PRESENTED BY
'ue
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■&.■ " ^ ''^
.^"^^^
SMITHSONIAN INSTITUTION
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 75
NORTHERN UTE MUSIC
BY
FRANCES DENSMORE
WASHINGTON
GOVERNMENT PRINTING OFFICE
1922
1 1 55-3
LETTER OF TRANSMITTAL
Smithsonian Institution,
Bureau of American Ethnology,
Washingto7i, D. C, November £5, 1918.
Sir: I have the honor to submit herewith the accompanying
manuscript, entitled "Northern Ute Music," by Frances Densmore,
and to recommend its pubhcation as a bulletin of the Bureau of
American Ethnology.
Very respectfully,
J. Walter Fewkes,
Chief.
Dr. Charles D. Walcott,
Secretary of the Smithsonian Institution.
FOREWORD
The songs comprised in this memoir were recorded among the
White River, Uinta, and Uncompahgre bands of Ute in 1914 and
1916, the research being conducted chiefly at Whiterocks, Utah. In
number these songs are less than those of the Chippewa and Sioux
previously studied by the writer,* yet they contain pecuharities which
contribute materially to the study of Indian music. Certain songs
are found which appear to be unformulated. These are described as
"rudimentary songs," and a comparison between them and the accu-
rately repeated songs forms one of the new features of the present
work.
An interesting contribution to this work is comprised in the tone
photographs of portions of two of these songs, taken with the phono-
deik and analyzed by Dr. Dayton C. Miller, head of the department
of physics, Case School of Applied Science, Cleveland, Ohio. This
cooperation is gratefully acknowledged by the writer. ^ •
Acknowledgment of assistance is tendered also to Fred Mart, a
member of the Ute tribe, who acted as interpreter; to employees of
the Uinta and Ouray agency at Fort Duchesne and Whiterocks,
Utah; and to members of the staff of the Bureau of American
Ethnology.
The comparative analysis of Indian and Slovak songs was made
possible by the courtesy of Mr. Ivan Daxner, secretary of the Slo-
venian League of America.
1 Chippewa Music, Bull. 45, Bur. Amer. Ethn., Washington, 1910; Chippewa Music, ii. Bull. 53, Bur.
Amer. Ethn., 1913; Teton Sioux Music. Bull. 61, Bur. Amer. Ethn., iyi«.
5
CONTENTS
Page.
List of songs H
Arranged in order of serial numbers 11
Arranged in order of catalogue numbers 14
Special signs used in transcriptions of songs 16
Names of singers 17
Characterization of singers 18
Glossary of Ute words 18
The Ute Indians 23
Tribal name 23
History 23
Social organization 24
The Northern Utes 24
Habitat 25
Dwellings - 25
Temperament 25
Language 25
Classes of songs 25
Food 26
Industries *. 26
Composition of songs 26
Musical instruments 26
Notes on burial customs 29
Tabulated analysis of Chippewa, Sioux, and l^te songs 30
Melodic analysis 30
Rhythmic analysis 44
Comparison of analyses of Ute songs with analyses of Chippewa and Sioux songs . . 52
Comparison of analyses of Chippewa, Sioux, and Ute songs with analyses of
Slovak songs 55
Bear dance 56
Characteristic of songs 58
Plots of songs 72
Tabulated analysis 73
Sun dance 79
Characteristics of songs 81
Plots of songs 87
Undetermined dance songs 88
Tabulated analysis of Sun dance and Undetermined dance songs 90
Social dances of less importance than the Bear dance 95
Turkey dance 95
Characteristics of songs 96
Plots of songs 101
Woman's dance 101
Characteristics of songs 101
Plots of songs 105
7
8 CONTEXTS
Social dances of less iniportauce than the Bear dance — Continued. Page.
Lame dance 105
Characteristics of songs 105
Plots of songs Ill
Dragging-feet dance 112
Characteristics of songs 112
Plots of songs 114
Tea dance 1 14
Characteristics of songs 114
Plots of songs 117
Double dance 118
Characteristics of songs - 118
Plots of songs 119
Iron line dance 119
Plot of song 120
Tabulated analysis of preceding dance songs 121
Treatment of the sick 127
Characteristics of songs 131
Plots of songs 140
Tabulated analysis 141
War songs 146
Characteristics of songs 146
Plots of songs 160
Tabulated analysis 160
Parade songs 166
Characteristics of songs 166
Plots of songs 174
Hand game songs 174
Characteristics of songs 175
Plots of songs 181
Tabulated analysis 182
Miscellaneous songs 187
Plots of songs 193
Tabulated analysis of parade and miscellaneous songs 194
Rudimentary songs 200
Story of the prairie dogs ("vrith song) 201
Story of the frog's children (with song ) 202
Story of the red bug and the fox (with song ) 203
Story of the bear who stole the wol f 's wife (with song ) 204
Plots of songs 205
Appendix 206
Analytical study of photographs taken Avith the phonodeik 206
Woman's dance song 206
Lame dance song 209
Index 211
ILLUSTRATIONS
PLATES
Page.
1. Ute using morache Frontispiece
2. Plateau of Uinta and Ouray reservation, a, Lookint;; north, b. Looking
south, c, Uinta River, d. Rock formation near Uinta Ri^•er 26
3. a, White River Canyon, b, Burial place in \'icinity of White River
Canyon 26
4. o, Entrance to thatched dwelling, b, Summer camp 26
5. fl, Flageolet, b, Notched stick (shaped like jawbone of bear) with bone
"rubber." e, Notched stick (straight) with rubbing stick, d. Basket
resonator 26
6. Hand drum with drumming stick 28
7. Ute beating hand drum 28
8. a, Entrance to Bear dance inclosure. b, c. Last portion of Bear dance 56
9. Sun dance ground, a, Sun dance pole, b. Sun dance pole with portion of
brush shelter 56
10. «, Tsigu^p. 6, Kanav. c, Pa^its 100
11. a, To'patsuk. b, Vv iyu'ts. c, Charles Mack 100
12. Laboratory of Dr. Dayton C. Miller, showing phonograph and phonodeik. . 206
13. a, Tone photographs of portions of Woman's dance song. Drumbeats at 13
and 17. b, Tone photographs of close of second and all of third measure
of Lame dance song. (Sections e to h, pi. 16.) 206
14. Transcription of portion of Woman's dance song (sections i to /), with tone
photograph of corresj)onding portion 206
15. Transcri{)tions of portion of Woman's dance song (No. 37, measures 1 to 9),
with diagram 206
IG. Transcriptions of portion of Lame dance song (duplication of No. 37,
measures 8 to 15), with diagram 206
TEXT FIGURES
1. Plots, Group 1 (Bear dance) 73
2. Plots, Group 2 (Sun dance) : 87
3. Diagram, Turkey dance 95
4. Plots, Group 3 (Turkey dance) 101
5. Plots, Group 4 (Woman 's dance^ 105
6. Diagram, Lame dance 106
7. Plots, Group 5 (Lame dance) Ill
8. Plots, Group 6 (Dragging-feet dance) 114
9. Plots, Group 7 (Tea dance) 117
10. Plots, Group 8 (Double dance) 119
11. Plots, Group 9 (Iron line dance) 120
12. Plots, Group 10 (Treatment of sick) 140
13. Diagram, Scalp dance 156
14. Plots, Group 11 (War songs) 160
15. Plots, Group 12 (Parade songs) 1 74
16. Music of hand game song noted in 1877 176
17. Plots, Group 13 (Hand game songs) 181
18. Plots, Group 14 (Miscellaneous songs) 193
19. Plots, Group 15 (Rudimentary songs) 205
20. Photograph of drumbeat 206
21. Ratios of drumbeats '. 207
9
LIST OF SONGS
Aeranged in Order of Serial Numbers
Songs of the Bear Dance
Serial Catalogue
No. No. Page.
1. "The dust of the red wagon " 758 58
2. Yellow hair '. 784 59
3. "Dance faster" 772 61
4. Song of Nu'sina 773 62
5. Bear dance song (a) 690 63
6. Do. (b) 691 63
7. Do.(c) 692 64
8. Do.(d) 763 65
9. Do. (e) 764 66
10. Do.(f) 765 67
11. Do.(g) 766 68
12. Do. (h) 739 69
13. Do.(i) ; 740 69
14. Do.(j) 730 70
15. Do.(k) 775 70
16. Final song of Bear dance (a) 774 71
17. Do.(b) : 693 72
SONOS OF THE SuN DaNCE
18. Sun dance song (a) 694 82
19. Do.(b) 695 82
20. Do. (c) 700 83
21. Do.(d) 777 84
22. Do.(e) 778 85
23. , Do.(f) 710 85
24. Do. (g) 786 86
25. Do.(h) 787 86
26. Do.(i) 798 87
Songs of an Undetermined Dance
27. Undetermined dance song (a) 788 88
28. Do.(b) 789 89
29. Do.(c) 767 89
Songs of Social Dances
SONGS OF the turkey DANCE
30. Turkey dance song (a) 731 97
31. Do.(h) 732 98
32. Do. (c) 741 99
33. Do. (d) 742 99
34. Do. (e) 790 100
35. Do.(f) 791 100
11
12 . LIST OF SOXGS
SONGS OF THE WOMAX's DANCE
Serial Catalogue
No. No. Page.
36. Woman's dance song (a) 779 102
37. Do. (b) 743 103
38. Do. (c) 744 104
SONGS OF THE LAME DANCE
39. Lame dance song (a) 701 lOfi
40. Do. (b) 720 109
41. Do. (c) 768 110
42. Closing song of the Lame dance 769 111
SONGS OF THE DRAGGING-FEET DANCE
43. Dra^ng-feet dance (a) 721 112
44. Do. (b) 746 113
45. Closing song of the Dragging-feet dance 702 113
SONGS OF THE TEA DANCE
46. Tea dance song (a) 733 115
47. Do.(b) • 734 116
48. Do. (c) 722 117
SONGS OF THE DOUBLE DANCE
49. Double dance song (a) 776 118
50. Do.(b) 770 119
Songs of the Iron-Line Dance
51. Iron-line dance song 703 120
Songs Used in the Treatment of the Sick
52. Song used in treatment of sick (a) 711 132
53. Do.(b) 712 132
54. Do.(c) 713 132
55. Do.(d) 714 132
56. Do.(e) 715 133
57. Do.(f) 716 133
58. Do.Cg) 717 133
59. Do.(h) 718 133
60. Do.(i) 719 134
61. Do.(j) 752 136
62. Do.(k) 753 137
63. Do.(l) 754 137
64. Do.(m) 755 138
65. Do.(n) 756 138
66. Do.(o) 757 139
War Songs
67. War song (a) ■ 759 147
68. I)o.(b) 704 148
69. Do.(c) 723 148
70. Do.(d) 792 149
71. Scoutaong 724 150
LIST OF SONGS 13
Serial Catalogue
No. No. Page.
72. War song (o) 705 151
73. r»o.(f) 747 152
74. Parade of returning warriors 748 153
75. War song (g) 749 154
76. Song when washing the wounded (a) 725 155
77. Do.(b) 706 155
78. Scalp dance song (a) 760 157
79. Do.(b) 750 158
80. Do. (c) • 751 158
81. War song (h) 794 159
82. Do. (i) 795 159
Parade Songs
83. Parade song (a) . . ' 696 167
84. Do.(b) 707 167
85. Do. (c) 708 168
86. Do. (d) 709 168
87. Do.(e) 771 169
88. Do.(f) 726 170
89. Do.(g) 780 170
90. Do.(h) 793 171
91. Do.(i) 735 171
92. Do.(j) 761 172
93. Do.(k) 762 173
Hand Game Songs
94. Hand game song (a) 697 176
95. Do.(b) 736 177
96. Do.(c) 796 177
97. Do. (d) 745 178
98. Do.(e) 737 178
99. Do.(f) 698 179
100. Do.(g) 797 180
101. Do.(h) 738 180
102. Do.(i)... 699 181
Miscellaneous Songs
103. Smoking song (a) 781 187
104. Do.(b) 782 188
105. Do.(c) 783 188
106. Song when begging for tobacco 727 189
107. Song when welcoming visitors 728 189
108. Serenade 729 191
109. Song around a rawhide 785 192
110. Dream song 799 193
Rudimentary Songs *
(a) Song of the prairie dogs 202
(b) The story of the frog's children 203
(c) The red bug and the fox 204
(d) The bear who stole the wolf's wife 204
'These are not included in the catalogue of Indian songs.
14 LIST or SONGS
Arranged in Order of Catalogue Numbers
Cata-
logue
No.
690
691
692
693
694
696
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
Title of song
No. of
singer
Bear dance song (a) 4
....do.(b) - 4
.... do. (c) 4
Final Bong of Bear dance (b) 4
Sun dance song (a) 4
... .do. (b) I 4
Parade song (a) j 4
Hand game song (a) 4
....do.(f) 4
....do.(l) 4
Sun dance song (c) 9
Lame dance song (a) 9
Closing song of the Dragging-feet dance 9
Iron-line dance song ■ 9
War song (b) : 9
.... do. (e) j 9
Song when washing the wounded [ 9
Parade song (b) 9
... .do. (c) 9
.... do. (d) 9
Sun dance song (f ) -. 1
Song used in treatment of sick (a) 1
....do. (b) 1
do. (c) ' 1
do. (d) , 1
do. (e) 1
do. (f) 1
..-.do.(g) 1
do. (h) 1
do. (i) 1
Lame dance song (b) 16
Dragging-feet dance (a) 16
Tea dance song (c) 16
War song (c) 16
Scout song 16
Song when washing the wounded (a) 16
Parade song (f) 16
Song when begging for tobacco 16
Song when welcoming visitors 16
Serenade 16
Beer dance song (j) 7
Serial
No.
5
6
7
17
18
19
83
94
99
102
20
39
45
51
68
72
77
84
85
86
23
52
53
64
55
56
57
58
59
60
40
43
48
69
71
76
88
106
107
108
14
Page
LIST OF SONGS 15
Arranged in Order of Catalogue Numbers — Continued
Cata-
logue
No.
Title of song
No. of
singer
Serial
No.
7
30
7
31
7
46
7
47
7
91
7
95
7
98
7
101
6
12
6
13
6
32
6
33
6
37
6
38
6
97
18
44
18
73
18
74
18
75
18
79
18
80
25
61
25
62
25
63
25
64
25
65
25
66
1
67
78
92
93
5
8
5
9
5
10
5
11
5
29
17
41
17
42
17
50
17
87
Page
97
98
115
116
171
177
178
180
69
69
99
99
103
104
178
113
152
'53
154
158
158
136
137
137
138
138
139
58
147
157
172
173
65
66
67
68
89
110
111
119
169
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
•757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
Turkey dance song (a)
do. (b)
Tea dance song (a)
do.(b)
Parade song (i)
Hand game song (b)
do.(e)
do.(h)
Bear dance song (h)
do.(i)
Turkey dance song (c)
do.(d)
Woman's dance song (b)
do. (c)
Hand game song (d)
Dragging-feet dance (b)
War song (f )
Parade of returning warriors
War song (g)
Scalp dance song (b)
do.(c)
Song used in treatment of sick (j).
do. (k)
do.(l)
do. (m)
do.(n)
do.(o)
' ' The dust of the red wagon '
War song (a)
Scalp dance song (a)
Parade song ( j)
do
Bear dance song (d)
do.(e)
do.(f)
do.(g)
Undetermined dance song (c) . . . .
