society consisted of boys between the ages of 10 and 16 years, though one informant stated that he remembered a boy of 7 who belonged to the society, and that boys sometimes remained in it until they were 18 years old. Membership in the society was purchased by a boy from a man of the same clan called his “clan father.” This man gave the boy his entire equipment, comprising clothing, ornaments, and insignia of the society. The boys gave valuable gifts in return for these and also contributed to a pile of presents that were distributed at his initiation. The Hidatsa word for societies in general is bii’dawani’di. As among other tribes this is not included in the name of an organiza- tion, which is known simply by its title. Thus the Hidatsa term for the Stone Hammer Society is Mi’i mani’paki (mi’i, stone, mati’ paki, mallet), referring to an implement for pounding meat or crushing bones. The chief purpose of the society was to train the boys in stealth and theft, but there were strict regulations concerning the manner in which this was done. Full notification must be given several hours before the Stone Hammers began a raid. If a member of the society committed a theft at any other time than that appointed and was discovered he was treated as a common thief. His membership in the society was no protection, and the society repudiated the act. He was also given some severe form of punishment. The Stone Hammer raids took place at night, and it was required that before sunset the boys go through the camp announcing that they would steal that night. Everyone was fully notified and pro- ceeded to hide their provisions in what they considered the safest places. That evening the boys assembled in their society lodge. They stripped to the breechcloth and daubed the back or chest with moist clay. When this was partly dry, they traced with a finger nail the figure of a mouse or rat, leaving the brown skin within the outline. Other designs in paint could be put on the body, all such decorations being in accordance with instructions given each boy by his clan father, The boy’s hair was all brought upward and to 114 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 one side of the front of his head where it was tied in a bunch, and to this were fastened feathers or bags of medicine, as directed by the clan father, all these preparations being as nearly as possible like those of warriors. A Stone Hammer raid was regarded seriously and as tending to develop the qualities which would later be needed on the warpath. The boys took their seats in the lodge according to the place which their clan occupied in the tribal circle, some at the right, others at the left, of the entrance. The door of the lodge was tightly — closed and only members were allowed to enter. Every boy in the village belonged to the society if he were within the age limits, but it was recognized that some were more efficient than others. The first act. of the society was to select the boys who were to steal. A boy might decline, saying that he did not wish to try it. The selection seems to have been by a general nomination, some one saying, “ Let so-and-so go, he is a smart boy.” The boys, when se- lected, sat in the middle of the circle. Frequently they were four to eight in number. A boy was then appointed to “ask the ques- tions.” He began with the boy next the door and asked him what his mother had in the house that was good to eat, and where she kept it. The boys in the middle of the lodge listened carefully to these replies. The same questions were asked of every boy in the circle and each was expected to be posted and to reply correctly. The boys in the middle of the lodge were then questioned and at last the boy who had questioned the others was himself questioned as to where his mother, or aunt, or grandmother hid her best food. This being finished, the stealing boys were divided into two groups according to the side of the circle where their band was located, as they were required to steal from the tents on the opposite side of the circle, with which they naturally were less familiar than with their own. They went out in pairs and with each group there were two extra boys who stayed outside the tents and who gave the alarm if necessary by a sharp repeated exhalation of the breath, given without forming any syllable, or by a low whistle. A favorite place for hiding food was under the pillow or under the pallet on which an old woman slept. Mr. Packineau stated that it was not unusual for the Stone Hammer boys to lift the blanket on which an old woman was sleeping, lay the blanket and the old woman gently to one side, and take the dried meat or other food from be- neath her bed without waking her. Thus in the morning people often found themselves sleeping in another part of the tent than that in which they had retired, and the food was gone. Occasionally the boys were badly treated. Sometimes the men threw them on the ground, rubbed or punched the stomach in a painful manner, and DENSMORE] MANDAN AND HIDATSA MUSIC 115 sent them away, or perhaps tied them up and demanded a ransom. Upon such men the Stone Hammer Society took its revenge in its own way. If the boys were badly treated, but obtained the food, they did not give the usual presents to the people from whom the food was stolen. After a successful raid the food was taken to the lodge and the boys had a feast. Blankets and other goods were obtained from their _parents, and either that night or the night next following the boys made up packs of gifts equivalent in value to what they had stolen. These they gave to the people whom they had robbed, and it was considered that everything was properly adjusted. STONE HAMMER SOCIETY WAND Every society had: its insignia in the form of a wand, staff, lance, or other object which was carried by members in the dance or in war. These were called widawa’he. In designating the insignia of a par- ticular society the name of the society preceded this term. Thus the Stone Hammer Society wand was called 4/7’¢ mai’ paki, stone ham- mers, 2’ta, their, widawa’he, wand. This was in the form of a mallet comprising a stone head pointed at both ends and pierced through the