Lame dance song (c)
Closing song of the Lame dance. .
Double dance song
Parade song (e)
16 • LIST OF SONGS
Arranged in Order of Catalogue Numbers — Continued
Cata-
logue
No.
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
Title of song
' ' Dance faster "
Song of Nu^sina
Final song of Bear dance (a) . .
Bear dance song (k)
Double dance song (a)
Sun dance eong (d)
....do.(e)
Woman's dance song (a)
Parade eong (g)
Smoking song (a)
do. (b)
do.(c)
Yellow hair
Song around a rawhide
Sun dance song (g)
do.(h)
Undetermined dance song (a) .
do.(b)
Turkey dance song (e)
do.(f)
War song (d)
Parade song (h)
War song (h)
do.(i)
Hand game eong (c)
clo.(g)
Sun dance eong (i )
Dream song
No. of
singer
21
21
21
21
2
2
12
12
14
14
15
15
19
19
20
20
22
22
13
23
Serial
No.
3
4
16
15
49
21
22
36
89
103
104
105
2
109
24
25
27
28
34
35
70
90
81
82
96
100
26
110
61
62
71
70
118
84
85
102
170
187
188
188
59
192
86
86
88
89
100
100
149
171
159
159
177
180
87
193
SPECIAL SIGNS USED IN TRANSCRIPTIONS OF SONGS
These signs are intended simply as aids to the student in becoming
acquainted with the songs. They should be understood as supple-
mentary to the descriptive analyses rather than a part of the musical
notation.
+ placed above a note shows that the tone was sung slightly
higher than the indicated pitch. In many instances the tones desig-
nated by this and the following sign were "unfocused tones," or
were tones whose intonation varied in the several renditions of the
song. The intonation of these tones was not such as to suggest th^
intentional use of "fractional intervals" by the singer.
NAMES OF SIXGERS
17
— placed al)OTc a note sliows thai tiie 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.
I i placed above a series of notes indicates that these tones
constitute a rhythmic unit. (See footnote to Table 19.)
NAMES OF SIXGERS
Number
(see tran-
scription)
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
Common name *
Little Jim
Xikoree
Fred Mart
Isaacs
Clark Tonner
Joshua Washington
Quinance
Areev
Charlie Saritch
Eugene Perank (Frank).
Teddy Pageets
Andrew Frank
Fanny Provo
Sidney Blueotter
Chigoop
Tim Johnson
Paul Pegaroos
John Star -.
Dave Weetfh
Charles Mack
Jim Kolorow
Jim Pant
Arkansaw
Weeyutchee ^
Mrs. Washington
Ute name '
To^patsuk
Xikavari
Native name not given .
Magwitsint
So'nawav
Pa^tsats
K\va*nants
Sa'rits
Tavi^ponis
Pa'gits
(See No. 10)
Sato^yum
Sa'vapatsuk
Tsigu'p
Native name not given.
Sa''va\vitopats
Wits
Native name not given.
Tso'kwata^piyits
Pa'ant
Kanav
Wiyu'ts
Sa'kwiagant
Number
of songs
recorded
5
2
3
10
5
7
9
2
10
3
10
2
1
2
2
10
4
6
2
2
4
2
1
> In order that the identity of the singers may be preserved, their Ute names are here given as they are
commonly pronounced on the reservat'on.
' The meaning of the Ute nemesis given in the glossary of Ute words, pp. 18-21.
» This singer recorded 'rudimentary songs,' ' which are not included in the list of composed songs. The
subject of rudimentary songs is considered on p. 200.
25043°— 22 2
18 GLOSSARY OF UTE WORDS
CHARACTERIZATION OF SINGERS
The oldest singers among the Wliite River and Uinta bands are
Little Jim (No. 1), a subchief under Red Cap, leader of the White
River band; John Star (No. 18) and Tim Johnson (No. 16), both of
whom are old warriors; Jim Pant (No. 22), whose early hunting was
done with bow and arrows; Arkansaw (No. 23), a Paiute who has
been among the Utes since his boyhood and is totally blind; Fanny
Provo (No. 13), and Weeyutchee (No. 24). Six of the singers are
members of the Uncompahgre band and live at Ouray. The oldest
among these are AreeA' (No. 8), a man of strong character, who is
leader among those opposing the introduction of mescal among the
Utes in that locality. Allied with him in this position are Nikoree
(No. 2), Jim Kolorow (No. 21), and Paul Pogaroos (No. 17). The
younger members of the Uncompahgre band recording songs are
Chigoop (No. 15) and Sidney Blueotter (No. 14). Among the singers
of the White River and Uinta bands the following may be said to
be in middle life: Mrs. Washington (No. 25), who treats the sick by
material means; Teddy Pageets (No. 11), who treats the sick with-
out the use of material means; Clark Tonner (No. 5); Isaacs (No. 4);
Quinance (No. 7); and Dave W^eetch (No. 19). Charlie Saritch is
about the same age and was employed by the Government as police-
man at the Whiterocks Boarding School in 1916, when the present
work was concluded. To the younger generation belong Joshua
Washington (No. 6), Andrew Frank (No. 12), and Eugene Perank
(No. 10), whose surname is a mispronunciation of the English word
"Frank."
Fred Mart (No. 3), who acted as the writer's interpreter throughout
this research, was a student at the United States Indian School at
Carlisle, Pa., 1903 to 1908. Charles Mack (No. 20) has been promi-
nently identified with tribal affairs as an interpreter and has twice
visited Washington with delegations.
GLOSSARY OF UTE WORDS
Tribal Names
The word "Ute" is of debated origin. The general term used by
these Indians in referring to themselves or to others is Nonts, plural.
NontSi.
The three divisions of th(^ tribe considered in the present work are;
(1) White River. This is a geographical term, the I'te name for
this band being Ya'mpatika (yampa-eaters>.'
» The yampa (('arum gairdneri) "is a plant whose roots are much used for food by the Indians of the
Oregon region, the Klamath, Umatilla, Vie, and others; from ya'mpd, the name of this plant in the Ute
dialec-t of Shoshonean." Handbook of American Indians, Bull. 30, Bur. Amer. Ethn., pt. 2, p. 987,
Washington, 1910.
i
GLOSSARY OF UTE WORDS 19
(2) Uinta, native name Uintaugump {ninta, at tho edge; ugump,
pine). This was said to refer to a dwelling place of this band, located
where two mountain streams came together at an angle, making a
point of land between the two streams. On this point of land was
the lower edge of the pine timber, as it extcnd(>d down from the
mountain side. Thus the Uinta band were those who lived at the
edge of the pine timber.
(3) Uncompahgre, native name Ajjkapagarits, meaning ''red lake"
(arjagar, red; pagarits, lake).
Names of Chiefs
Tawats, sun. commonly known as Tabby.
Nu'sina, origin and meaning unknown.
Names of Singers
No. 1. To'patsuk (''black otter''; tohi, black; pdUul^, otter).
No. 2. Ni'kavari {nika, ear; vari, to hang down, to hang from).
No. 3. Native name not given.
No. 4. Magwitgint (said to refer to the act of wrapping a blanket
around one's self).
No. 5. So'nawav (said to mean ''God").*
No. 6. Pa'tsat§, bat.
No. 7. Kwa'nants, eagle
No. 8. Ariv, origin and meaning unknown.
No. 9. Sa'ritg, dog.
No. 10. Tavi'ponig {tavi, day, light; poii'is, loosed, as something
unbraided).
No. 11. Pa'git§, little fish.
No. 12. See No. 10.
No. 13, Sato'yum ("white neck"; sa, white; toyum, neck).
No. 14. SaVapatsuk ("blue otter"; sava, blue; pdUnk, otter).
No, 15. T^igu'p, a species of duck.
No. 16. Native name not given.
No. 17. Pegaru's, fine hair, or down.
No. 18. Sa'vawitopats (blue dwarf-boy; sava, blue, wito, appar-
ently referring to a dwarf; apats, boy).
No. 19. Wits, knife.
No. 20. Native name not given.
No. 21, Tgo'kwata'piyit§ (Mexican chief; t§o'kwa, Mexican;
ta'piyiU, chief).
No. 22, Pa'ant, tall.
No. 23. Kanav, willow.
No. 24. Wiyu'tg, awl (used as a needle j.
No. 25. Sa'kwiagant ("white bear"; sa, white, Tcwiagant, bear).
20 glossary of ute words
Words of Songs
No. 1. Arjagar (red), vi'nuTjump (descriptive term implying a roll-
ing motion as of a wheel), Tcu'avi'Uiya (dust, derivation unknown),
ma'nl^ats (white man, from Spanish Americana; this term is generic
and does not refer to an individual), pumi'wanupaliai (looking
around; the idea of the term is that of a man who pauses to look in
all directions).
No. 2. Oa'Ukca'oni's {(xi, yellow; the latter part said to mean hair
sticking up).
No. 3. Pdvi'tsu (weasel skin), purjke (hard, fast), yamiko'vani
(swing, imperative verb).
No. 4. Kwa'nanU (eagle), pututs (down).
No. 40. Tsiyuta (said to be the term used by the Shoshoni in
referring to these Indians, tsi being a Shoshoni prefix).
No. 49. To'l-anerats (black sheep; toJca, black; kanerats, sheep,
from Spanish carnero).
No. 51. Pinu'piya (pinu', most recent; piya, wife).
Musical Instruments
Morache, v:oni'thokunap iwoni, standing; tJiohunap, rubbing the
shorter stick upon the notched stick).
Drum, pa'mpon. This term is applied to both the small and
large drums.
Flageolet, wi'nip.
Eagle bone whistle, carried in Sun dance, gusau-oka (gusau, wing;
oJca, whistle).
Dances
Dance, ni'tkap.
Bear dance, ma'makoni-ni'tkap (mairMkoni, said to refer to the
step of the dance called a ''reverse step, two forward and three
backward").
Sun dance, ta'vo-ni'tkap.
Turkey dance (term applied by whitCns), tho'nka-ni'tkap (term
applied by the Utes, meaning "jigging dance").
Women's dance, ma'ma-ni'tkap.
Lame dance, sanku' -ni'tkap.
Dragging-feet dance, Tavi'yuUo'tavi-iii'tkap (etymology unknown).
Tea dance, ti'-ni'tkap (ti is the English word "tea").
Double dance, nawa'to-ni'tkap (nawa'to is used with reference to
anything that is doubled together).
Iron line dance, pana'ka-Uuwi'ke-ni'tkap {pana'ka, iron; Uuwike,
line). The term is commonl}^ abbreviated to panaUuwi.
glossary of i^tk words 21
General Terms
U'vwiuv, song; plural, u'vwiuvi.
Kovmiv, parade; kovwiuv, parado song.
Na'gokup, war; na'gohup u'vwiuv, war song.
Ni'a, hand-game.
Avifjkwep, inclosure in which Bear dance is held.
Mutusuhwi' gant, person who treats the sick by supernatural means,
without administering herbs.
Bowa'gant, person who treats the sick ])y administering herbs.
NORTHERN UTE MUSIC
By Frances Densmore
THE UTE INDIANS^
Tribal name. — The word Vie is of disputed origin. In the earlj^
treaties with the United States Government and in reports of the
Commissioner of Indian Affairs prior to the year 1859 the Indians
now known as Utes were called Utahs.
History. — ^The Ute (or Utah) Indians formerly occupied the entire
central and western portions of Colorado and the eastern part of
Utah, including the eastern part of Salt Lake Valley and the Utah
Valley. On the south they extended into^New Mexico, occupying
much of the upper drainage of the vSan Juan.^ The first treaty
between the Government of the United States and these Indians was
proclaimed September 9, 1850.** The treaty opens thus:
"The following articles have been duly considered and solemnly
adopted by the undersigned; that is to say, James S. Calhoun, Indian
agent, residing at Santa Fe, acting commissioner on the part of the
United States of America [here follow 26 names] , principal and sub-
ordinate chiefs, representing the Utah tribe of Indians.
"I. The Utah tribe of Indians do hereby acknowledge and declare
they are lawfully and exclusively under the jurisdiction of the Gov-
ernment of said States, and to its power and authority they now
unconditionally submit."
A treaty with the Tabequache band of Utah Indians, proclaimed
December 14, 1864,^ indicates some progress on the part of these
Indians, as it closes with the following clause: "The Government also
agrees to establish and maintain a blacksmith shop and employ a
competent blacksmith for the purpose of repairing the guns and agri-
cultural implements which may be used by said Indians."
In 1868 a treaty was made with the "confederated bands of the
Ute Nation" by which they received a large tract of land in the Ter-
<Tliis description of the Ille Indians is intended to assist the reader in a sympathetic understanding
of the material vvliich follows, and should not be understood as offering exhaustive information on the
several headings.
' Handbook of American Indians, Bull. 30, Bur. Amer. Ethn., pi . 2, pp. 874-876, Washington, 1910.
^Compilation of Treaties between the United States and the Indian Tribes. Wasliington, I). C,
187:5, pp. %H 970.
'Ibid., pp. 970-974.
23
24 BFREAr OF AMKP.TOAX ETHNOLOGY [bcll. 75
ritory of Colorado as their reservation. In 1874, however, they relin-
quished a portion of this land, the agreement being made between
"Felix R. Brunot, a commissioner in behalf of the United vStates,
and the chiefs and people of the Tabe(|uache, Muache, Capote, Weemi-
nuche, Yampa, Grand llivcr, and l^intah, the confederated bands of
the Ute Nation.''^ The first-named band is now known as the Uncom-
pahgre. A prominent chief of this period was known as Tabby.
A valley in northeastern Utah, comprising the present Uinta and
Ouray Agency, was assigned to the Uinta band of Utes by proclama-
tion of the President in 1 861 ." There they were joined by the White
River band in 1880, while the Uncompahgre and several other bands
from the Colorado reservation agreed to settle on the La Plata River
and on the Grand River near the mouth of the Gunnison. Thus a
majority of the Ute tribe were divided into 10 parts, which became
kno\vn, respectively, as the Northern and Southern Utes.
Social organization. — Very little is known of the social organiza-
tion of the tribe. The writer was repeatedly informed by the oldest
members of the tribe that the Utes had no societies, and that the only
divisions of the tribe were bands, each led by a chief.
The Northern Utes. — The present work concerns only the
Northern Utes, living on the Uinta and Ouray Reservation in north-
eastern Utah. In addition to the I'inta and White River bands,
located there by agreement, a considerable number of Uncompahgre
are enrolled at that agency. The Northern Utes have appeared in
history chiefly through the journey away from the reservation,
undertaken by the White River band. The land on the Uinta Res-
ervation was allotted in severalty in the year 1905. The White River
band objected to the restrictions this imposed upon them, and,
failing in a protest, they decided to leave the reservation in a body.
They started in the early summer of 1906 and went into Wyoming,
apparently with the intention of going into the country of the Sioux.
A diplomatic envoy, sent by the Commissioner of Indian Affairs,
persuaded 45 of them to return. The remainder were finally escorted
to Fort Meade, S. Dak., by United States troops. They went
peacefully and were located on the Cheyenne River Reservation in
South Dakota untilJune, 1908, when, at their own request, they were
returned to the Uinta Reservation in Utah, reaching home in October
of that year. Red Cap, one of the two chiefs who led this expedition
away from the reservation, was living when the material comprised
in this book was ct)llected and lent his influence to the furtherance
of the v/ork.
8 Indian Laws and Treaties, compiled by Charles Kappler, Vol. I, pp. 151-152. Washington, 1903.
» (Mentioned) ibid., p. 271.
DENsMOREl NOKTHERX t'TF. MT^STO 25
Habitat. — The Uinta and Ouray Reservation, where the material
comprised in this book was collected, is located on a high plateau,
north of which rise the Rocky Mountains ( pi . 2 . ^/ , />) . Sagebrush is the
only native vegetation except along the courses of the rivers and
streams that descend from the mountains (pi. 2, c, d). One of the
canyons, known as White River Canyon (pi. 3. a), was the early home
of the White River band. The Uinta band are scattered, their
name, which undoubtedly was given them in some other locality,
suggesting a preference for somewhat open country rather than the
canyons. The members of the Uncompahgre band at the present
time live about 30 miles south of the mountains along the Green
River.
Dwellings. — Tipis covered with elk hide were said to be the early
dwellings of the Utes, buffalo hide being used when it became avail-
able. Thatched dwelhngs were used by those too poor to have tipis
and appear to have been commonly used by all the tribe during
the summer. A dwelling of this type photographed by the writer
(pi. 4, a) was identified by an officer of the United States Army as the
type of dwelling which prevailed among the Utes in 1888, when he
was stationed at Fort Duchesne. Log huts are extensively used as
winter abodes at the present time, a typical summer camp being
shown in plate 4, h.
Temperament. — The Utes have never been a war-like tribe, yet
they are a people of great tenacity of opinion. This has repeatedly
brought them into difficulty with the Government. In contrast to
this underlying tenacity, they seem characterized by quick transi-
tions of mood concerning matters of less importance. These chang-
ing moods are like the brief, sudden storms that frequently occur in
their native environment and are followed by sunshine.
Language. — The Ute is a Shoshonean division of the Indian
languages, related linguistically to the Paiute, Chemehuevi, Kawaiisu,
and Bannock. It has not yet been studied intensively, but the fol-
lowing material on the subject is available for reference:
Barbee, a. E. — "Language and Utensils of the Modern Utes," U. S. Geological
and Geographical Survey of the Territories, 1876, vol. 2, pp. 71-76.
Chamberlin, Ralph V. — "'Some Plant Names of the I"te Indians," American
Anthropologist, vol. 2, No. 1, pp. 27-40.
Harrington, John P. — "The Phonetic System of the Ute Language," The Uni-
versity of Colorado Studies, vol. viii, pp. 199-222, Pub. by Univ. of f"ol.,
Boulder, Colorado, 1910.
Kroeber, A. L. — 'Notes on the Ute Language," American Anthropologist, vol. 10,
pp. 74-87, 1908.
Classes of songs. — The songs recorded among these people are
chiefly those of social dances and of war, together with songs used
in treating the sick. No attempt was made to enter on a detailed
study of the Sun dance nor of an undetermined religious dance,
26 BUnEAI" OF AMEFJCAX ETHXOLOflY [Bm-i.. Tf.
around which there was placed a certam degree of mystery. The
writer was informed that the Utes did not have songs to insure
success in hunting, and no songs connected with hunting were
offered for recording.
Food.— An okl informant said: "When we lived farther east we
ate berries, roots, and meat. We dried th<^ meat of the deer, elk,
and buffalo." Other native foods are pinon nuts, corn, and fish.
The pinon nuts, even at the present time, are parched in hot ashes,
after which the shells are removed and the nuts pounded on a stone.
Corn is still ground by placing it on a broad, flat stone and rolling
over it a rather long, round stone. The resultant meal is mixed with
water and baked on heated earth, from which the ashes of a fire have
been removed. According to Mason "the Ute Indians make use of
many kinds of seeds in their dietars," ^ gathering them on the plains.
Industries. — Potter}- was made by the ancient Utes, but the
basket bottle with inner coating of pitch is now in general use. The
basketr\' of the Utes is designed for utility and includes gathering and
carrying baskets, trays, bowls, harvesting fans, and women's hats.^"
Composition of songs. — It was said by several singers that they
"heard a song in their sleep," sang it, and either awoke to find them-
selves singing it aloud or remembered it and were able to sing it.
No information was obtained on any other method of producing songs.
In this connection the writer desires to record an observation on
musical composition among the Sioux. A song was sung at a gather-
ing and she remarked: "That is different from any Sioux song I have
heard, it has so 711(1711/ peculiarities." The interpreter replied, "That
song was composed recently by several men working together. Each
man suggested something, and they put it all together in the song."
This is the only instance of cooperation in the composition of an
Indian song that has been observed.
Musical instruments. — The dance songs and war songs of the
Utes are accompanied by the morache, hand drum, and large drum,
while the hand game songs are accompanied by beating on a hori-
zontal pole, and certain songs of the camp were formerly accom-
panied by beating on a stiff rawhide.
Morache. — This instrument is used to accompany the songs of the
Bear dance (pp. 58-72). Th(^ instrument in various forms has been
noted among nuui}- tribi's of Indians, and th<' Spanish term morache
has become established by usage. It is, however, classified as
a "notched stick rattle with resonator" by Mr. E. H. Hawley,
curator of musical instruimnits, United States National Museum,
Washington, D. C. The instrument comprises three units: (1) A
■ Mason, Otis T. Indian Basketry, vol. 2, p. 439, l>ondon, 1905.
w Ibid., vol. 1, pp. 71-72; vol. 2, pp. 434-441.
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 75 PLATE 2
a, Lookincf north
b, Looking south
c, Uiiua KivtT
d, Rock formaiiva ;.l... I i..i„ i;i'>u
PLATEAU OF UINTA AND OURAY RESERVATION
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 75 PLATE 3
';, \\ 1111 c l;i\ LT Cutniui
b, Burial place in vicinity of White Kiver Canyon
5UREAU OF AMERICAN ETHNOLOGY BULLETIN 75 PLATE 4
a, Entrance to thatched dwelling
'', .SnninuT camp
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 75 PLATE 5
a. llagcolcl
/;, Nolchod slick fsliaiii'il like jawbone of bear) with bono "rubber"
r. \o1eh(^ 1 stiek (straisfht) with nibbing sliek
d. Basket resonator
pexsmoreI
NORTHERX UTK MI^SIC 27
stick ill which notches are cut; (2) a short stick (or bone) rubbed
across these notches; and (3) a resonator placed over a hole in the
ground. This resoiliator was formerly a shallow basket (pi. 5, d), but
in recent times a piece of zinc is used. The end of the longer stick
is rested on the resonator, while the shorter stick is i-ubbed perpen-
dicularly, the downward stroke being sharply accented (pi. 1). Two
specimens of the notclu^d stick and the nibbing stick were obtained
by the writer, both sets havmg been used in the Bear dance on the
Uinta and Ouray Resen^ations (pi. 5, 6, c). The more typical of these
comprises a notched stick shaped like the jawbone of a bear, with a
bone for rubbing stick. ^^ The other set comprises a straight stick, in
which notches have been cut, and a smaller stick for rubbing across it.
This set, with the basket resonator, is described as follows by Mr.
Hawley :
'' Name of specimen, Notched Stick Rattle. Notched stick, L. 25|
in., diameter 1^ in. Rubbing stick, L. 6 in., diameter If in. Basket
resonator, H. 5 in., diameter 15f in. The notched stick originally
had 28 notches about f of an inch deep made in 20f inches. On the
opposite side 24 more shallow notches were cut in a space of 12
inches. The rubber is oval in cross-section, rubbing across the
notches having reduced the diameter to J t^ in. The resonator is
of a shallow hemispherical form. It is not a di'um. It is not put
in vibration by being beaten or frictioned. A hole is dug in the
ground and the basket is inverted over the hole. One end of the
notched stick rests on the basket. The vibrations of the notched
stick are communicated to the basket, which in turn so sets in vibra-
tion the air confined in the hole and basket as to dominate the original
vibration."
The Pima Indians, according to Frank Russell, use the '• basket-
drum" and "scraping sticks" separately as well as in combination.
Mr. Russell says: ''Any shallow basket of sufficient size, such as are
in common use in every household for containing grain or prepared
food, may be transformed into a drum by simply turning it bottom
up and beating it with the hands. In accompanying certain songs
it is struck with a stick in rapid, glancing blows. The notched or
scraping stick is in very general use to carry the rhythm during the
singing of ceremonial songs. When one end of the stick is laid
on an overturned basket and another stick or a deer's scapula is
drawn quickly over the notches, the resulting sound from this com-
pound instrument of percussion may be compared to that of the
snare drum. However, it is usually held in the hand and rasped
with a small stick kept for the purpose. So important are these
'""Among the negroes of the Southern States the jawbone of a mule or horse is used in the same way, a
stick being rubbed over the teeth." Catalogue of the Crosby-Brown Collection of Musical Instruments,
pubUshed by the Metropolitan Museum of Art, New Yorlc, 1914, footnote, p. 1S3.
28 BFREAr OF A^rKPJCAX ETHNOLOGY [Bri.i.. 75
instruments in Pima rain ceremonies that they are usually spoken
of as '^-ain sticks."" Serrated instruments, with rasping sticks,
were also used by the Negroes of central Africa and by the Chmese.
Hand drum. — This instrument is used with songs of the Lame dance
(pp. 105-111), Double dance (pp. 118-119), and Iron-hne dance
(p. 120), as well as with war songs (pp. 146-160) and parade songs
(pp. 166-173). A specimen of the hand drum (pi. 6) was ob-
tained and is described as follows by Mi-. Hawley: ''Small drum.
H. 8f in., dia. 12| in. Shell of bent wood, the joint lapped
and nailed. The inside is reinforced with a strip of bent wood \\
in. wide, ^e ^^- thick; its ends do not quite meet; one skin
head stretched over the shell when wet. It extends halfway
down the outside of the shell. Holes are made in the edge of the
skin If in. apart, also corresponding holes in the median line of the
shell and its reinforcement. Two buckskin thongs are passed in and
out through these holes in opposite directions and tied inside. A
handle of two strips of cotton cloth cross each other at right angles.
A handhold is formed by })ringing these together for about 1 \ inches
at the center and wrapping them with a strip of cloth (pi. 7). Near
one end of the reiniorccment a l)uckskin loop to suspend it is attached
to the thong that binds the skin head to the shell. Both outside and
inside have been colored yellow. The skin is so heavy that its shrink-
age has misshaped the shell. Drumstick, handle, a round stick like
a section of a grapevine. Head of white cotton cloth wrapped several
times around one end of stick, held by tying its ends together. Stick,
L. 12^ in., dia. y^ in.; head, L. 4| in., dia. \\ inches."
Large drum. — It is interesting to note that the large drum is used
with the Turkey dance and Woman's dance, the former, and prob-
ably the latter, of these dances being introduced among the Utes from
other tribes. This drum is of the usual type and is placed on the
ground, the singers sitting around it and drumming as they sing.
The usual size permits the seating of 8 or 10 drummers around it, but
it is said that 14 men are sometimes seated at a drum.
Flageolet. — In general construction this instrument (pi. 5, a) resem-
bles the flageolet used in many other tribes. It is made of a straight
section of wood which has been split lengthwise, the pith removed,
and the two pieces glued together. In length it is about 11 inches
and in diameter 1 \ inches. It has a whistle mouthpiece with the
windway outside. The sound holes are in two groups of three each,
those in the group farthest from the mouthpiece being shghtly nearer
together than those in the other group. The instrument was played
for the writer, and had an ext(>n(U^d range and a pleasing quality of
tone. It is said that a much better tone is produced if the instru-
" Russell, Frank, The Pima Indians. Twenty-sixth Ann. Rept . Bur. Amer. Ethn., p. 167, Washington,
1908.
JUREAU OF AMERICAN ETHNOLOGY BULLETIN 75 PLATE 5
a, Obverse
HAND DRUM WITH DRUMMING STICK
BUREAU OF AMERICAN ETHNOLOGY
5ULLETIN 75 PLATE 7
UTE BEATING HAND DRUM
DENSMOREJ NORTHERN UTP: MUSH: 29
meiit is moistened. A member of the I'^to tribe who made and
j)hiyed on such a flageolet said: ''American song tunes can not be
played on it but Indian music can be j^layed on it."
Notes ox burial customs.- -Cave burial was formerly practiced
by the Utes. It is said that ''Ouray, the Ute chief, . . . was buried,
so far as could be ascertained, in a rock fissure or cave." '^ Instances
of cave burial are also recorded. ^^ A burial ground was visited by
the writer which appeared to be still in use. On the burial places
were the bones of horses and dogs which, it was said, had been slain
at the death of their owners. Clothing was hung above the graves,
and, in one instance, a quantity of corn was suspended from the
branch of a tree (pi. 3, h).
12 Yarrow, H. C. A further Contribution to the Mortuary Customs of the North American Indians.
First Rept. Bur. Amer. Ethn., p. 128, Washington, 1881.
"Ibid., p. 142.
30
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52 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
COMPARISON OF ANALYSES OF UTE SONGS WITH
ANALYSES OF CHIPPEWA AND SIOUX SONGS
Table 1 . — Since the Ute songs are those of a tribe less advanced
in civilization than the Chippewa and Sioux, it is interesting to note
that they show a much higher percentage in major tonality. Ref-
ence to Tables 11 and 12 will show the proportion of major thirds to
be also larger in the Ute songs than in those of the other tribes under
analysis.
Tables 2 and 3. — These tables combine to show what may be
termed the boundaries of the melody. In the Ute songs the initial
tones of the songs, in about 75 per cent, are either the keynote, its
third, fifth, or octave, and 50 per cent end on the keynote. In the
Chippewa and Sioux songs the preference is for the twelfth and
fifth, with the octave and tenth next in frequency. It will readily
be seen that the Chippewa and Sioux songs are of wider range, what
would be called in musical terminology the tonic chord being given
in the upper octave. In Bulletin 61, page 42, attention was directed
to the fact that the octave, twelfth, second octave, and its major
third are the first, second, third, and fourth upper partial tones,
or overtones, of a fundamental. The relatively large proportion
of Chippewa and Sioux songs beginning on the twelfth suggested a
feeling for the second overtone, the fifth representing the same scale-
degree in the lower octave and occurring in songs having a compass
of less than 12 tones. The compass of Ute songs is smaller than
that of the songs previously analyzed. (See Table 5.) The reason
for this must remain a matter of speculation. The environment of
the Ute is entirely different from that of the other tribes under con-
sideration, which adds interest to the radical differences appearing in
some of the characteristics of the songs.