middle, a handle about 25 inches long being passed through the hole in the stone and securely fastened. The stone head was decorated in various designs. The specimen illustrated (pl. 19, 6, ¢) was made for the writer by Pan (pl. 14, ¢) and is of the type commonly carried in the society. A more elaborate wand was “carried by those who could afford it,” and differed from the form illustrated in that it had three long slender points beyond the stone head, and to these were hung feathers, preferably those of the eagle. The wand was carried in the dances, held at arm’s length and waved above the dancer’s head. The handle must be of cherry or June-berry wood and around the handle was usually a band of otter fur. The hawk was “the bird of the society,” and the specimen illustrated is deco- rated with the entire tail feathers of a white-tailed hawk. Eagle feathers could be used if desired. The stone head was colored ac- cording to the taste of its maker, the colors being red, black, white, green, and blue. A black glazed surface on the stone was secured by thoroughly greasing the stone and then wrapping it with grass which was burned off slowly. One side of the specimen illustrated was blackened in this manner, the other side being painted with native vermilion. On the black side of the stone is graven a represen- tation of the moon (pl. 19, c) and on the red side is the morning star. Other symbols which were placed on the stones were the north star (Ikahaga’ta, meaning “ star that does not move”), the 116 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 Pleiades (thadho’a), the “ hand stars” (skawaro’saki), referring to a group of stars resembling an outspread hand which is seen in the south in winter and which “ moves around the north star.” The wand was made for an initiate by the old man of his clan whom he selected to present him for membership. The selection of the design on the stone head of his wand might be determined in several ways. If the boy had had a dream and seen a dream sym- bol, he told it to his “clan father,’ who placed it on the stone. If the boy had not had a vision, the responsibility for the design rested with his “clan father” If he did not wish to choose it him- self he called together some old men of the same clan and consulted them as to what design would “give the boy a good start in life” by placing him under protection of strong and favorable elements. When a design was chosen by the old men for a boy who had not had a vision, it was expected that the boy would seek a vision imme- diately afterwards and would try to obtain a dream of the symbol that had been placed on his wand. The fasting vigil for securing the dream could be of any duration, but one night was sometimes sufficient, and the result was considered as satisfactory as though a longer time were required. An old man did not allow anyone in the lodge when he was making one of these wands. He filled a pipe and presented the stem to the south, west, north, and east, then to the zenith and the earth. Some presented it to the zenith before presenting it to the cardinal points, but it was always offered last to the earth. As the old man per- formed each of these acts he made a supplication similar to the following: ‘ Ma’hopaik’ti’a (great medicine),®°* smoke this pipe. I want success for this young man.” After which he mentioned in his petition the respects in which success was especially desired for the candidate. A clan father was rewarded for making the wand by liberal gifts, often including a horse. Henceforth he took great interest in the lad and considered that the young man’s successes were a source of rightful pride to himself, believing he had contributed to the secur- ing of the supernatural help without which the young man could not have succeeded in life. STONE HAMMER SOCIETY SONGS The two songs next following are serenades of the Stone Hammer Society. . 93 See p. 36. DENSMORB] MANDAN AND HIDATSA MUSIC 117 No. 47. “I Desire To Take You With Me” (Catalogue No. 884) Recorded by PAN VOICE d - 104 DRUM @ = 104 Drum- rhythm similar to No. 37 Vv Ace a de ni ma-ak-ma - re = wits Mma dcari stasade se se little ones Fay (oa en oy Sa ol Oe cae ae a ee you mak/mare! wits 2 See) I desire to take with me Analysis —The melodic material of this song is scanty, comprising only the major triad and second, and the chief interest of the song is in its rhythm. This is given with most clearness in the third rendi- tion, from which the transcription is made. Comparison of the three occurrences of the rhythmic unit shows the addition of a triplet in the second occurrence, and a syncopation and an eighth rest in the third occurrence. These are slight changes, but were given with dis- tinctness and add to the interest of the song. 118 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 48. “Let Us Go” (Catalogue No. 885) Recorded by Pan VOICE d = 120 DRUM ae 120 Drum-rhythm similar to No. 37 (Free translation ) Why should you come again? Let us go now Analysis—In analyzing this song we must consider that it was recorded by a singer whose time and intonation are variable. The several renditions of the song differ more than is usually the case, yet the relative lengths of the tones which compose the rhythmic unit are clearly maintained. All the tones of the octave are present except the sixth and seventh. The fourth is sharped in the seventh and eighth measures, and the first tone of the ninth measure was sung slightly below pitch. Thirty-nine progressions occur, only three of which are larger than a minor third. This song evidently refers to the youth of the organization and their exploits. It is said to have been the last song of the Stone Hammer Society. DENSMoRE] MANDAN AND HIDATSA MUSIC 119 No. 49. “Run Away” (Catalogue No. 886) Recorded by Pan VOICE 4 - 80 DRUM _ = 80 Drum-rhythm similar to No.37 ni- ma-da-wo-hats ka- ra-a-da ni de-tse-i - ats ni- ma- da-wo-hats ni- ma-da-wo-hats ka-ra-a- da WORDS (HIDATSA) MAIN ae alk = = ue ee Stone Hammers (0 cae: eet oe ae ee ee O ni madawozhbatss—-=-— = ss, you are youngsters LESCE WRASSE 0 A ey mare ts come onan ae ee run away LON | a= de Rel POMS oP NES rhea Sore you MEESC PETS een ane oe eee will be exterminated Niemadawo hats =. = aes you are youngsters LG MONG been ie ele eel eee eee run away Analysis.