Table 4. — ^The lower percentage of Ute songs in which the final
tone is the lowest tone counterbalances to some degree the higher
percentage of Chippewa and Sioux songs ending on the kejuoto, as
shown in Table 3. In the Ute songs the tone lower than the final
tone does not immediately precede it in a majority of instances but
occurs during the progress of the melody.
Table 5. — A high percentage of Ute songs have a compass of six,
eight, and nine tones. It will be noted that only 30 per cent of the
Ute songs have a compass of more than nine tones, while 57 per cent
of the Chippewa and Sioux songs have such a compass.
Table 6. — It is interesting to observe that although the Ute songs
have a higher percentage in major tonality they have a lower per-
centage of songs on the fourth five-toned ('major pentatonic")
scale. Instead of finding the major songs in the pentatonic group,
we find them in the succeeding groups which comprise songs with
DE.vsMOREl NORTHERN ITTE MUSIC 53
only four tones, these being the major triad and one additional tone.
Comparison shows the Chippewa and Sioux songs to be much below
the Ute in the percentage of these major four-tonod songs. The five-
toned scales mentioned in these analyses are the five pentatonic
scales designated and named by Helmholtz. These five scales con-
tain the same tones, but differ in keynote. (See Bull. 61, p. 7.)
Table 7. — Only 4 per cent of the Ute songs contain tones chro-
matically altered (''accidentals"), and the only tones thus altered
are the fourth and seventh, which are raised a semitone. Among the
Chippewa and Sioux songs the most frequent accidental is the sixth
lowered a semitone, next in frequency being the fourth and seventh
raised a semitone. The lowering of the submediant suggests a
clearer musical perception than the raising of the fourth and seventh,
as it suggests a change from major to minor tonality, further suggested
by the lowering of the third in 6 per cent of the songs. The raising
of^the seventh makes it a "leading tone," but does not affect the
tonality of the song. The singing of the fourth above the indicated
pitch may have been due simply to an imperfect rendering of the
interval.
Table 8. — The percentage of songs of a mixed form is more than
twice as great in the Ute as in the Chippewa and Sioux. A better
comparison lies in the percentage of melodic, which is much smaller,
and harmonic, which is slightly larger, in the Ute.
Tables 9 axd 10. — The proportion of songs beginning with an
upward or downward progression is identical in the Ute and the tribes
previously analyzed, and the difference in proportion of upward and
downward intervals is too small to be of significance.
Tables U and 12. — In Table 11 (downward progressions) it is
iitiportant to note that the proportion of major seconds is practically
the same in the Ute as in the songs formerly analyzed. The Ute do
not use intervals larger than a major sixth, which appear with some
degree of frequency in the songs of the other tribes under considera-
tion, but they do not substitute a large percentage of whole tones
and semitones. Instead we find in the Ute songs an increased pro-
portion of fifths, fourths, and major thirds, the minor thirds being
smaller in percentage than in the other tribes. If small intervals
preceded larger intervals in the formation of primitive music, we
should expect to find a preponderance of small intervals in the songs
of a tribe which, like the Utes, is acknowledged to be still primitive
in thought. The comparisons noted in the downward progressions
are found with little variation in Table 12, which shows the percent-
ages of intervals in upward progression. In both tables the minor
third is the most frequent interval except the major second, which is
usually a passing tone.
54 BUEEAU OF A:\rEBirAN ETHNOLOGY [bttll. 75
Table 13. — ^Although the tables next preceding have shown that
the Ute do not use certain large intervals which are used by the other
tribes under consideration, the average interval in the two groups or
songs is almost the same, since both are slightly larger than a minof
third (three semitones) . This adds interest to the investigation of the
minor third in Indian music. The minor (non-major) third has
frequently been noted by explorers, as well as by students of primi-
tive music.
Table 14. — The consideration of Indian music as being literally in
a "key" is foreign to the present work; thus the term "tonality" is
substituted for "key" in the first table of analysis. The songs ate
grouped in the present table chiefly to determine the pitch of the
songs and to observe this pitch with relation to the compass of the
voice. The term "key" is here used in its broad sense, as applicable
to nonharmonic music, inclusive of modes. E major, E flat major,
and G major show the highest percentages in Ute songs, the latter
being also the highest percentage in the Chippewa and Sioux songs.
Tables 15 and 16. — The Ute songs show a much higher propor-
tion beginning on the accented portion of the measure — a peculiarity
which suggests simplicity and directness. This is further shown by
the higher percentage of songs beginning in 2-4 time, this being 62
per cent in the Ute and 54 per cent in the Chippewa and Sioux songs.
Table 17. — Only 11 per cent of the Ute songs contain no change
of measure-lengths; 16 per cent of the songs previously analyzed are
continuous in time. The difference between these proportions is of
less interest than the fact that a change of measure-lengths appears to
be so general a custom in all the tribes under analysis.
Table 18. — The accompanying instrument among the Utes seems
to be primarily for the purpose of marking the time and to have
less individuality than the accompanying instruments of the tribes
previously analyzed. Thus the percentage of quarter-note drum
rhythm in the Ute songs is more than three times that in the former
group. The proportion of the eighth-note rhythm is somewhat
smaller in the Ute, which shows less than one-third the percentage
of songs in which the accompanying instrument is in a triplet count-
division.
Table 19. — This is one of the most important tables of analysis,
showing the rhythmic structure of the song, as Table 8 shows its
melodic structure. In this table we note that in the recorded Ute
songs the percentage containing a rhythmic unit is higher than in
the Chippewa and Sioux. The melodic material of the Ute is
shown to be less varied, the melodic structure less free, the drum
rhythm simpler. In this connection it is interesting to note that the
sense of rhythm is more prominent in the Ute songs. Two rhythmic
units seem preferred to one, as the percentage of songs with one-
DEXSMOREl
NORTHERN UTF. MUSTr 55
rhythmic unit is shghtly less, while the proportion of songs with
two rhythmic units is three times as great in the Ute as in the former
groups.
Tables 20 and 21. — From these tables it appears that a tempo of
104 beats per minute is preferred by the Utes in their songs and also
in the accompanying instrument.
Table 22. — A much greater similarity of tempo between voice and
accompanying instrument appears in the Ute than in the Chippewa
and Sioux songs, the percentage of songs in which both have the
same tempo being 89 in the Ute and only 45 in the former songs.
When voice and drum differ the drum is slower than the voice among
the Utes and in large proportion is faster than the voice among the
other tribes under consideration.
Summary of analysis. —Yrom the foregoing it appears that, in com-
parison with Chippewa and Sioux songs, the Ute songs are more
frequently major in tonality, harmonic in structure, and character-
ized by one or more rhythmic units. The compass is smaller and
the intervals less varied, but the proportion of ascending and descend-
ing intervals is about the same. The average interval is smaller, but
the difference is too slight to be of importance. The rhythm of the
accompanying instrument is less varied, and its beat is more fre-
quently synchronous with the voice.
Among the characteristics of the Ute songs which do not appear
in the tables of analysis may be noted the connective phrase (p. 64),
the downward glissando tone (p. 58), the upward ghssando tone
(p. 175), the interrupted drumbeat at certain points in the song
(p. 97), and the peculiar monotonous rhythm described in the analysis
of No. 2. The songs used in the treatment of the sick contain, as an
entire group, certain interesting peculiarities which are noted in the
section on that subject.
COMPARISON OF ANALYSES OF CHIPPEWA, SIOUX, AND
UTE SONGS WITH ANALYSES OF SLOVAK SONGS
In order that the structure of Indian songs might be compared
with that of European folk songs, the writer obtained a group of
Slovak songs and analyzed them according to the method used in
analyzing Indian songs. Dr. Aleg Hrdlicka recommended the use of
Slovak songs for this test, as the Slovak is one of the most isolated
and racially pure groups of the Slavs, living in the foothills of the
Carpathians. There they pursued their own manner of life from
the dawn of history until disturbed to some degree by Magyariza-
tion, which began a])out a century ago. The songs used in the test
were selected for the purpose by Mr. Ivan Daxner, secretary of the
Slovenian League of America. They comprise a group of 10 songs,
including the Slovak national anthem; a song concerning JanoSik,
56 BUREAU OF AMERICAN ETHNOLOGY [bull. 73
the people's hero; a very ancient melody, "In praise of song"; a
"dialogue on melody"; several love songs; and folk songs concerning
the plowboy and the girl who watched the geese.
On comparing the structural analyses of tiie Slovak and Indian
songs we find the resemblances to })e less than the differences, sug-
gesting a widely different temperament in the peoples of the two
races. These differences are much greater than between the songs of
the several Indian tribes analyzed l)y- the writer.
Considering first the resemblances, we find that the percentage of
songs with a compass of an octave is 30 in the Slovak and varies from
21 to 35 in the Indian, except in a small group of Sioux songs recorded
by Chippewa, in which it is smaller. There is also a resemblance
in the proportions of ascending and descending major thirds and
major seconds and in the ascending fourths. Among the differences
we note that the minor third, which is so prominent in the Indian
songs, occurs from one-fourth to one-half as frequently in the Slovak
songs, while the minor second occurs from three to four times as fre-
quently. The average interval in the Slovak songs is smaller than in
the songs of any Indian tribe under analysis. In this connection it
is interesting to note the contrast in the environment of the Slovaks
and the Indians, the former, whose analyzed songs are characterized
by a one-semitone interval, being a sedentary and agricultural people,
and the latter, whose analyzed songs are characterized by a three-
semitone interval (see p. 42), being a nomadic people, whose principal
industries were hunting and fishing. The musical instinct is strongly
marked in both peoples, and is part of the heritage of all the Slavs.
The proportion of descending intervals and the proportion of songs
beginning with a descending progression is much smaller in the
Slovak than in the Indian songs, suggesting that the descending trend,
characteristic of Indian songs, is not characteristic of Slovak songs.
The change of measure lengths, occurring in 85 per cent of the Indian
songs, is entirely absent from the Slovak. The percentage of songs
beginning on the accented portion of the measure and of those begin-
ning in 2-4 time is much greater in the Slovak than in the Indian
songs.
From the foregoing it appears that the Indian and Slovak songs
under analysis differ in trend and in the principal interval of progres-
sion. It also appears that the Slovak songs have more directness in
beginning and more simplicity of rhythm.
THE BEAR DANCE
The characteristic dance of the Ute Indians is the Bear dance,
which is held every year in the early spring. The intention is to hold
the dance at about the time that the bear comes from his hibernation,
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 75 PLATE
a. Entrance to Bear dance inclosurc
h, Last i)ortioii of J3ear dance
c, Last portion of Bear dance
BUREAU OF AMERICAN ETHNOLOGY
3ULLETIN 75 PLATE 9
';, Sim daiKc jiok'
b, bun dance ]>olv wilh porlion of hriisli shelter
SUN DANCE GROUND
DENSMORE] NORTHERN UTE Ml^SIO 57
yet the Indians seem to expect that snow will fall either during or soon
after the dance. Some informants stated that the Bear dance was
formerly in the nature of a courting dance, but sociability and general
good feeling appear to be its chief characteristics at the present time.
The custom of the Northern Utes seems to differ little from that of
the Southern Utes as described by Verner Z. Reed.'^ who witnessed
the Bear dance on their reservation in Colorado in March, 1893.
The Bear dance is held in a large circular space inclosed by a
barrier formed of upright poles, between which the branches of trees
are woven horizontally. The inclosure used for the Bear dance in 1914
was visited by the writer. (PI. 8, a.) The walls were about 9 feet
in height and the inclosure about 200 feet in diameter. At the side
opposite the door was an excavation in the ground about 5 feet long,
2 feet wide, and 2 feet deep. Over this, during the dance, there had
been placed sheets of zinc on which the singers, seated around the
sides, rested their morache. (See pi. 1.) This hollow (or cave) in
the ground was said to be '' connected with the bear," and the rasping
sound produced by the morache was said to be ''like the sound made
by a bear."
During the week which precedes a Bear dance the people rehearse
the dancing. When the dance is formally opened they don all their
finery and continue dancing for several days. The dancers take
their places in parallel lines facing each other, the men in one line
and the women in the other. They do not touch each other, neither
do they progress during the dancing until the last day of the dance.
If a dancer falls from exhaustion or from a misstep, the singing
ceases and a medicine man or the leader of the dancers "restores
the dancer." Taking a morache from one of the singers, he places
the lower end of the notched stick against the body of the prostrate
man and passes the rubbing stick rapidly up and down upon it. He
begins this at the dancer's feet and repeats the motion upward until
the man's head is reached, when he holds the notched stick toward
the sky and passes the rubbing stick upward as though he were
brushing something from the notched stick into the air. Sometimes
two or more of these treatments are necessary before the man rises
and resumes dancing. He is not required to give a present to the
man who thus "restores" him.
On the final day of the dance, soon after sunrise, a man and a
woman chase each other around the inclosure, and if they see anyone
laugh at them it is the custom for them to appear ferocious, running
toward the person and pretending to scratch him. Sometimes they
apply red paint around the mouth to look as though blood were
dripping from the jaws, suggesting the ferocity of the bear. The
^ Reed, Verner Z., The Ute Bear Dance. Amer. Anthropologist, vol. 9, 1896.
58
BUREAU OF AMERICAN ETHNOLOGY
rBnLi,. 75
manner of dancing changes on this day, the hne of women approaching
the line of men and attempting to push them backward. Then each
woman tries to push the man who stands opposite her. (PI. 8, h, c.)
After a time the women succeed in pushing the men across their side
of the inclosure and against the wall. This marks the conclusion of
the dance.
Characteristics of Songs
The chief characteristic of these songs is a glissando on downward
progressions which was said to ''imitate the sound made by a bear."
This glissando appears most frequently on the descending interval
of a fourth, an interval which, in Chippewa songs, was found to be
prominent in songs concerning animals." The intervals of pro-
gression are small, 78 per cent being a major third or intervals
smaller than a major third. All the songs contain a rhythmic unit,
showing the rhythmic sense to be stronger than the melodic. Several
of the songs contain a "singsong" type of rhythm in the latter
portion, if not in the entire song. This monotonous rhythm is a
contrast to the intelligent, thematic treatment of rhythm noted in
many Chippewa and Sioux songs.
No. 1. " The Dust of the Red Wagon " (Catalogue No. 758)
Recorded by Singer No. 1
Voice J = 96
Morache not recorded
(1) (?) .
gz^-^^'^^^^F^^^^^^
Ai] - a -gar vi - nuq - ump o ha ku - a - vi - t§i - ya
(1)
ce ya ha aq - a - gar vi - nuq - ump a ha
(2)
(3)
1 1
ici^U^-f ^— f — n — m^f m •—
-f-
F^-T-r-P
Pb'^T^l 1 ^^:u^— H
:^iiL_L_
■"
:^^_ls^
^^^
ku - a - vi - tsi - ya ce ya ha raa - ri - kats a pu -mi- wa-nu
(3)
SS
4t — ^
:Li^^^
^^^^i^l
pa - hai a ma - ri - kats u pu - mi - wa - nu - pa - hai a.
'• See Hull. 53, p. lUl.
PENSMonr]
NORTHERN UTF. :\rrSTC
59
WORDS
a^Qagar red
vi^nuijump wagon
ku^avi'tsiya dust
ma'rikati white man
pumi'wanupahai looking around
Analysis. — This melody comprises six rhythmic periods, the first
four containing two measures each and the hist two containing three
measures each. The final measure in every period contains two
eighth notes followed by a quarter note. This pln-ase is sung on the
lowest tone in the period which, with its frequent recurrence, gives
the phrase a certain emphasis. Noting the tones on which this occurs
we find- them to be G, F, G, F, G, G. The tones in the first, third,
fifth, and sixth periods are those of the triad of G minor, and the
song is analyzed in that key. The melody progresses chiefly by thirds,
63 per cent of the intervals being minor and 22 per cent major thirds.
No. 2. Yellow Hair (Catalogue No. 784)
Recorded Ijv Singer No. 2
Voice J = 200
MORACHE J= 152
For rhythm of morache see analysis of song
(1) (1)
=9«^=S
^=W^^
-b-4-
^
:^i=^
aSfc
O - a - tsi - wa - o - nes o - a - tsi - wa - o - nes
(2)
(2)
-P ^
-<a-
t^i
tsi
oa''tsiwa''one8 yellow hair sticking up
The words of this song may refer to the appearance of a bear.
Analysis. — This song is characterized by a monotonous rhythm and
a lack of variety in melodic progression. Other songs containing the
same characteristics are Nos. 3, 4, 6, 10, 15, and 16 in the Bear dance
songs, and a majority of the hand game songs, Nos. 94-102. This
rhythmic and melodic peculiarity suggests a vocal expression scarcely
developed to the point of composed song. We find in it a resem-
blance to the rhythmic vocalization which accompanies concerted
labor among peoples low in the scale of culture. In a majority of
the songs cited the principal interval is the minor (or nonmajor) third.
60 BUREAU OF AMERTOAN ETHNOLOGY [boll. 75
which characterizes the most primitive vocal expression of uncivilized
peoples. (See Bull. 53, p. 7.) This intervaHs prominent also in the
early music of civilization. The tone material of this song comprises
a fundamental (G), with its minor third and minor seventh — a tone
material not previously noted by the writer. For convenience the
song is analyzed as in the key of G minor, though it can scarcely be
said to constitute a key in the accepted sense of that term.
The rhythm of the notched-stick rattle is simple and does not vary
in the songs recorded with its accompaniment. The rubbing stick is
thrust downward upon the notched stick, producing a sharp, rasping
sound, and as it is brought upward, preparatory to the next stroke,
there is a similar but less pronounced sound, the downward stroke
occupying a period of time slightly longer than that required for
returning the rubbing stick to its original position. The sound pro-
duced by the upward motion varied with individuals, those who used
he rattle with special energy producing, of course, a louder sound
with the upward motion of the rubbing stick. The song under
analysis is the only recorded Bear dance song in which the rattle and
voice are not synchronous at the beginning of each count. In this
song the tempo of the rattle is slightly slower than that of the voice.
This and the song next following are examples of recent composi-
tion among the Utes. Fred Mart, the wTiter's interpreter, said that
he composed these songs ''in dreams." This manner of composing
songs was customary in the old days and has been noted among many
tribes of Indians. The usage among Chippewa and Sioux is noted
in Bulletin 53, page 37, and Bulletin 61, page 59. It is not uncommon
among the Utes at the present time.
Concerning the origin of this song, Mr. Mart said: '' I dreamed that
I was at a Bear dance; there was a great crowd, but they were
strangers to me and did not address me. All were singing this song
and I learned it from them. I sang it while I was still asleep and
was singing it aloud when I awoke. After that I remembered the
song." In explanation of the words, he said: ''Many Utes wear a
flat, polished shell suspended around their necks, and at the Bear
dance they tie a weasel skin to this shell. The idea of the word is,
'Dance harder so your weasel skin will swing faster.'" Mr. Mart
taught this song to the singers at a Bear dance, and when it was
sung the old people mistook it for an old song. It was necessary
for him to sing it only two or three times with the singers at the
drum, after which he led them in the singing of it. When recording
the song, he shouted between the renditions, " Dance harder, Red
Stick," as though addressing a dancer, and "That is the way to
dance," it being customary to urge the dancers in this manner.
densmore]
NORTHERN UTE MUSIC
No. '.i. *' nance faster"
Recorded bv iSinukk No. 3
61
(Catalogue No. 772)
Voice J - 104
MORACHE J^ 104
Rhythm of morache similar to No. 2
^Eg^g
=9i=F^
p==p:
-9—^
Pa - vi - tsu a pa - vi - tsu a pur) - ke ya-mi - ko - va - ni
^i=P^^^=J=^
it^:
^— I — -* — ^— Ff-
^=^
*z=t=M:
P=p:
-^^^
=9'
^--t^
zi=i
I
W=m-
i=tHi=tJ:
#-#
ati±t
pavi'tsu weasel skin
pugke hard (or fast)
yamiko'vani swing (imperative verb)
Analysis. — This song, in contrast to that next preceding, is char-
acterized by the interval of the major third, which constitutes 52
per cent of the intervals. Next in frequency is the interval of a
fourth, constituting 27 per cent of the entire number. The rhythmic
unit is short and occurs in both double and triple measures. Count-
divisions similar to those in the rhythmic unit appear throughout
the song. The melody tones are those of the major triad and fourth.
The low G at the close of the song was given with distinctness,
though it seemed to be below the natural compass of the singer's
voice. No variation occurred in the four renditions of this melody.
The interval of a fourth characterizes this song and is also prominent
in Nos. 7, 11, 16, 20, 50, 88, 90, and 100. A monotonous rhythm
somewhat resembling that of the present song is noted also in Nos.
4, 6, 10, 15, 16, 42, 98, and 101. This peculiarity was not found in
songs of the Chippewa and Sioux.
62
BUREAU OF AMERICAN ETHNOLOGY
[BDLL. 75
Concerning the origin of the following song, Mr. Mart said: "I
dreamed I was visiting far away. A woman was with me and we
were at a great dance of all the tribes, each led by a chief. Our
tribe was led by Nu'sina. He was then a spirit, but when he was
alive he was a medicine man. In my dream we were dancing in a
great circle and Nu'sina sang this song, and we sang it with him
until I learned it. I was singing aloud when I awoke from my
dream." The words of the song are simple but suggest a connection
with a medicine man.
No. 4. Song of Nu'sina (Catalogue No. 773)
Recorded by Singer No. 3
Voice J^ 126
Morache not recorded
E^t
(
:n=S
-m^
S:
lai:
L4i=b^=t
LSa
Connective
r?TTit rn — I— 1
1
tone
=94-r r ^^ *-
-•—•—•—•—• —
-H 1 1
f f 4 d •
-f-T^T^-
--It^^
LUI
LLiHi^4-
LU
lm u I "-h-'
WORU.S (not TKANSCKIBEU)
kwa'iiarits eagle
pututs down
Attalysia. — Two renditions of this song were recorded and are
uniform in every respect. This is interesting, as the rhytlmiic unit
is long and the measure-divisions monotonous. In numerous Ute
songs there occurs a connective phrase, sung between renditions of
the melody. In some instances a connective tone is sung midway
of the ascent from the final tone of the song to that with which the
repetition begins. In this instance the connective tone is on the
same pitch as the lowest tone of the melody. A wide variety of
intervals occurs in the song, a peculiarity which was noted in the
den.smohe]
NOETHERX UTE MUSIC
63
more modern Sioux songs. Thus we find five sorts of ascending and
four of descending intervals, wliile in the song next preceding, which
was mistaken for an old song, almost 80 per cent of the intervals
were fourths and major thirds. This song is melodic in structure
and contains the tones of the fom-th iive-toned scale.
No. 5. Bear Dance Song (a)
Recorded by yiNGEU No. 4
(Catalogue No. 690)
Voice J 104
Morache not recorded
1 11 ■ ■ — 1 ' Jt •..
~-^T-b^-^ — \- — ^ -^ — ^ ^ — k- + — t^ -1 — 1 — 4 — u- -U— tc
-^^4 .
ig
f^
m\
giifc
■3:835
t
^
Analysis. — The somewhat monotonous rhythm of this song is
varied only by a triple measure near the close. The melody tones
are those of the fourth five-toned scale, and the ascending and
descending intervals are about equal in number. Major and minor
thu-ds constitute 89 per cent of the intervals, though the fourth is
prominent in a portion of the melody. Five renditions were recorded
and show no variations.
No. 6. Bear Dance Song (b)
Recorded by Singkr No. 4
(Catalogue No. 691)
Voice J — 76
Morache not recorded
isgi^^
:t:
^
64
BUREAU OF AMERICAN ETHNOLOGY
[bull. 75
Analysis. — This song is harmonic in structure, containing only the
tones of the major triad and the fourth, which is always raised a
Semitone. The rapid phrases in which this tone occurs were given
without variation in the four renditions of the song. In tonality the
song is major, and 57 per cent of the intervals are major thirds. The
rhythmic form of the song is interesting and clear, with four occur-
rences of the rhvthmic unit.
No. 7. Bear Dance Song (c)
Recorded by Singer No. 4
(Catalogue No. 692)
Voice J i^ 104
Morache not recorded
(1)
(1)
Connective phrase
:§«fc
^
t=f::
f 4 ^ I H"* I 11 ! ! i j i^i i •■
Analysis. — In the renditions of this melody we have an example
of the "connective phrase" found in Ute music and not in that
of the Chippewa and Sioux previously analyzed by the writer.
vSimilar phrases are transcribed in songs Nos. 39 (duplication), 41,
46, 70, 72, 84, 85, 86, 89, 91, 92, and 93. A connective tone has been
mentioned in the analysis of No. 4. This connective phrase was sung
slightly rubato in its two final measures and occurs between all the
six renditions of the song. It can not be considered an introductory
phrase, as the singer began with the first measure of the melody as
transcrib(Ml. Among the Chippewa and Sioux it was not unusual to
find an introductory phrase, which was sung before the first rendition
of the song and omitted in all the subsequent renditions.
dexsmore]
NORTHERN UTE MUSIC
65
The rhythm of this song is clear and forceful, the two units being
distinctly given.' Thirty-eight progressions occur in the song, all
but two of which are fourths and major thirds. (See No. 3.) The
melody tones are those of the major triad and second.
No. 8. Bear Dance Song (d)
Recorded bv Singer No. 5
(Catalogue No. 763)
Voice ,:^ 104
morache j= 104
Khythin of inorache similar to No. 2
St
m
-V— I ■f—
-V— wJ—
#:
(1)
(1)
(?)
-#-#-
^_. ^ 0. i^- -f. p. 0..
i^i^l^SEE-E
^
(1)
(1)
.=Z4j — '^ U--^ — \- -4 ^
(1)
(1)
Analysis. — A peculiarity of this song is the rest during which, in
the four renditions of the song, the voice was silent while the scraping
of the rattle continued in exact time. Two rhythmic units occur,
and count-divisions similar to those of the units appear throughout
the melody. About half the progressions are whole and half tones,
which is unusual. The melody contains all the tones of the octave
except the sixth and seventh. The descending intervals of a fourth
were sung glissando in this as in numerous other songs of the Bear
dance. This glissando was said to ''imitate the sound made by a
bear." Other songs containing rests are Nos. 11, 19, 27, 41, 46, 48,
68, 77, 94, 95, 96, and 97.
25043°— 22 5
66
BUREAU OF AMEEICAN ETHNOLOGY [bull. 75
No. 9. Bear Dance Song (e) (Catalogue No. 764)
Recorded by Singer No. 5
Voice J — 108
MORACHE 0— 108 '
Rhythm of morache similar to No. '^
(1)
r<^ — 1
fM^.-
-T^^
:r"^=pW-
|-2H-
r^i
_^L^4 1
^sSK
tsir^
4r-r3^^j ^—
l4 ^
1 — 1
(1)
sa^
^
■e^
^
^=P=
:bi=
B^?z=i
:p=!ff:
(2)
^^^m^^^n^l
(2)
^
^
The Ute words of this song were said to mean "As the sun comes
up it raises a dust." These words were not recorded.
Analysis. — The tone material of this song comprises a fundamental
with its minor third, fourth, and minor seventh. Progression is
chiefly by thirds, which constitute 86 per cent of the intervals. The
song contains four rhythmic periods and four closing measures. This
form is accurately repeated in the three renditions of the song.
Rattle and voice have the same tempo and were synchronous on the
first of each count.
DEXSMORE]
NORTHERN UTE MUSIC
67
No. 10. Bear Dance Song (f) (Catalogue No. 765;
Recorded bv Sin her No. 5
Voice J — 58
MORACHE J— .58
Rhythm of morache similar to No. 2
# fi-
^lEtE^S?
-^ (*-
P
-9. ^- m-
^LP-#-#-
4—^-
-^ ft.
^
Analysis. — All the tones of the octave occur ui this song, which is
minor m tonality and melodic in structm-e. The opening tone is
the seventh, followed by a descendhig fourth smig glissando. This
is an miusual opening but is uniform hi the four renditions of the
song. About 65 per cent of the progressions are thu-ds, though the
fourth is promment m the first part of the song. The rhythmic miit
is short and in itself luiiiiteresting, Imt the triple measures give
variety and character to the rhythm of the song as a whole. The
tempo of the song is imusually slow.
68
/ BUREAU OF AMEEICA2v^ ETHNOLOGY
[BULL. 75
No. 11. Bear Dance Song (g) (Catalogue No. 766)
Recorded by Singer No. 5
Voice J— 144
Morache not recorded
(1)
(2)
(1)
^
S^
^— •
3^
^P=a=M^ '-4=^^^=^=^=^
-t=^
:p^::p=
^^^-i^A
■^2E?
P=i=a=g
^3:
^
=^=i»=
g|
=;112
imn
--^
a=f=f=f:
#:
e£
:2=f:
Analysis. -Four roiulitions of this song were rocorilcd and in them
all occur the changes of tempo indicated m the transcription. The
first of the slower phrases is on a tone which appears to have little
relation to the rest of the melody, bnt this tone was persistent in the
several renditions. Two rhythmic units occm*, having the same
division of the first count hut differing in the remaining portion.
The foiu"th is a prominent interval, comprising 25 per cent of the
entire number. (See No. 8.) Attention is directed to the ascent of
a ninth, midway through the song. Reference to Table 12 on
page 41 will show this to be an unusual progression. The song is
melodic in structure and contains the tones of the second five-toned
scale. Other songs containing rests are noted in the analysis of
No. 8. Other songs containing a change of tempo are Nos. 76 and 99.