—This melody is particularly expressive of the idea con- tained in the words. Sixty-five per cent of the intervals are fourths, this interval being prominent in songs concerning motion. There is a taunting effect in the repetitions of the descending fourth as well as in the rhythm of the rhythmic unit (cf. Nos. 93 and 107). Considering B flat as the keynote, we observe that the third is absent from the melody, the only tones being B flat, C, and F. 120 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 50. “I Want to Live” (Catalogue No. 887) Recorded by PAN VOICE ge 63 .DRUM d = 63 See drum-rhythm below hi-do ma-re-ta-wits Drum-rhythm (approximate) Chae << Suis > SDS DST DAD > > > = WORDS (HIDATSA) iC ner, corres te eae ae Fox band OE SSE pet Casta Ot eee eat oe O mi’ idima Tuk2 ese I want to live BONG Si Pike? Reus ee crew oe Bs that TESTA Sy hs Rp Paps hereto is bad hivdoe ts eee ee ae a es, from here MMS aval he aS IT will not depart Analysis —As in other records by this singer, the intonation is variable, but the rhythmic unit is given clearly in each of the three In one instance the final syllable of this word was omitted by the singer. DPNSMoRB] MANDAN AND HIDATSA MUSIC Pt renditions. The melody contains all the tones of the octave except the sixth. Almost three-fourths of the intervals are whole tones and semitones, the melody progressing by unusually small degrees. Fox Socrrty Sones The words of this song express the dignity and valor of the war- rior. Another war song of the Fox Society is included among the war songs as No. 96. Good Bear, who recorded this song and song No. 110, was a highly respected member of the Hidatsa tribe and for many years was judge in the agency court of Indian offenses. No. 51. “ Need I Be Afraid ” (Catalogue No. 899) Recorded by Goop BEAR VOICE e - 56 DRUM as 56 Drum-rhythm similar to No. 32 WORDS (HIDATSA) STN BK SA eo eee ee ate I am simply on the earth mMaha’hkuts mi’idi’wi_______ need I be afraid? Analysis.—The only intervals occurring in this song are minor thirds and major seconds, yet the melody has a compass of 10 tones. Two-thirds of the progressions are downward. In structure the song is melodic and the tempo is unusually slow, a characteristic noted in several of the war songs (cf., among others, Nos. 78, 80, 86, 87, 91, 92, 95. 97, 98). The melody tones are those of the fourth five-toned scale, 129 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 52. Fox Society War Song (a) (Catalogue No. 895) Recorded by Wortr HEAD VOICE d - 16 Drum not recorded Analysis —This song contains only one interval larger than a major third. It is minor in tonality and contains all the tones of the octave except the second. There was no break in the time between the ren- ditions. The song is not rhythmic in general character and contains no rhythmic unit. Old Dog said that the following song was sung by members of the Fox Society when one of their number had been killed in battle, also stating that the same song was sung if a man were wounded while on the warpath and died after reaching home. He said they all “went and looked at him,” then stood in a line and sang the song. They mixed tobacco and “red willow” and gave it to the dead man, who was arrayed in his finest clothing and headdress. The body was then wrapped and placed on a scaffold. The warrior’s lance, on which was the fetish given him by his “ tribal father,” was transferred to another man. Old Dog said that he had seen and taken part in this simple ceremony six times, the last time being in 1880, when a war party of his people went toward the north, probably against the Crees and Chippewa. DENSMORE] MANDAN AND HIDATSA MUSIC 123 No. 53. Fox Society Funeral Song (Catalogue No. 890) Recorded by OLp DoG VOICE d - 66 Drum not recorded WORDS (HIDATSA, NOT TRANSCRIBED) mu’daku’a__________________my comrade’s (referring to the dead man) KG LOS Oy ae aN ele a, Se eee tobacco ANIA ONVILES ere SPE FL See to smoke Hrawia heise 2s Ste ee I desire Analysis —This song contains three rhythmic periods, the first comprising two measures, the second and third each comprising three measures, and the song ending with two unimportant measures. The tempo is slow and the song dignified, though the count divisions of the rhythmic unit suggest a more cheerful theme. The melody tones are those of the fourth five-toned scale, but 11 of the 16 pro- gressions are minor thirds. Holding Eagle (pl. 18, 6) said that he was-a member of the Fox Society when he was a young man, and went with them against the Sioux. He said that the war party stopped on the bank of a river and sang this song before attacking the Sioux. The words of this song were identical with the words of No. 96, recorded by the same singer, and said to be also a Fox Society war song. They were sung more distinctly with the later melody and are transcribed as part of that song. % This word is also used with the meaning ‘‘ to drink.” 124 BUREAU OF AMERICAN ETHNOLOGY [BULD. 80 No. 54. Fox Society War Song (b) (Catalogue No. 850) Recorded by HoLpine HAGLE VOICE d - 176 Drum not recorded Analysis —There was no break in the time between the renditions of this song, and the indicated measure lengths were maintained throughout the renditions. The keynote is the highest tone in the song and also occurs midway of the compass, the song having a range of 11 tones. The song is rhythmic in character, although the rhythmic unit occurs only in the first portion, being practically a repetition of the opening phrase. The fourth is a prominent interval in the song. DENSMoRE] MANDAN AND HIDATSA MUSIC 125 No. 55. Fox Society Serenade (Catalogue No. 871) Recorded by Sirrine RABBIT VOICE d = 4100 DRUM d = 58 Drum-rhythm similar to No. 37 Analysis—The words of this song (not transcribed) were the same as those of No. 58. Duplication of words appears much more frequently in this material than in the songs recorded among other tribes. Several renditions of this song were recorded and show no differences. The intonation was good throughout the series. Except for two intervals of a third, all the progressions are major seconds and fourths, the latter constituting almost one-third of the entire number. The final tone is approached by an ascending fourth, which is unusual in the present series. In tonality the song is major, the melody tones being those of the major triad and second. 2118°—23——10 126 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 56. Fox Society Song (Catalogue No. 867) Recorded by Sirrine RABBIT VOICE d = 96 Drum not recorded Analysis—Major and minor thirds constitute four-fifths of the. intervals in this song, which is harmonic in structure. Six rendi- tions were recorded and show some points of difference. The first rendition was wavering in intonation. The transcription is from the second, which was identical with the fourth rendition. ¢ Sitting Rabbit stated that the following song was “sung on top of a lodge or sometimes down on the edge of the timber.” He said that one man might sing a love song alone, or three or four might sing it together. No words were recorded. (See pl. 19, 0.) No. 57. Fox Society Love Song (Catalogue No. 868) Recorded by Sirrine RABBIT VOICE @ - 56 Drum not recorded DENSMORE] MANDAN AND HIDATSA MUSIC tox Analysis—This song contains two rhythmic units, the second being a partial repetition of the first. It is interesting to note the pro- longed tone at the opening of the fourth measure, a variation which gives character to the rhythm of the entire song. Only two of the intervals are larger than a major third. Almost one-third of the progressions are semitones, which is unusual in the Indian songs analyzed according to the present method. No. 58. “ Wake Up” (Catalogue No. 835) Recorded by BENSON VOICE P| = 88 DRUM d =985 Drum-rhythm similar to No.50 WORDS (MANDAN) Walkie amie a eee el ee ee wake up GHEE) WIT GT 2a a I ees cae: come on Analysis —The words of this song were used also in a Fox Society serenade (No. 55), but were not transcribed in that instance. It will be noted that the two melodies have no resemblance to each other. > are you asleep? MAaroOsha wakes ee I am tired out Analysis —This song has a compass of 14 tones and was sung with great vibrato. In structure it is harmonic, and in tone material it lacks the second and fourth tones of the octave. It is major in tonality but more than one-third of the intervals are minor thirds. The ascending minor sixth with which the song begins is unusual and is repeated in the lower octave. Like No. 58, the drum-rhythm is in a triple division, with an unaccented beat on (approximately) the third part of the triplet. DENSMORB] MANDAN AND HIDATSA MUSIC 129 Youne Dog Sociery Sone No. 60. Young Dog Society Serenade (Catalogue No. 870) Recorded by Sirrine RABsir VOICE d = 66 DRUM d -6e Drum-rhythm_similar to No. 50 Analysis —More than two-thirds of the intervals in this song are descending progressions, the song containing only 10 measures and having a compass of 13 tones. The minor triad is prominent in the descending, and the fourth in the ascending intervals. The song is major in tonality and contains all the tones of the octave except the seventh. FooutsH (or Crazy) Dog Socrery Sones The four songs next following were said to belong to the Foolish Dog Society. All these are of the class known as “serenades.” It is interesting to note that no war songs are in this group. 130 BUREAU OF AMERICAN ETHNOLOGY [BULL, 80 No. 61. “ You Did It” (Catalogue No, 843) Recorded by BEAR-ON-THE-FLAT VOICE d - 712 Drum not recorded Ni-wa gu-a-sa-da s8a- wa ni-wiea - na « yy ee ee you sulasada.. os AA eeaeee did it he’ sawa 8.2. ee ee therefore Te Wisks | Swahetss 2127 2ee 232 = you wept Analysis—This song contains only the tones of the major triad, except that the seventh appears near the close. The interval of a fourth characterizes the song both in ascending and in descending progression. In structure the song is harmonic, with a compass of 11 tones. No. 62. Foolish Dog Society Serenade (Catalogue No. 844) Recorded by BEAR-ON-THE-FLAT VOICE d - 12 Drum not recorded #6 The first syllable of this word was omitted by the singer. DENSMoRE] MANDAN AND HIDATSA MUSIC rod Analysis—More than half the progressions in this song are whole tones. A major third occurs only once, though the song is based upon the fourth five-toned scale, which is major in tonality. In rhythmic structure the song contains two periods of about equal length, each beginning with the same rhythm and each having a descending trend. The keynote is midway the compass of the song, which begins on the dominant above and ends on the dominant below the keynote. The following song was recorded in 1912 by Little Crow and his wife, Otter Woman. In each rendition he began the song and she joined after two or three measures, her voice being an octave above his. Two similar renditions by a Sioux and his wife are transcribed in full (Bull. 61, Bur. Amer. Ethn., pp. 478,480). Little Crow died in 1913, and when the writer returned in 1915 his wife recorded the songs of sadness, Nos. 14 and 15 of this series. The words of this song express the feelings of those who were obliged to listen to the evening serenades of the young men. No. 63. “I Cannot Sleep” (Catalogue No. 905) Recorded by LirrLeE Crow AND WIFE VOICE a - 84 Drum not recorded TAY 0 Wee gays ee SE eee Fe ae Wet ea O Ne len wyalicay S628 fur 2 a to sleep ED cde UK sa ey Songs be earth to lie Miadiets rise 2st) oe Se gees I think if MUA Witais ee be Ss Ae eT but I can not sleep (Free translation: ‘TI think if I only could lie down and sleep, but I cannot sleep.” ) Analysis——This song is on the second five-toned scale, which ap- pears only five times in the present series (see p. 19). In rhythmic structure the song comprises three periods, the first and second con- taining two measures each and the third containing three measures. The change to triple time in the fourth measure adds to the interest of the melody. The principal interval of progression is a whole tone. [BULL. 80 BUREAU OF AMERICAN ETHNOLOGY 132 (Catalogue No. 909). No. 64. “It is My Own Fault” Recorded by JAMES DRIVER 404 VOICE d (vocables) | _t om 2 nC a ee = > e wo bf om 2 wo S 3) =] ® ~~ La ‘ ~~ s So Se Es : i = ~ A = ay mi-wa gu-a- Sa- WORDS (HIDATSA) qT se es ee