DE.NSMOIiE]
NORTHERN UTE MX^SIC
No. 12. Bear Dance Song (h)
Recorded by yiNGER No. (i
GO
(Catalogue No. 739)
Voice J =zS6
MORACHE J z= 66
Rhythm of morache similar to No. 2
^iSLE
i— F-=-F— I Y
M:
afggg
Analysis. — The rhythmic unit of this song occurs ojily twice, the
second time bemg on a pitch shghtly lower than the first. Comit-
divisions similar to those of the unit occur throughout the song.
Seven renditions were recorded with no variation except that the
sixteenth note followed T)y an eighth note was not always clear in
relative time value. The fourth is promment hi the structure of
the melody, though almost half the progressions are whole tones.
The song has a compass of nme tones and contains all tlie tones of
the octave except the seventh.
No. 13. Bear Dance Song (i)
Recorded by Singer No. fi
(Catalogue N o. 740
Voice J = 63
MOKACHE J= 63
Rhythm of morache similar to No. 2
-•-^^^^ — >*-•— ^-ri-o-*-»^*^fn- .^ f - f f • f -
g%l£aEB^.Jllfg=^
4-^-'
Analysis. — This is a pleasmg melody contamuig the tones of the
fom-th five-toned scale. Six renditions were recorded, the time
being continuous throughout the performance. The wide variety of
mtervals suggests that the song may be modern, since that peculiarity
characterized Sioux songs which were known to be less than 50 years
old. This song contains five sorts of ascenduig and five of descending
mtervals. The glissando manner of singhig was especially marked hi
this mstance.
70
BUREAU OF AMERICAN ETHNOLOdV Ibdll. 75
No. 14. Bear Dance Song (j) (Catalogue No. 730)
llecordod l)v Singer No. 7
Voice J:=6.3 ( j^_126)
JVIORACHE J ~ 63
Rhythm of morache similar to No. 2
ter::^|-gzgzr3<=:P=p=p=p:i
Analysis. — Although 87 per cent of the progressions m this song
are minor thirds and major seconds, the melody is varied and inter-
estmg, with a compass of nme tones. The rhythmic miit comprises
an entire octave. Three renditions were recorded, in all of which
the measure transcribed hi 5-8 time was smig as indicated. Only
one other song (No. 27) contahis 5-8 measures.
No. 1.5. B«'ar Dance Song (k)
Rpfonled ])V SiNdKR No. S
(Catalogue No. 773)
Voice J = 120
MORACHB
120
Ehythm of morache similar to No. 2
(1) (1)
(2)
• ^ — • w-r* — ? — m — • s ~r.. ~^ m
Analysis. — In rhythm this song is typical of the monotonous type of
Bear dance song which could he continued indefinitely. (See No. 2.)
The two rhythmic units are alike except that in the second there is
a concludhig measure which gives balance to the rhythm of the
song as a whole. With one exce])tion the progressions are major
and minor thirds. Several renditions were recorded and show no
points of difl'erence.
DENSMOUEl
norther:n^ utk music d
No. 16. Filial Song of Bear Dance (a) (Catalogue No. 774j
Recorded by Singer No. 3
Voice J =72
Morache not recorded
(1)
Analysis. — The rhythm of this song is unusually interesting. It
will be noted that the first and third rhytlimic units have the same
division of the second count and that the second and third units have
the same division of the first count. The even triplet division of
certain measures can not be considered a unit of rhythm, as a triplet
occurs in the first measure of the first unit. This rhythmic structure
does not vary in the several renditions of the song. Sixty-five pro-
gressions occur, the only intervals being the fourth and the major
third. (See Nos. 3 and 17.) The song has a compass of six tones
and contains only the tones of the major triad.
72
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 75
No. 17. Final Song of Bear Dance (b) (Catalogue No. 693)
Recorded by Singer No. 4
Voice J— 144
MORACHE ^=144 /
Rhythm of morache similar to No. 2
^
r
-0 — '
-4-4=1=
-f*
=r=
Ip
f-
^
-4=:
^ift-
-f-^-
=P=
;^
^
^^
#
.- -4^-
«
^
"TT"
T^rr^
Tp=
If-
=P=:^f:
ft .
^
^^r^
-r
^
^-^
^-44--
-#-
t
-4-r-
'*—
.t^l-f*-^
=t=t:
:tt=
it
Analysis. — This, like the song next preceding, is major in tonality,
harmonic in structure, has a compass of six tones, and progresses
only by intervals of the fourth and the major third. The present
melody contains 15 progressions, 53 per cent of which are downward,
and the preceding melody contains 67 progressions, 51 per cent of
which are downward. With these melodic similarities it is interest-
ing to note the difference between the rhythmic character of the two
songs. Only one rhythmic unit occurs in the song under analysis, its
four repetitions comprising the entire melody. The preceding song
contains three short rhythmic units with many intervening measures.
The present song contains eight changes of measure lengths, while the
preceding song is in 2-4 time throughout.
Plots of Bear Dance Songs "
In the plots of a large majority of the Bear dance songs we note a
resemblance to the plots of Sioux songs concerning animals. (See
Bull. 61, p. 204.) This resemblance consists in the touching of a low
1' A form of graphic representation, or "plotting," of melodies has been de^•ise(i by the writer for the pur-
pose of making the trend of meloflies more apparent. The general method employed is similar to that used in
showing graphicaUy the course of a mo\ing object. The loci of the object at given periods of time are deter-
mined and recorded, the several positions being connected by straight lines. In any use of this method the
interest centers in the several pointsatwliich the object islocated, it beingunderstood that thelinesconnect-
ing these points are used merely as an aid to observation. In the present adaptation of this method the pitch
of the accented tones in a melody is indicated by dots placed at the intersection of coordinate lines, the
horizontal coordinates representing scale degrees and the vertical coordinates representing measurelengths.
These dots are connected by straight lines, though the progress of the melody between the accented tones
would, in many instances, vary widely from these lijies 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. One of the reasons which seem to justify this
usage is the observation that, when dUTerenccs appear in the several renditions of an Indian song, these
differences usually are found to be in unimportant progressions between unaccented 1 ones. Since thesolo
purpose of these plots is to show the trend of the melodies, it seems permisslljle to omit from the represen-
tation, not only the unaccented tones occurring in the melody, but also a distinction l)etwi'en whole tones
and semitone* in progressions, and a distinction between double and triple time in measurelengths. It
is obviously desirable that the graphic reprasentation be as simple as possible, the more detailed observa-
tion of the melodies being contained in the tabulated and descriptive analyses.
DEN'SMOKEI
NORTH KRX TTK MUSIC
73
point and immediately rising to a higher one. This, in the outUne,
may suggest the bounding or leaping of an animal. In the Bear dance
songs, however, the higher point of such a series is more uniform than
fmm
Wi
No. 4.
^m
No. (\.
No. 7. No. 8.
Fig. 1.— Plots, Group 1 (Bear dance)
in the Sioux songs, producing what might be termed a "horizontal
type" of plot. This appears in a less marked degree in the plots of
the hand game song. (See p. 181.)
Tabulated Analysis of Bear Dance Songs
melodic analysis
Table 1a.— TONALITY
Number
of songs
Serial Nos. of songs
Major tonality .
Minor tonality.
Total . . . .
3, 4, 5, 6, 7, 8, 12, 13, 14, 15, 16,
17.
1, 2, 9, 10, 11.
Table 2a.-
-FIRST NOTE OF SONG— ITS RELATION
TO KEYNOTE
Number
of songs
Serial Nos. of songs
Beginning on the—
Octave
2
1
1
3
8
1
1
3, 4
Seventh
10.
Sixth
14
Fifth
1,6 11.
Third
2 7 S 12 13 15 16 17
Second
5
Keynote - -
9
Total
17
--- - /
74 BUr.EAU OF AIMERIOAN ETHNOLOGY [bull. 75
Tabulated Analysis of Bear Dance Songs — Continued
MELODIC analysis — Continued
Table 3a.— LAST NOTE OF SONG-ITS RELATION TO KEYNOTE
Ending on the —
Fifth
Third
Keynote
Total.
Number
of songs
Serial Nos. of songs
7, 8, 12, 13, 14, 15.
9.
1, 2, 3, 4, 5, 6, 10, 11, 16, 17.
Table 4a.— LAST NOTE OF SONG— ITS RELATION TO COMPASS OF SONG
Number
of songs
Songs in which final tone is—
Lowest tone in song
Immediately preceded by-
Fourth below
Minor third below
Whole tone below
Semitone below
Whole tone below with fourth below in previous measuie .
Whole tone below with minor third below in previous
measure
Songs containing a minor third lielow the final tone
Songs containing a whole tone below the final tone
Total .
Serial Nos. of songs
5, t), 7, 8, 10, 14, 16.
3, 11, 17.
15.
2.
4.
12.
13.
9.
1.
Table Sa.-NUMBER OF TONES COMPRISING COMPASS OF SONG
Compass of—
Eleven tones.
Nine tones . . .
Eight tones..
Six tones
Five tones...
Four tones...
Total .
Number
of songs
Serial Nos. of songs
3.
4, 10, 12, 14.
5, 8,9, 11, 13, 15.
1, 7, 16, 17.
6.
2.
DENsMorti-l NOiRTHKRX FTE ]\rrSTC 75
Tabut^ated Analysis of Bear Daxce Soxgs — Continued
MELODIC ANALYSIS — continuod
Table »JA.— TONE MATERIAL
Second five-toned scale
Fourth five-toned scale
Major triad
Major triad and sixth
Major triad and fourth
Major triad and second
Octave complete
Octave complete except seventh
Octave complete except seventh and sixth .
Octave complete except sixth and fourth. . .
Minor third and seventh
Minor seventh, fourth, and third
Niunber
of songs
Total .
Serial Nos. of songs
U.
4, 5, 13.
16, 17.
1, 14.
3,6.
7.
10.
12.
8.
15.
2.
9.
Table 7a.— ACCIDENTALS
Songs containing—
No accidentals .
Fourth raised a semitone.
Total....,
Number
of songs
Serial Nos. of songs
1, 2, 3,4, 5, 7, 8, 9, in, 11, 12,
13, 14, 15, 16, 17.
6.
Table 8a.— STRUCTURE
Number
of songs
Serial Nos. of songs
Melodic
Melodic with harmonic framework .
Harmonic
4, 5, 9, 10, 11, 12, 14, 15.
1, 3, 7, 8, 13.
2, 6, 16, 17.
Total.
Table 9a.— FIRST PROGRESSION— DOWNWARD AND UPWARD
Downward..
Upward
Total .
Number
of songs
Serial Nos. of songs
1, 2, 3, 4, 6, 7, 9, 10, 11, 12, 13,
14, 15, 16, 17.
5, 8.
'76 BUREAU OF AMERICAN ETHNOLOGY (Bri-i-. 75
Tabulated Analysis of Bear Dance wSongs — Continued
MELODIC analysis — continued
Table IOa.-TOTAL NUMBER OF PROGRESSIONS— DOWNWARD AND UPWARD
Number
of songs
Serial Nos. of songs
Downward.
Upward
283
209
Total .
Table Ha.— INTERVALS IN DOWNWARD PROGRESSION
Number
of songs
Serial Nos. of songs
Interval of a—
Minor sixth . .
Fifth
Fourth
Major third . .
Minor third . .
Major second.
Minor set'Oiid .
Total .
283
Table 12a.— INTERVALS IN UPWARD PROGRESSION
Number
of songs
Serial Nos. of songs
Interval of a —
Ninth
Octave
Seventh
Major sixth . .
Minor sixth . .
Fifth
Fourth ,
Major third. .
Minor third . .
Major second.
Mujor second.
Total.
209
Table 13a.— AVERAGE NUMBER ()!<" SEMITONES IN .\N INTERVAL
Total number of Inl ervals •*82
Total number of semitones ^> ^^
Average number of semitones in an interval 3,
DEXSMORE] NORTHERN UTE MUSIC 77
Tabulated Analysis of Bear Daxck Songs — Continued
MELODIC ANALYSlS^Cont ilHU'd
Table 14a.— KEY
Key of—
A major
B flat major. . .
C major
C minor
D flat major..
D major
E flat major. . .
G flat major...
G major
G minor
G sharp minor
Total
Number
of songs
Serial Nos. of songs
7, U.
5,8.
3.
9, 10.
12, 13.
4.
17.
6.
15, l(i.
1,2.
11.
RHYTHMIC ANALYSIS
Table Ioa.— PART OF MEASURE ON WHICH SONG BEGINS
Number
of songs
Serial Nos. of songs
Beginning on unaccented I'art of measure .
Beginning on accented part of measure
5 I 5,6,8, 12,13.
12 j 1,2,3,4,7,9,10,11,14,15,16,
I
Total .
17
Table 16a.— RHYTH.M (METER) OF FIRST .MEASURE
Number
of songs
Serial Nos. cf songs
First measure in-
2-4 time
3-4 time
11 I 1,3,5,6, 7,S, 9, 10, 13, 14, 16.
6 2,4,11, 12,15, 17
Total .
78 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
Tabulated Axalysis of Bear Dance Songs — Continued
RHYTHMIC ANALYSIS— continued
Table 17a.— CHANGP: OF TIME, MEASURE-LENGTHS
Songs containing nochange of time.
Songs containing a change of time. .
Number
of songs
Total.
Serial Nos. of songs
1,2,15,16.
3, 4,5,6,7,8,9,10,11, 12,13,
14, 17.
Table Ina.— RHYTHM (METER) OF MORACHE
Number
of songs
Serial Nos. of songs
Downward stroke of rubbing stick in quarter note value
10
7
2,3,8,9,10,12,13,14,15,17.
1, 4, 5, 6, 7, 11, IB.
Total. ..
17
Table 19a.— RHYTHMIC UNIT OF SONG
Number
of songs
Songs containing—
One rhythmic unit
Two rhythmic units..
Three rhythmic units.
Total .
Serial Nos. of songs
3, 4, 5, t>, 10, 12, 13, 14, 17.
2, 7, 8, 9, 11, 15.
1,16.
Table 20a.— TIME UNIT OF VOICE
Metronome—
58
63
66
72
76
96
104,
108
120
126
144
200
Total.
Niunber
of songs
Serial Nos. of songs
10.
13, 14.
12.
16.
6.
1.
3, 5, 7,
9.
15.
4.
11,17.
2.
DE.NSMORE] NORTHERN UTE MUSIC 79
Tabulated Analysis of Bear Dance Songs — Continued
, RHYTHMIC analysis — continued
Table 21a.— TIME UNIT OF MORACHE
Number
of songs
Serial Nos. of songs
Metronome—
58
1
2
1
2
1
1
1
t
10.
63
13, 14.
66 .
12.
104
3,8.
108
9.
120
15.
144
17.
152
2.
1, 4, 5, 6, 7, 11, 16.
Total . . .
17
Table 22a.— COMPARISON OF TIME UNIT OF VOICE AND MORACHE
Number | g^^j^j j^j,g_ ^,f ^^
of songs ]
Time unit of voice and morache the same .