a man (have), , matse -~ao, B=) =| -_ aS.) =| => ind o ~_— ro a4 Dw» D oO oa aD FS. Tee (sy a=] at og no S ie a ay He > pg ley LOR ae ae heey ge be iss Cet Hee) Wr al I | He et ot eae | | Pa Se ee Nea pais Nesaast ae = Vr ase oer ste nt Vie) eal ag lieeea ieee nae Verh Sat eg [Oe tae Meena erie mle et | mM Mee i 6 + hell Ss bret ee ls 33 88 BSBSia Soa cm + B28 & * The last syllable of this word was omitted by the singer. DENSMoRB] MANDAN AND HIDATSA MUSIC 133 Analysis —Two rhythmic units occur in this song, which is un- usually interesting in rhythmic form. The first period of the melody comprises six counts divided into three measures; the second period comprises five counts divided into two measures; the third period comprises three measures, the second of which is in triple time; and the fourth period contains four measures, ending the first portion of the song. The opening measure of the second portion contains an exact reversal of the count divisions of the second rhythmic unit, which is followed by the second unit in its original form. This por- tion of the song comprises three periods containing, respectively, two, three, and three measures. Forty-five progressions occur in the song, a majority of which contain three or four semitones, being major seconds or minor thirds. The song is minor in tonality, has a compass of 11 tones, and contains all the tones of the octave except the sixth. Doc Society Sones This group comprises four songs, Nos. 65 and 68 being war songs and Nos. 66 and 67 being serenades. No. 100 is also a war song of this society. No songs of the Young Dog or Foolish Dog Society were said to be used in war, and a comparison of the songs of these three societies indicates the differences in the age and character of their members. Holding Eagle, who recorded Nos. 65, 66, and 67, said that he learned these songs from his father, who bought them from an older man. As Holding Eagle was a reliable informant and died at the age of about 65 years, the songs evidently are very old. The words of No. 66 refer to the following incident: A young woman was thrown from her horse in battle and called for assistance. A man went to her rescue, defended her at the risk of his life, and found that she was his daughter-in-law. 134 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 No. 65. “If I go” (Catalogue No. 852) Recorded by Hotpine EAGLE VOICE J = 16 DRUM d =i Drum-rhythm similar to No.32 Ma-re-Ae-ruk ko wi its WORDS (HIDATSA) mare rules a ee ee if I go lv0W i tse 5. si ot eke = ke eh that is the end (or “I am no more”) Analysis —This song has the same words as No. 71, a song of the Buffalo Society. A similar duplication of words is noted in the anal- vsis of No. 58. The interval of a fourth comprises almost half the progressions in the present song, occurring an equal number of times in ascending and descending progression. The song is harmonic in structure and the melody tones are those of the minor triad and sev- enth. Three renditions were recorded, showing slight and unim- portant differences. The transcription is from the second rendi- tion. DENSMoRE] MANDAN AND HIDATSA MUSIC 135 No. 66. Dog Society Serenade (a) (Catalogue No. 853) Recorded by Hotpine EAGLE VOICE @ - 66 DRUM @ = 66 Drum-rhythm similar to No.32 os Analysis —The tone material of this song is peculiar, the second and sixth tones of the octave being lacking and the fourth and sev- enth repeatedly sharped. The differences of pitch were clearly given in all the renditions, though in instances of this kind it should not be understood that the sharped tones were sung exactly on “piano pitch.” : Fs Te aia ae ee SE 2 2 times 4,5, 8,9, 10, 11, 16, 20, 22, 28, 35, 36, 41, 42, 44, 47, 50, 55,57, 58,64, | 34 31 65, 71, 78, 80, 81, 83, 84, 86, 88, 94, 100, 108, 110. Seventh me. ossnisce= a= OX 15 Oh ee Reeser ais ee Pee esiAcine Coe ae Goan aera asec 5) Sicthts siene ees 5 he SOT TR See ne 2 ee ee 3 MiPbhis Seek cst ee ace 13,15, 17, 19, 25, 26, 32, 40, 43, 60, 61, 62, 63, 67,72, 74, 77, 79, 87,93,| 24 22 96, 103, 106, 109. Hourthseectocscmce cece IPA Ri ee tae earn ere eee Sak labo Saiwinnisiearaname 2 2 Thirdeseee eck ocscek 1, 3, 21, 27, 34, 37, 48, 51, 52, 53, 59, 66, 68, 75, 76, 89, 95, 102, 107..| 19 17 Second )s eee. Snes DATE Ske Sed 53 ae Wa SS eae REIS eae r Rese Ha cect pep Ona RpaO ge acanes 2 2 eyiobesesee eres a 12, 23, 29, 38, 45, 49, 56, 69, 70, 85, 90, 92, 101, 104.............-. 14 12 FES ee ee: ae ee | Se ee ne ee ee Sere Spee ecole awe seam meee ees LTO |e sae TABLE 3.—LAST NOTE OF SONG—ITS RELATION TO KEYNOTE Serial numbers of songs cea fhed Ending on the— ‘$26.0 Hil Se See Rene meee Ae ENR ERE ISA ee Se eee ci acteaaicleice een oo saae sso 1 1 MIELE heen ea eos ees 4, 8, 9, 10, 12, 13, 15, 17, 19, 20, 24, 27, 29, 30, 32, 37, 38, 40, 41,42, ) 51 47 43, 49, 54, 57, 60, 61, 62, 63, 67, 69, 72, 74, 77, 80,82, 84, 85, 86, 88, 91, 92, 93, 95, 96, 98, 101, 104, 106, 107, 109, 110. Til + kage eae BOG aa 3, 21, 33, 36, 51, 53, 56, 59, 66, 68, 75, 76,79, 89, 90,102, 103....... 17 15 Keynote: 2. ..8= 2 oseee << 1, 2, 5, 6, 7, 11, 14, 16, 18, 22, 23, 25, 26, 28, 31, 35, 39, 44, 45, 46,47, | 41 37 48, 50, 52, 55, 58, 64, 65, 70, 71, 73, 78, 81, 83, 87, 94, 97, 99, 100, 105, 108. MOEA Sore een Seale Cece bites ae Reba sacieiccitecrs clases Ss oeee meee eetee ainsi“ =e ne ALOR ee TABLE 4.—LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG ee 5555555555506 OOOO Serial numbers of songs es sabes Songs in which final tone is— Lowest tone in song....| 2,3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, | 101 92 24, 25, 26, 27, 28, 29, 31, 32, 33, 35, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 84, 85, 86, 87, 88, 89, 90, 91, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 104, 105, 106, 107, 108, 109, 110. Immediately preceded by— Z Fourth below....--. ee ee eee a a ae ete tdlete amines acess Ssicieeaeinn = ot 1 1 Semitonoibelowa-ose| iol Olen sene eon emee ee cicn ons sc scene cecceescsa= ec -== een 2 2 Fourth below with | 55.......-...-.cccnc ccc ccc ccc ncn c cece reece cen cnsccccceenn== 1 1 fourth below in previous meesure. 180 BUREAU OF AMERICAN ETHNOLOGY Mervopic ANALYysts—Continued [BULL. 80 TABLE 4.—LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG—Continued Serial numbers of songs peer a oe Songs containing— Fourth below the finall|\"83e--tsee oo aes. ehleiclanlajnsnclceite see e ae cer= Cee aeere Erma 1 1 tone. Major third “below the || $6; 108. ...5 52-0 ea. dete see eee aceon ee eee Ree 2 2 final tone. Whole:tone below: the ||\92)-.7 25. 2 3o222 Seca oe ee ne s emen se neeenea eek sonnets ee bree 1 1 final tone. Semitone: ‘below - the: ho.. 550.52 seacccc es Casco reese eee eee ee eee een eee eee 1 1 final tone. Total s sec ctinse-[eaccchecte cee ninca- ss ecs estes ne epcteece se Meer amen eeeiee ees BK Fae TABLE 5.—NUMBER OF TONES COMPRISING COMPASS OF SONG Serial numbers of songs Nett: Fa Fourteen tones.........--.- 50. casera wialetle nina caien'sislaesietania htajnetme Gaba ease Secon ene meee eee 1 1 Thirteem tones: <=. sose-s-oe- 9, 10, 36, 39560) 101... Bb. adn to case ataesnctie oases oe ae eee eee 6 5 Twelve tonestss- 5 cece sees 6,14, 17, 41, 52755; 57, 67,84; 97,105,110) 222 ee oe ee ieee 12 11 MlevenitOnes =. - s=scse ess = 4, 8, 20, 32, 33, 40, 42, 46, 54, 61, 63, 64, 65, 74, 76, 80, 86, 88, 89, 95, 23 21 96, 106, 109. Ten tonbso--s2 Lees ST el 4451158158060, 13) Tosi S15 Sos Oder eee 14 12 Nine tones-2.-.25.c0ee-eses US OUNO2, rls 825 Ol lOSseremec assoc eeem a eee eee a eee 7 6 Bieht tones ee eee 5, 11, 15, 16, 19, 22, 23, 28, 29, 30, 35, 37, 43, 47, 56, 68, 69, 72, 75,77, | 27 25 90, 93, 98, 99, 100, 102, 107. Bevenstoness.. <= s--ace- lee 7A an RT Ieee et BREE Sec eet anoc On Moaaatoac as Aaah sonsese STC 6 5 SixilOnes semenees nese stein 1, 27; 85;103; 104. ve oo tees oo crete wine owe ne sere Ne oops a eee ota 5 4 MIVENGONES: Ges at ceske seen 24) 255326545 48, 49.170) Oi dennis ciate cree aero eee nanan eee 9 8 Motals 522. < SceSke faoa| Seeier aac. cleo cree es Se icine a cen meat 110) |S TABLE 6.—TONE MATERIAL Serial numbers of songs ee eae Second! five-toned scale... 2.219) 63,.675 100,100 =e ene eee sania See eee eee 5 4 Fourth five-toned scale..... 8, 13, 17, 24, 29, 33, 37, 41, 51, 53, 62, 68, 73, 76, 81, 83, 89, 94, 102, 20 18 105. Majon triad 25-2. secce-as- NO Ba OG. ais cate ete Resale ee atetore aoe ate ee aye nee eee eee 3 3 Majoritriadtandiseventhi ee -|IGles gee reme eee ee ase eee meena eile ce eeee eee eee eer 1 il Major triad and sixth....... 11536539. A083 2526 Sian acu d sine aie see ome etee eae Ee At Sees Major triad and fourth...... CG ene Sel Oo eee eee Bee Ee SnOer ho saat capdacsescossan: 3 8 Major triad and second... ..-. Te AZT AT DOS SOMOS ASU 390 gull OU yok Ole eieras eee sae ete 10 9 Minorimiad-2ecce-ccesieee De foi ec CS eS Cas eke seen EEG SET REE een Boas Cees | 1 Minor'triad and seventh. -.-|12;:20)28, 32,.34,,40) 655 70. 0. ance e mee ee seers eee eer 8 7 Minor triad and sixth....... 7 ee ee ed en se Se oe Ee Ree: 1 1 Minor triad and fourth: -.-.1'6,:235 dds 605/50, Sliae coos oe ete eeelsewne se eee ae eee 6 6 Octave complete............ BS CUS) ts Pe one cen eeedaee scene sac odes Oese sar cscadks: 4 3 Octave complete except | 5, 21, 35, 44, 60, 75, 95, 98, 99..-....-eece eee ee cece ere eee eee nene- 9 8 seventh. DENSMORB] MANDAN AND HIDATSA MUSIC Mewvopic ANALysts—Continued TABLE 6.—TONE MATERIAL—Continued 181 Serial numbers of songs pata Bee Octave complete except | 15, 22, 48, 69, 70, 71, 72, 84, 108..............-.----------------- 9 8 seventh and sixth. Ocpavom complete sexcopti|ieSeee asses eee acre eet eins aeealemne cenmsnnceaitmnicasseccels 1 1 seventh and fourth. OUPAvoMECOUTpICLe: "EXCODE || G2ser eee ce oe ema 1 1 sixth and fourth. Octave complete except | 66, 74, 101. .:...- 225.2222. .ne ne nee e ees e eee e eee o ene e neces 3 3 sixth and second. Octave “complete: except, i235 0711S; G0 sll Ose e aaa seen citeeeae= om celee nee eee eweee ae 6 5 fourth. Octave complete except | 18, 59, 82.........---.2--2-0--- 2 sence eee ee eee eee eee e tenes 3 3 fourth and second. Octave mcompletes excopt)| 4,38, 52,97. 252 22- 22. sen sec enw oie aie eee seein ese ses = 50 4 3 second. First, second ,and fifth tones.| 49.......--..--..-- +--+ 202 - eee eee eee eee eee eee eee eee eeeee 1 1 THNEP oe adobe ace| See betoaes SUS Sess GeDee eS Bn USnHSeSsc GSC espereSpoocsosacccanerar TWO} | Poeeee TABLE 7—ACCIDENTALS Serial numbers of songs peed eee Songs containing— No accidentals.......... 2, 5, 6, 7, 9, 10, 11, 13, 14, 15, 16, 17, 18, 19, 20, 22, 23, 24, 25, 26,27, | 89 88 28, 29, 31, 32, 33, 35, 36, 37, 38, 39, 41, 42, 43, 44, 45, 46, 47, 49, 51, 52, 53, 54, 55, 56, 57, 58, 59; 60, 61, 62, 63, 68, 70, 71, 72, 73, 74, 75, 76, 77, 78, 83, 84, 85, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, ; 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110. Seventh raiseda semi- | 12, 34,40, 65, 79, 80. . .... 2. ----- 0-2 c eee enon eee e ween eee eneee= 6 6 tone. Sixt hiraised st semitones 64sec so s5 5-5 eae ee see Seems o cisid=misismeleioe sneicnin = enisivieces aisle’ 1 1 Wourtneraised! aasemi-y|s2l 30K 48,164, 098.2 oe as = eine ote an eicisin oa oeimiaisiaie =Ielefus\n<'m)~iei i= 5 4 tone. iMhird raised! a semitonealiso-eecosse. se ae oe ie eee ae Soe ce sews crete ee iniericinnncicls= ea eee 1 1 Secondernisedaaisemning | (Sl Sore a. oases see sae see ise om acins aqete-n sfo- swe sinsic sj =iniaeis'eisin'=\= 2 tone. Soventhmeand a) 1ourthn |sGONG (eoome oat eee cise ole fo cial aicetc)minice et inlniel= mins wpeleis/aial= 2 2 raised a semitone. Seventh lowered asemi-|(l, dj sacesseoe esa cetie <- Slee wise ee sa ine ce) => nem imnnina= 3 3 tone. Sixshelowered |avseniian |) Sas eee eee me teen co occ cjace one see shee ecu mies mena 1 1 tone. Wotaltzeessscce-cseces 1h Cl eee 182 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 Me.opic ANAtysis—Continued TABLE 8.—STRUCTURE Serial numbers of songs Spa ao Melodies2.2 satnosen set aeene 1, 10, 18, 29, 30, 31, 35, 36, 38, 45, 46, 51, 55, 57, 68, 72, 75, 82, 84, 85, 31 28 88, 89, 92, 93, 96, 97, 98, 99, 102, 104, 110. Melodic with harmonic | 2,3, 5,89, 11,12, 13, 16, 17, 21, 22,23, 24, 28, 33, 41, 42, 43, 44, 47, 44 40 framework. 