Voice faster than morache
Morache not recorded
Total
9 3, 8, 9, 10, 12, 13, 14, 15, 17.
1 2.
7 1,4,0,6,7,11,16.
17
THE SUN DANCE
The Sun dance of the Utes is said to have been received by them
from the .\i-apaho about the year 1902. It is held each year at the
full moon, usually in June. A Sun dance was held on the Uinta
and Ouray Reservation in June, 1914, against the orders of the
Government. Plate 9 shows the place where this dance was held;
also the pole and part of the brush inclosure. This place is on a
level part of the high plateau, affording an ample place for camping.
It is the same ground where Sun dances had been held for many
years, and numerous poles were still standing when the place was
visited by the writer.
No element of suffering entered into this dance beyond the effects
of fasting and of long-continued dancing. No lacerations seem to
have been practiced by the Utes at any period. The dance was
held by them for the curing of the sick. Many accounts of remark-
able cures were related. It was said that "participation in the Sun
dance would cure anything," but the disease most frequently men-
tioned in connection with it is rheumatism, which is prevalent on
the reservation. On being asked how the cure was effected, Pa'gits,
80 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
a Ute medicine man, replied without hesitation, 'They get better
because they don't eat and drink for a while.''
There was said to be no ceremony connected with the cutting of
the tree for the Sun dance pole, but it was not permissible for the
pole to touch the ground. After felling the tree the bark was
removed, together with all the branches except '' a few green leaves
at the top" and a short branch near the top, to which was fastened
some willow brush. When the pole had been carried to the camp
it was lifted carefully and placed upright in the hole dug for that
purpose. Around the Sun dance pole a lodge or shelter was con-
structed by erecting a wall of brush about 4 feet in height and placing
poles from this to the Sun dance pole in the center. This lodge
opened toward the east and the drum was at the left of the entrance.
In preparation for the ceremony the dancers painted their bodies,
this paint being renewed every morning during the period of dancing.
The manner of decoration was decided by individual taste. The
designs were simple, no 'pictures" or "zigzag lines" being used.
Pa'gits said that his design was ''a line across the nose." Each
dancer carried an eagle-bone whistle, to which was attached a white
eagle plume. There was no decoration on the whistle.
The ceremony lasted four days and nights, during which time the
dancers abstained from food and water and remained in the lodge.
Occasionally the dance was terminated at the end of the third day,
but four days was said to be the proper length of time. It was
said that a "sham battle" was held early in the morning of the day
that the Sun dance began. This was sometimes followed by a
Dragging-feet dance, but no social dances were permitted in the
camp after the opening of the Sun dance. The old men sometimes
built a sweat lodge and went into it before the ceremony, but this
was not a conmaon custom.
A "parade" was held before the beginning of the Sun dance. In
this, as in other parades (see p. 166), the participants were on horse-
back, the men preceding the women and beating hand drums as they
sang. One song of this parade was recorded (No. 26).
Pa'gits (pi. 10, c) said that 10 or 12 was the usual number of dancers
and that they entered the lodge in the early evening, when "only a
rim of the sun was above the horizon." There was no acknowledged
leader of the ceremony, but a prayer was made by one of the men
after they entered the lodge. He was said to "pray to the sun."
This man did not sit by the pole, but sat wherever ho liked. The
man who prayed at the time of entering the lodge did not make
another prayer during the ceremony, but others made prayers from
time to time. It was required that these be men who had dreamed
dreams. The tirst night the men danced until daylight. No one
DEXSMORE] ISTORTHERX UTE MUSIC 81
man Jancod all the time; yet there was never a time when some one
was not dancing. Some men were able to dance as long as four hom^
at a time. The women did not dance, but sat with the men at the
drum. Sometimes an old man arose and sang his personal song
received in a dream. A dancer who had received a song in a dream
might request his friends to learn it and sing it while he was dancing.
The dancers did not look at the sun, but at the willow brush on the
pole. If a man became exhausted he was allowed to sleep for a time.
At the end of the last day of the dance many gifts were bestowed
in the lodge. Dancers often gave presents to spectators and expected
no return. Occasionally a dancer received a hoi-se or some equally
valuable gift from another dancer, in return for which he ''prayed
to the sun '' for the health of the donor. On this day a medicine man
frequently took some of the dust that had been under the feet of the
dancers and put it on the head of a sick person, waving an eagle
feather over him, this treatment being considered of especial efficacy.
Relating his personal experience, Pa'gits said that he had taken
part in the Sun dance six times. His reason for doing this was a
belief that some one had "poisoned him with rattlesnake poison,"
producing rheumatism. On the third day of dancing he ''felt better."
The entire period of his dancing, however, was four days and nights.
He stated that he did not experience discomfort from fasting, but that
the lack of water was hard to endure.
Words were sometimes used, in Sun dance songs, but do not appear
in the songs herewith presented. No. 23 was sung on the last day of
the dancing, and No. 26, as already stated, is a song of the parade.
The other songs were sung at any time during the Sun dance.
Characteristics of Songs
Seventy-five per cent of the Sun dance songs are minor in tonality,
yet only one song is on the second five-toned (minor pentatonic)
scale. The melodic material is generous, one-third of the songs con-
taining the entire octave and others lacking only one or two tones of
the complete octave. In structure all these songs are either melodic
or harmonic with melodic framework. A majority of the songs con-
tain one or more rhythmic units.
2504.S°— 22 6
82
BUREAU OF AMERICAN ETHNOLOGY
[bull. 75
No. 18. Sun Dance Song (a)
Recorded by Singer No. 4
(Catalogue No. 694)
Voice J =72
Drum
72
See drum-rhythm below
(1) (2)
(1)
^ — ^
^^E=^^^^^^
(1)
(2J
(1)
^^
^:
Drum-rhythm
/ 4^ J" J^ ." .'
Analysis. — Two rh3-thmic units occur in this song, the count-divi-
sions of the first being reversed in the second. The song comprises
three rhythmic periods, the first two containing five measures each
and the thu-d containing four measures. All the tones of the octave
occur in the song, which is minor in tonality and progresses chiefly
by whole tones. Voice and drum have the same tempo and are
synchronous on the first of each count.
No. ly. Sun Dance Song (b) (Catalogue No. 695)
Recorded by Singek No. 4
Voice <— '6
Drum J :^ 76
Drum-rhythm similar to No. 18
:t=
^^=&=^
^^^
^^^^^^^^^^P^^J
dexsmore]
NORTHERX UTE MUSIC
83
Analysis. — The transcription of this song is from the fourth ren-
dition. An interesting variation in previous renditions is that
measures 5, 9, and 14 are frequently changed from double to triple
measures by a repetition of the first count. The rest midway through
the song was given distinctly in all the renditions. For other songs
containing rests see No. 8. With three exceptions the progressions
are thirds and major seconds, yet the melody has a range of 13 tones.
The song is major in tonality and contains all the tones of the octave
except the seventh.
No. 20. Suu Dance Song (c)
Recorded by Singer No. 9
(Catalogue No. 700)
Voice J _ 72
Drum J- 72
See drum-rhythm below
Drum-rhythm
I 1 I i J I
Analysis. — A descending progression of a fourth constitutes almost
25 per cent of the intervals in this song. (See No. 3.) No rhythmic
unit is present, although an eighth-note division is of frequent occur-
rence. The song is minor in tonahty, melodic in structure, and
lacks the second tone of the complete octave. The drumbeat was
in quarter-note values, the strokes being of equal force.
84
BUREAU OF AMERICAN ETHNOLOGY
[bdll. 75
No. 21. Sun Dance Song (d)
Recorded by Singer No. 10
VoiCB J = 88
Drum J = 88
Drum-rhythm similar to No. 18
(1)
(Catalogue No. 777)
(2)
A ^ ^
»_._^-
-P-#-
S=E
-^-•-
a
I
Analysis. — The rhythm of this song was accurately repeated in
the three renditions except in the measure before the last, in which
the note-values often were given as four eighth notes. The rhythmic
form is irregular but coherent. Two rhythmic units occur, the first
comprising one measure and the second nine measures. The song
is minor in tonality, begins and ends on the dominant, and lacks
the seventh and second tones of the complete octave. In structure
it is melodic with harmonic framework, the tonic chord being strongly
in evidence. Thirty-seven progressions occur, about two-thirds of
which are descending intervals.
densmore]
NORTHERX UTE MUSIC
85
^m
No. 22. Sun Dance Song (e)
Recorded by Singer No. 10
VoicB J*^ = 132
Drum J^ = 132
Drum-rhythm similar to No. 18
^. ^- .0- #.. ^. -#^^ -
(Catalogue No. 778)
S:
#- -ft- -«-,
^ii?
-•— ^-
-^-0-0
^^
P P P
-P^-P-
^=\
V — n-
Analysis. — Voice and drum have the same time unit in this song,
the drum in unaccented eighth notes continuing steadily through the
double and triple measures of the melody. The tonic chord is
prominent in the structure of the song, which begins on the dominant
in the upper octave and ends on the dominant in the lower octave.
Only one other song (No. 72) of this series begins in 3-8 time.
No. 23. Sun Dance Song (f)
Recorded by Singer No. 11
(Catalogue No. 710)
Voice J =92
Drum not recorded
-(S- ^..0-.
4=--
:t-
g
m^
-0-p~
s
^
7k:
^
fcU
p-p-a-
Amilysis. — The tonic chord is prominent in the structure of this
song, which, like the preceding song, begins and ends on the dominant.
An unaccented half note occurs four times but does not form part of
a rhythmic unit. Forty-three per cent of the progressions are semi-
tones, a proportion which is unusual in analyzed Indian songs.
This transcription is from the last of several renditions which show
some slight points of difference.
86
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 75
No. 24. Sun Dance Song (g)
Recorded by Singer No. 12
Voice J = 88
Drum J =88
(Catalogue No. 786)
Drum-rhythm similar to No. 18
4— -rl f^— I h— r
^■E=&
':2=i
t-
1^
^^^^"^
^
3=P=
^^^
^
fct
J.7Mf7i/s^s.— This song has a compass of 12 tones, which is somewhat
unusual in Ute songs. A wide variety of progressions appear in the
melody, but the only tones are those of the minor triad and fourth.
The transcription is from the third of five renditions which show some
unimportant variations.
Voice J = 88
Drum not recorded
No. 25. Sun Dance Song (h)
Recorded by Singer No. 12
•.^J" r I r:J^
(Catalogue No. 787)
»-r ^r fFs^f
.0.. •i^., -^
n — I 'II -fJ^
-^m^^m —
1
r#rf=?=£
^
:^5H
^^^iH
P=P-
Analysis. — This melody contains six sorts of ascending and six of
descending intervals, which is an unusually wide variety. The tonic
chord constitutes the framework of the melody, which contains all
the tones of the octave except the seventh. Like several other Sun
dance songs this begins on the dominant in the upper and ends on
dexsmoke]
N^ORTHEEN UTE MUSIC
87
the dominant in the lower octave. The group of live sixteenth notes
was sung with distinctness.
No. 26. Sun Dance Song (i)
Recorded bv Singer No. 13
(Catalogue No. 798)
Voice J =72
Drum not recorded
fi^..1;z-^-^ -0-
^^-^
3^
^r.tf^
mm
-ft-^-
:p
ij:
^
3e^
i;i
Analysis. — An aged woman recorded this song, which has a com-
pass of an octave and contains the tones of the second five-toned scale.
A sixteenth note followed by a dotted eighth note characterizes the
melody, but does not form part of a rhythmic unit.
Plots of Sux Dance Soxgs
No. 18.
No. 20.
ii
No. 21.
Fig. 2.— Plots, Group 2 (Sun dance)
No. 24.
A sharp descent characterizes the plots of the Sun dance songs,
though in some instances (as in Nos. 18 and 21) this descent is followed
by what has been termed the "horizontal type" of outline. .
BUREAU OF AMERICAK ETHNOLOGY
UNDETERMINED DANCE SONGS
[BULL. 75
The three songs next following were said to belong to a religious
dance, the character of which was not determined.
No. 27. Undetermined Dance Song (a) (Catalogue No. 788)
Recorded by Singer No. 14
Voice J =84 (/=168)
Drum not recorded
(1)
(2)
=SFS=
(2)
Q=^:
The words of this song were said to mean "On a mountain, the
noise of the wind." These words were not recorded.
Analysis. — This melody is characterized by small progressions, 83
per cent of the intervals being a minor third, or smaller than a minor
third — that is, containing from one to thi-ee semitones. The two
rhythmic units have no resemblance to each other, one occurring in
the first and the other in the latter portion of the song. The time
values were given with exactness, three renditions being recorded
and showing no differences. For other songs containing rests see
No. 8. Only one other song of this series (No. 14) contains 5-8
measures.
DENS more]
NORTHERlSr UTE MUSIC
89
No. 28. Undetermined Dance Song (b) (Catalogue No. 789)
Recorded by Singer No. 14
Voice ^ — 69
Drum not recorded
(1)
(2)
(2)
Analysis. — This song resembles the preceding in that it contains
two rhythmic units and all the tones of the octave. About 89 per
cent of the progressions are whole tones and semitones. Other songs
containing a large proportion of these intervals are Nos. 34, 36, 41,
44, 49, 52, 73, 82, 89, 98, and lOS. The song has a compass of 12
tones. The steadily descending trend of the melody is show^n in the
melody plot (fig. 2). This song and the song next following were
recorded without drum, as no drum was used with them in the dance.
No. 29. Undetermined Dance Song (c) (Catalogue No. 767)
Recorded by Singer No. 5
Voice ^= 104
Drum not recorded
'^^m^-
^=iS
Analysis. — The only intervals in this song are fourths and thirds,
the major and minor thirds each constituting about 40 per cent of
the entire number. Ascending and descending intervals are more
90
BUREAU OF AMERICAX ETHNOLOGY
[BtlLL. 75
nearly equal than in a majority of the songs under analysis. The
repetitions of the rhythmic unit comprise the entire song except the
opening and closing measures. All the tones of the octave, except
the fourth, occur in the song, which has a compass of 10 tones. No
change of time occurs in this melody.
Sun Dance and Undetermined Dance Songs
melodic analysis
Table 1b.— TONALITY
Number
of songs
Serial Nos. of songs
Major tonality .
Minor tonality
22, 23, 25, 27, 28, 29.
18, 19, 20, 21, 24, 26.
Total .
Table 2b.— FIRST NOTE OF SONG— ITS RELATION TO KEYNOTE
Number
of songs
Serial Nos. of songs
Beginning on the —
Twelfth
2
3
6
1
20,24.
18, 19, 28.
Fifth
21, 22, 23, 2.5, 26, 29.
Third
27.
Total
12
Table 3b.— LAST NOTE OF SONG— ITS RELATION TO KEYNOTE
Ending on the —
Fifth
KejTiote
Total.
Number
of songs
Serial Nos. of songs
21, 22, 25, 26, 27, 28, 29.
18, 19, 20, 23, 24.