48, 49, 50, 54, 62, 64, 66, 69, 70, 71, 73, 74, 76, 79, 80, 83, 86, 90, 94, 103, 105, 107, 108. HANMONIe Saess se esse tee ee 4, 6, 7, 14, 15, 19, 20, 25, 26, 27, 32, 34, 37, 39, 40, 52, 53, 56, 58, 59, 35 32 60, 61, 63, 65, 67, 77, 78, 81, 87, 91, 95, 100, 101, 106, 109. Total oo. 2 ec sae snc ce Sel sesinales Sek ee ee soem eee see Sete Se ee eee oe ee eee ae ee 1h ty Ree TABLE 9.—FIRST PROGRESSION—DOWNWARD AND UPWARD Num-} Per Serial numbers of songs ber. licent Downward sss4-252 47444 1, 2,3, 4, 5, 6, 7, 8, 11, 13, 14, 15, 16, 18, 19, 20, 22, 24, 25, 26, 27,28,31, | 56 61 33, 34, 35, 36, 39, 42, 43, 46, 47, 48, 60, 64, 65, 66, 68, 72, 73, 75, 77, 79, 80, 82, 86, 87, 88, 92, 93, 100, 101, 102, 103, 107, 108. Upward cay Pet 9, 10, 12, 17, 21, 23, 29, 30, 32, 37, 38, 40, 41, 44, 45, 49, 50, 51, 52,53,54,| 54 49 55, 56, 57, 58, 59, 61, 62, 63, 67, 69, 70, 71, 74,76, 78, 81, 83, 84, 85, 89, 90, 91, 94, 95, 96, 97, 98, 99, 104, 105, 106, 109, 110. Wma aha lS 8 AB sopnon be sddesoe a eos Arone Aste see sean aa 63 PAvUOwSed Wyrm --~ sas-te~ esas esos et 8 | CoaRsE Harr Soctety— SocletyOlwalrlOrse.2 oe eee eee ee 13,32 CorN PRIEST— Story; of originiof= .- eee oe eee 64-69 dirties Oftss5:-e- ere ere eee eee 37 tribes practicing: 2=.5--22u--ceeee-es eee 60 GE GOR oe rete, on Ce Tees ae 36-38 | EAGLE NosE Prax, myth concerning. ...... 97 FOCORGIOT ae Oe te es ae ae 1 | EAGLE TRAP— SOMO Leer ne ae ce cael oe eee 45 description of-ct- 26 22 secon ee ee eee 62 CoUNCI: HOUSE of Old Dog:.-......2---4---- 2 MAKIN Ol ce shes eee eae = eee ee 61 Coup, custom of counting.........---..--- 145, 167 song when'making es 22) ccna emes see eaee 76 CouRTING WHISTLES, types of.........------ 9 | EARTH, song concerning. --—-.---- so-so see 50 CovonE SOnM Ole. c~ o-a5eens eee eee 72,160 | EARTH LopGE— CoyoTE AND SKUNK, story of...........----- 92 of olditype@ 22s ncce. sence. eh ee ames ee 2 Crazy Dogc— ofthe Mandan:- 22s. 225 tose eee 4-5 fan Elidatsa socletys.c2se5-seeee see eeeee jog | EATON, HARRY— meaning of the term ...........-2----+-+- 109 member of Fox Society....-....--......- 109 purpese Of the SOcielyse-se eee. ea eeaes 110 song recorded by-.-.......-.------------ 169 See FoouisH Doc. ELBOWOODS, songs recorded at.-............ 13 Crow or RAVEN Society, age ofmembers.. 9 | ELK DREAM, songof...............-..--.---. 173 Crow’s HEART— ELK WHISTLE— home of, a communal center....-..-.---- 2 length of... ....---+--2--+2e-2eeeeee eee 10 jedevedbbalsjole's)(0S ioe sean geaciaoeecadseassaeoe- 1 origin of. .........-.-----+---2--22- 22 -es 9 songs recorded by......- 153, 157, 167, 168, 173 | ELK Woman, story of. ................-..- 175-176 story related by.........2.--2-02eceseee- gq | ENEMIES, song concerning........-......---- 50 Crow’s HEARTS FERRY, origin of the name ~* 2 | ENEMY Socrery............................- 95-96 Crow’s HEART’S LANDING, songsrecordedat 13 song Of. ...........-..---++---2-+-- 22222 ee 96 Custer, GEN. G. A., treaty due toeffortsof.. 12 | ENVIRONMENT, songs not affected by........ 31 Cusroms—_ eee TEACHINGS, absent from present 3 WODK: So. cde eee Soe oc eeem eens = ae Re eeee 13 singin the garda. ssc, m2 | BEAST, forthe Goose Women... “0 EH irre: Nic Sea) ogee a aE 177 FETISH, eagle catcher’s. - - wet eteeseeseeeeees 61 songs connected with ha ee ee SS 12, 52-80 First MAN, post representing SERS ee 72 DaANCES— se aye * T— buffalo, object Of. .-...---------++-++-++- ee called ‘singing whistle,” described...... 11 of the Little River WiOMeH=—-rere seer 100 legend concerning. .......-.----- ipa 80-84 SOME) CON GEE INNS ost erie oo y a aaee ean acts 51 | Pryme Eacue, song of........-----:+-.--- 150, 151 DANCING BULL, an Hidatsa Indian.......... 63" | pate DOR f DANCING SONG. - «<2 = =< -2nm- nase - nase ene 106 4 Mandan society.) cee 2 5-as2— eee 108 of Buffalo Society. Sesnaescsasenesscegcs 141 age of members of... ........---------+--- 9 DEAPOLIS, a Mandan village..........-....-- 99 rattle used! by.2-.-2.0.02. ee 8 IDOE SOS Oo oer 59 -daneenene sens sceocescoe 88 songs’ol: £04 %2i-. 280. eee 129-132 DERISION, expressed in songs......- 60, 161-162, 175 See CRAzyY Doa. De Smet, P. J., visit of, to Fort Berthold. - . 1 | PFoousH Souprer, personal song of........ 162-163 Dog Socrety— Fort BERTHOLD, village at........-- 1,4, 5, 72, 158 Tattle Of- q -o esos See cee see see 9 | ForT BERTHOLD RESERVATION— SONPS OLS Ss sseea eases se aaeeee sees 33, 133-138 boundaries'of: -< .22.sc. 110 LELCLCNCESvLOS ess = 5-2 eee oe eee eee 61, 98 HALL, Dr. C. L.— LEADING ONE, songs recorded by.-........-- 158, acknowledgment to.......-..-.----.s---- Vv 159, 160, 161, 163 Mandan translation by..........-------- 6 | LEGEND— HAt., R. D., Mandan translation by. ....... 6 of captive song.........-...-22..-+-++--- 41 Haw.ey, E. H., whistle played by........-- 10 of contest between Old Man Coyote and HEAD RATTLE, a mythic chief..............- 35 (CEG EN TAOS he ogceeosco acc anodoscecetiec 72 HEADDRESS— of origin of Buffalo Society..........-...-- 84 Of Bttaloisocieiyeesece sets eee eee 85, 112 of origin of flageolet...........----------- 80-84 of Coarse Hair Society...............---- 110 of the black-tailed deer........--.------- 87-88 Omen Societyice oseate ae nance eee 96 of the Mandan.-._-.--.----.--------.--.- 7 of Little River Women Society...... 98, 99, 100 of the moon and the dancers. ........---- 86-87 of Stone Hammer Society............-..- 114 | Lisy, Dr. O. J., suggestion by.---......-- Vv HEART River, Mandan on..............-.-- 4 | LitrtLE Crow— HIDATSA TRIBE— asingenie Sawa tewacctee Statens ae oe 1 dwyellingsioiveseesse see fale asteceeesae ae 5 eat Wohecc--ses ceca asco aee ato eee 1, 56 NISLOLY Ole ear a. ete ose ease ceo enone 4 IMNEMtOMOscee jecee cals e saswenee ene ees 112, 138 less distinctive than Mandan...........- 13 SougsirecordedDyeeeeesse= neeee == 51, 131, 142 Onigin: of NAME Of s<5< 5225255 Jee soee lees 3 | LitrTLE RIVER WOMEN SOCIETY— HINDOSTAN, reference to music of........-... 14, 26 age Ofmembersi:s:222522-cesceee- => eee 97 HorrMaN, C., aninterpreter...........--.... 97 Cerem Only Oboe ees hace sate ac cee ee 99-100 HOLDING EAGLE, JAMES— GHP Oh see eee sete ee eee scence 97 acknowledementito:-- =... esasce seeeeeaee Vv SONnpS Olena ema eae ee neste acre 12, 101-107 an) Hidatsa'singer=- 755. .aea eee niaeeeee 2 | LopGEs— an interpreters <2 32-6 - een nenmaeee tae 97 OMG LOl bebe eae sonsoesacueaodeca a 112 information furnished by............-. 123, 133 MSO OMLOPS Ofes she ctoesetececeoseaoa. 5, 126, 177 member of Fox Society. ..........-..-.-- 109 used by men in eagle camp........------ 65 songs recorded Dyj-s-ccscecen-eausmeescas 124, See EARTH LODGE. 134, 135, 136, 138, 139, 140, 155, 165 | LONELINESS, songs expressing.....-.-- 53, 55, 56, 57 “Hoty,” analysis of Mandan equivalent for. - 36 | LOVE SONG, Fox Society. ......-.----.------ 126 HorsE SOcIETY— LowliE, R. H.— a Mandan age society...........-..-.-<.- 108 Song enecorded! Dy: 4-s-s sees eee ees 96 SONGS Ol ccc eee actos se aaaes See 33, 143-144 tradition related Oss ssse ee aceseee sees 47 Huser, FRED— Lumpwoop SociETY— acknowledgment) (O's. s.----c20sces conc Vv qnubudatsa ase soclehyos-- eene-eee- eos 108 CEE oe he dead BECO ERE SOR eee XVIII derivation of the name............-----:- 108 2118°—23-—--14 190 INDEX Page. Page. MAN WHO MARRIED THE BIRDS, story of..... 90-91 | ‘‘OLD WoMAN,” origin of the term........... 72 MANDAN— OLD-WOMAN-WHO-NEVER-DIES— almostiextinets5 533529240 eee 13 ceremony in honor of.:-. 5-5: -<- esse -ccn 40 appearance of---.. 40a See ee 3 Jepends conceming: 3.5.2... see ee if history: of... .../ 22 Se eee 3 Site.of home ‘Of: .c2e2ece ene ae eee eee 80 ONpin OLNAMEe Os. eee Pee eRe eee 3 song connected: witha 22. ot osescs ese tecee 41 villageiof, described-222. te sese2seeeeneeee 4-5 | ONE BUFFALO, song belonging to........... 148 MANDAN, N. DAk., mention of............-- 97 |} ORIGIN MYTH. 22.2220 5 eee 6-7, 35, 72-73 MAP OF THE EARTH, CEREMONIAL..........- 37 | OrreR WomMAN— désthuctioniofe boss. eke ee. sea eee 38 reference tors. « =. =... ee 38 MEASURE— songs recorded by. ......... 54, 56, 57, 58, 59, 131 fitsiywhychmofe ss seasese seer 24,29,183 | OUACEIPOUANNE, former name of the Man- part of, on which song begins........ 24, 29,183 76 $3 a ed aA 7S sy ban tee ae aaa 3 unaccented part of, as ending ofsong.--- 5 | Packmeau, MR.,informationfurnished by.. 114 MEDICINE MEN, as rain-makers........:..... 37-38 | Part, INDI AN, enduring quality of.......-.. 62 MISDICINE: SONGS «..)..-<.c- sak Soeen een oe 149,150,173 | p AN Metop®, “plats ?showing trend af 2i-18- 0/88 |) seumideiedaer 2 Bee CaN reek ape waka ss Aa Be aia ndswada melody played by2.<2200ccs20ncee eon 10 DOSE o POW Fenced ni 47,110, 112, 113, 9 songs recorded by. 1.222222... Stee 117-120 Wwe Pee ete aes SES2st Roses ; wand made bys.--J-2.2ssss2 ee ee 115 MINATAREES, early name of the Hidatsa. .... 4,7 | PEPPERMINT, WILD, ceremonial cleansing MINITARI, Mandan name for the Hidatsa....- 2 Hip 100 MINT. medicinal use of... .o.s<2.-soee cane 13 | p si Bae the Ree eeenamae Abe 3 MIssOURI WOMEN, Song of...........--..---- LOS" |) Sere te eS i ae sige ere .| PIPE, CEREMONIAL— Moon— F destruction Of: =a: 2-cncssea: Soe eee 38 SONG Ob. 3528. jceceecn ae eee es 87 : : made Of: wWOOd "523225 S286 (oa 38 syambol|im' decoration. 229525450. eee 115 ¢ Men Gon Ofee- oe eos 45 «aig eee 37 MORTUARY CUSTOMS. Sce BURIALS. oan 38-39 MOTHER CORN, mention of............--.-.- 41 tae Toe a a = tia ti x : “hast - eee 48 Moves -SLOwiw peace negotiations. ..............- burning of lodge of 38 PIPESTONE, RED, USO Ofsocsce sere oe. eee 38 Spoleaeass s raae OE PELe mee S EAE LOTS IOMSONGS score ce ee see ence 34-35, 141, 159 Corn Priest of the Mandan .............. 1 : ‘ ; used for comparison only..._.......-.-.. 15 father of Scattered Corn. ...........-..-- 1 . POPULATION OF THE MANDAN............--- 12 rattle owned byi-c5=6.scceeessee-- Seas 62 : : POTTERY OFTHE MANDAN. co o2 222 eee eee 5 right of, to certain songs..............-.- 37 PRATRIE-HEN PEOPLE, a Mandan band....... 3 StorysTelarediD ys -cse. chee eee ele roe ey P 553 d RAISE”? SONGS! =. «cen Seicee eee eee 156-157 LIRR PRIEST. See CORN PRIEST CELEMONIAlUSeIOls- meen scceeee eee seca ee 9,62 PR f = tabl Z Bags 92. 29. 182 loaned by North Dakota Historical So- OGBESSTON; UES Tbe eso oes ate Bicpy in fe 1 tale nce Daas 8 PROGRESSIONS, table showing total number owned by Ben Benson.............-..--- 61 Of. ----- 22 -0ee eee neces eee eeee eee eeeee ee Mosic— FVAIN, SECURING <2 s-5 052 37, 38, 59, 149 early comments on.........--------e2-2- 7-g | Rat, outline of, as body decoration.......... 113 not used in treatment of sick............ 12 | RatTies— of India, peculiarity of-.-)-.555- 22 ees 14 Of the'socleties. <2. 2 - =<. sn aeeeeeee 48, 112 MUSICAL INSTRUMENTS..............--.-- rc eink types Of. ...-.-..---- 22-222 22eeee eee eens 8-9 See DRUM; FLAGEOLET; MUSHROOM RAT- RAVEN— TLES; RATTLES; WHISTLES. skin of, asiimsienia.. ot sage eee 47 MYTHOLOGY OF THE MANDAN..............- 6-7 song tothe:s 2.5 seit. Bade 49 NAMES ePROPER << A524 shots on tae eee xIx | RAVEN Society. See Crow SOcIETY. NECKLACE OF BEAR CLAWS, ceremonial use RAWHIDE Loop., a mythical chief............ 35 OSS eae re see epee eae oe 99) 100 REstT— NortH Dakota HIsToricaL SoOcrETY— in Mandan music: ..... 2. ==. eee 14 ee UO..--- 2-2 esse essere ee VJ use of, among the tribes. .........-.--.-- 31 cao: Sean d “i SaaS fos a a 8 6 se RHYTHM (METER)— acta eee tein i pees tna z 13 of drum and rattle...............- 25-26, 30, 184 : Be ee ees Oa sh-c7 Mehr tae ae of first measure, tables showing. ...-. 24, 29, 183 INOTATIONG = caso 5 sen cosines au ea XVI, 26 R NOTCHED STIcK. SOCIETY. .._.....:-.-------- 108 patie Ager 50 OKEEPA, mention of.............2.---2202-+- Be | raga goons ae eee aaa ee OLp Doq— Im analysis 23352 sheet coe ce eee eee , an, Hidatsa singersya- = ue. aoee eee 2 tables showing........-......--.----- 25, 30, 184 home of, described.................--...- 2 | RUNNING Rassit, mention of... .........-.- 62 member of the Fox Society.........-...- 109 | SACRED SONGS OF THE GOOSE WOMEN ....--- 44,45 songs recorded by. .........--- 123, 146, 149,170 | SAGE, ceremonial use of...........-.. 6, 40, 46, 47,67 OLD WOLVERINE— SCARFOLD BURIAT 20-252 c00 305 Ameena 5, 6, 122 in charge ofeagle camp...._......-..---. 61 | SCALP DANCE SONG, WOMAN’S.........-.2.--. 155 rattles used by fina eee ees 62 | SCALPING, customs concerning............... 145 INDEX ScALPs— Page. carried in victory dances.............--- 159 displayed onilodees=:-—-2.-.=-.