Table 4b.— LAST NOTE OF SONG-ITS RELATION TO COMPASS OF SONG
Songs in which final tone is lowest tone in song.
Songs containing a minor third below the final tone.
Songs containing a whole tone below the final tone . .
Total .
Number
of songs
Serial Nos. of songs
18, 19, 20, 21, 23, 24, 25, 26, 27,
28.
29.
22.
DENSMORE] NORTHERjST UTE MUSIC 91
Sun Dance and Undetermined Dance Songs — Continued
MELODIC ANALYSIS — Continued
Table 5b.— NUMBER OF TONES COMPRISING COMPASS OF SONG
Number
of songs
Serial Nos. of songs
Compass of—
Thirteen tones.
Twelve tones...
Ten tones
Nine tones
Eight tones
23.
20, 24, 28.
29.
19,22.
18, 21, 25, 26, 27.
Total.
Table 6b.— TONE MATERIAL
Second five-toned scale
Minor triad and fourth
Octave complete
Octave complete except seventh
Octave complete except seventh and second.
Octave complete except fourth
Octave complete except second
Total.
Number
of songs
Serial Nos. of songs
18.
24.
19, 27, 28.
22, 23, 25.
21,26.
29.
20.
Table 7b.— ACCIDENTALS
Number
of songs
Serial Nos. of songs
Songs containing no accidentals
12
Table 8b.— STRUCTURE
Melodic
Melodic with harmonic framework.
Harmonic ^ .
Total.
Number
of songs
Serial Nos. of songs
18, 20, 29.
19, 21, 22, 23, 24, 25, 26, 28.
27.
Table 9b.— FIRST PROGRESSION— DOWNWARD AND UPWARD
Number
of songs
Serial Nos. of songs
Downward.
Upward
Total.
18, 20, 21, 22, 24, 25, 26, 29.
19, 23, 27, 28.
92 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
Sun Dance and Undetermined Dance Songs — Continued
MEJ.oDic ANA1.YSIS — Continued
Table 10b.— TOTAL NUMBER OF PROGRESSIONS— DOWNWARD AND UPWARD
Number
of songs
Serial Nos. of songs
Downward.
Upward
Total
224
133
357
Table 11b.— INTERVALS IN DOWNWARD PROGRESSION
Number
of songs
Serial Nos. of songs
Interval of a—
Minor sixth..
Fifth
Fourth
Major third..
Minor third . .
Major second.
Minor second
Total
3
3
23
14
53
113
15
Table 12b.— INTERVALS IN UPWARD PROGRESSION
Interval of—
Octave
Major sixth..
Minor sixth..
Fifth
Fourth
Major third . . ,
Minor third . .
Major second.
Minor second.
Total.
Nimiber
of songs
Serial Nos. of songs
Table 13b.— AVERAGE NUMBER OF SEMITONES IN AN INTERVAL
Total number of intervals 357
Total numlier of semitones 1, 095
Average number of semitones in an interval 3. 06
I
DEXSMORE] NORTHERN UTE MUSIC 93
Sun Dance and Undetermined Dance Songs — Continued
MELODIC analysis — Continued
Table 14b.— KEY
Number
of songs
Serial Nos. of songs
Key of—
A major
A minor
B flat major...
B flat minor. .
C minor
E flat major...
G major
A flat major...
G sharp minor
Total
25.
20.
22.
19, 21, 26.
24.
28.
27,29.
23.
18.
RHYTHMIC ANALYSIS
Table 15b.— PART OF MEASURE ON WHICH SONG BEGINS
Number
of songs
Serial Nos. of songs
Beginning on accented part of measure. . .
Beginning on unaccented part of measure
Total
18, 19, 20, 21, 22, 23, 25, 23,
28,29.
24,27.
Table 16b.— RHYTHM (METER) OF FIRST MEASURE
Number
of songs
Serial Nas. of songs
First measure in—
2-4 time
(3
5
1
IS, 19, 20, 23, 27, 29.
3-4 time
21, 24, 25, 26, 28.
3-8 time
22.
Total
12
Table 17b.— CHANGE OF TIME, MEASURE-LENGTHS
Number
of songs
Serial Nos. of songs
Songs containing no change of time.
Songs containing a change of time . . ,
23,29.
18, 19, 20, 21, 22, 24, 25, 26,
27, 28.
Total .
94 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
Sun Dance and Undetermined Dance Songs — Continued
RHYTHMIC ANALYSIS — Continued
Table 18b.— RHYTHM (METER) OF DRUM
Number
of songs
Serial Nos. of songs
Eighth notes unaccented.
Quarter note« unaccented
Dnun not recorded
Total
19, 21, 22, 23, 24.
20.
18, 25, 2t;, 27, 28, 29.
Table 19b.— RHYTHMIC UNIT OF SONG
Number
of songs
Serial Nos. of songs
Songs containing—
No rhythmic units. .
One rhythmic unit. .
Two rhythmic imits
Total
18, 20, 25, 2().
22, 23, 24, 29.
19, 21, 27, 28.
Table 20b.— TIME UNIT OF VOICE
Metronome —
H9
72
76
84
88
92
104
132
Total . .
Number
of songs
Serial Nos. of songs
28.
18, 19, 20.
23.
21,27.
24,25.
26.
29.
22.
Table 21b.— TIME UNIT OF DRUM
Number
of songs
Serial Nos. of songs
Metronome —
72
2
1
1
1
1
6
19, 20.
76
23.
84
21.
88
24.
132
22.
18, 25, 26, 27, 28, 29.
Total
12
DExsMORE] NORTHEEN UTE MUSIC 95
Sun Dance and Undetermined Dance Songs — Continued
RHYTHMIC analysis — Continued
Table 22b.— COMPARISON OF TIME UNIT OF VOICE AND DRUM
Number
of songs
Serial Nos. of songs
Time iinit of voice and drum the same
6
19, 20, 21, 22, 23, 24.
Drum not recorded
18, 25, 26, 27, 28, 29.
Total
12
SOCIAL DANCES OF LESS IMPORTANCE THAN THE
BEAR DANCE
Turkey Dance
One of the principal dances of the Utes at the present time is
knowTi as the Turkey dance. This name was given the dance by
white men. the native name meaning ''jigging dance." The writer
Fig. 3.— Diagram, Turkey dance, a, Dancing circle mth dancers seated. 6, Dnun with drummers
seated, c. Position of leader before dance begins. Path taken by leader, who is followed by
dancers. The erratic motion is continued indefinitely.
witnessed one of these dances in the summer of 1914. The accom-
panying instrument is a large drum placed on the ground at the
right of the entrance to the dance circle, the drummers being
seated around the drum and singing as they beat upon it. Women
seldom participate in this dance. The motion of the dance is forward,
and the step consists in putting the feet to the ground alternately,
the point of the foot touching the ground first, after which the heel
is ''put down with an accent." There is no prescribed direction
96 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
for the entrance of the dance circle. The drum, as already stated,
is placed at the right of the entrance and the leader of the dancers
sits at the left. In beginning the dance the leader rises and dances
around the entire circle, the other dancers rising and following
him. Having completed the round of the circle, he moves in an
erratic manner, the dancers following close behind him (fig. 3) . The
dancers imitate a turkey by thrusting their heads forward and
wagging them from side to side, while their arms hang loosely from
the shoulders.
The Woman's dance is usually danced at the same time as the
Turkey dance, these being the only two dances thus connected.
CHARACTERISTICS OF SOXGS
An interrupted eighth-note drumbeat is the chief characteristic of
these songs. This is transcribed with song No. 30 and was dis-
cernible in the phonograph records of the other songs. The rhythm
of the voice shows a slight preference for 2-4 time and for beginning
on the accented part of the measure. Melodically the songs are
characterized by wide compass and small intervals of progression.
Thus the compass of the songs is from 9 to 13 tones, and 93 per cent
of the intervals are thirds and seconds. The average interval con-
tains 2.8 semitones, and therefore is smaller than a minor third. The
average interval in the entire series of Ute songs contains 3.14 semi-
tones. (Table 13, p. 42.)
^
densmore]
NORTHERN UTE MUSIC
97
No. 30. Turkey Dance Song (a)
Recorded by Singer No. 7
Voice jz=76 (J*^ = 152)
Drcm J =76 (J*^ = 152)
Interrupted dnim-rhythm as indicated
(Catalogue No. 731)
dkum j^ j^ J^ J^ J^ J^ J^ J
N N N N N ^ N
4 4 4 4 4 4 4
^m
iJe^
S N
^^^^^J^^^ ^^ ^
^ ^ ^
4 4 4
W=^
S:
i
^
S
/ ;^ / /-T //."/// /j^ -r^
^ii^i^E^^
^^1 /i ---
-, ^ ^
w
:S=^
^^ ^^^ ^^^^^^^^ ^^ ^^^^
4 4 4 4 4 4444 4444 4 4 4 4 4 4
.^ / ." / J
4 4 4444 44 44
aa^&- ^ ^-^-^
ffihb^^
ES-
ii:
I
Analysis. — In this song the interrupted drumbeat, which char-
acterizes the Turkey dance songs, was given with sufficient clearness
to permit its transcription below the melody notes (cf. Nos. 31, 45).
25043°— 22 7
98
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 75
The eighth-note values of the drumbeats were maintained more
steadily in the 5-8 and 7-8 measures than in the 2-4 and 3-4 meas-
ures, and the drum was more synchronous -with the voice in the
latter than in the first part of the song; thus the notation of the
drum should be understood as approximate rather than absolute.
After singing the song as transcribed the singer began at the first
measure without a break in the time, ending the performance with
the ninth measure of the song. The third and sixth measures in
both renditions were sung as indicated, although the ninth and
eleventh measures from the close, containing the same progressions,
were simg in 3-4 time.
Observing the formation of the melody, we note that it is major
in tonality and comprises the tones of the fourth five-toned scale
with B as keynote, yet the structure of the melody is chiefly that
of the minor triad and seventh. (See analysis of No. 38.) The song
has a compass of 11 tones, yet 87 per cent of the progressions contain
two or three, semitones.
No. 31. Turkey Dance Song (b)
Recorded by Singer No. 7
(Catalogue No. 732)
Voice J — 104
Drum J z^ 104
Drum-rhythm similar to No. 30
-#— •-
-^— #
^S^^^^^H
^
Analysis. — This song resembles the preceding song in melodic
structure, though differing widely from it in rhythm. Eighty-four
per cent of the progressions contain two or three semitones, yet the
song has a compass of 10 tones. Ascending and descending pro-
gressions are singularly uniform, there being in ascending progression
1 fourth, 3 minor thirds, and 3 major seconds, while the descending
progressions comprise 2 fourths, 5 major thirds, and 5 major seconds.
The tone material is that of the second five-toned scale. The inter-
rupted drumbeat, noted in the preceding song, is present in this
phonograph record but is not transcribed.
DBNSMOBE]
NORTHERN UTE MUSIC
No. 32. Turkey Dance Song (c)
Recorded by Singer No. 6
Voice J — 96
Drum J
96
Drum-rhythm similar to No. 30
m^iMM
-£?- -^-
99
(Catalogue No. 741)
f LJ ii — £^^ rj iT ~f n
^ ■ — -^ — I — ^^ — I — I — ^ —
«*
ggi
f-
4=
:5^P=3
Q:
2:
t^
Analysis. — The downward trend of this song, folio wmg the mter-
vals of the tonic chord, is emphasized by a glissando of the voice,
indicated in the transcription. The melody contains only the tones
of the major triad and second. It has a compass of 11 tones and a
majority of the progressions are minor thirds. No ascending pro-
gressions occur between accented tones. (See plot, fig. 4.) Repe-
titions of the rhythmic unit comprise the entire melody except the
closing measures.
No. 33. Turkey Dance Song (d) (Catalogue No. 742)
Recorded by Singer No. 6
Voice J — 80
Drum J - 88
Drum-rhythm similar to No 30
^j^te[i^
:t--jr_t:i-#-
^ -#-
l^^l^^Bi
^=:l==t
I
S^t3^^
Analysis. — The progressions of this melody suggest E flat as a
keynote, but G (the third) is not present and the melody is not
classified in tonahty or key. Another song of the present series
lacking the third is No. 37. (See Bull. 53, p. 140, and Bull. 61, p. 135.)
The interval of a fourth constitutes 22 per cent of the progressions,
the remaining intervals, with one exception, being major and minor
100
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 75
thirds. Two rhythmic periods comprise the entire song, a sliort
rhythmic unit occurring in both periods. The drum is slightly
faster than the voice and steadily maintained in the five renditions.
No. 34. Turkey Dance Song (e)
Recorded by Singer No. 15 (pi. 10, a)
(Catalogue No. 790)
VoicK J_. 76
Drum J — 76
Drum-rhythm similar to No. 30
^ •
gsi
t- ^^^ — ' b«»>— -^3- ^-^ 1- ; i I ' —
Anahjsis. — In melodic structure this song comprises three parts:
The first (3 measures) is based on the major triad B-D sharp-F sharp;
the second (1 measure) on the minor triad G sharp-B-D sharp; and
the third (4 measures) on the chord B-D sharp-F sharp-B, the
accented tones following the descending intervals of this chord. The
song is thus seen to be strongly harmonic in character. No interval
larger than a minor third occurs in the song, and about 58 per cent
of the progressions are whole tones. (See No. 28.) The song has a
compass of 13 tones and contains the entire octave except the seventh.
Repetitions of the rhythmic unit comprise practically the entire song.
No. 35. Turkey Dance Song (f)
Recorded by Singer No. 15
(Catalogue No. 791)
VoiCB J — 72
Drum not recorded
■m
f-rf"
^^
^Z
.t=E^
Analysis. — -This song is not rhythmic in character. It contains all
the tones of the octave except the fourth and is harmonic in structure.
BUREAU OF AMERICAN ETHNOLOGY
["fM
1
MB
1
VfH
1^
MJ""
BULLE
ZTIN 75
PLATE
11
^
^
¥
tt
1
3f
^
4
J
P^iIHIh
^
L..^
J
1
a, To'piitsuk
/j, Wiyu'ts
( ii.nlr.s Mack
DBNSMOREl
NORTHER'N UTE MUSIC
101
About half the progressions are whole tones, but the ascending fifth
occurs twice, giving interest to the song as a whole. Five renditions
were recorded and show no points of difference.
PLOTS OF SONGS OF THE TURKEY DANCE
:^;
;^:
■^:
:s;
No. 31.
No. 32.
'i
W:
No. 35.
Fig. 4.— Plots, Group 3 (Turkey dance)
The plots of these songs show more uniformity than the plots of
any other group of Ute songs. They are characterized chiefly by a
sharply descending trend.
Woman's Dance
It was said that the Woman's dance was obtained by the Utes from
the Shoshoni. As already stated, it was danced at the same time as
the Turkey dance. Only three of its songs w^ere recorded.
CHARACTERISTICS OF SONGS
The songs were accompanied by beating on a large drum. The
drum rhythm is the same as that in songs of the Woman's dance
recorded among the Chippewa. (See Bull. 45, p. 192.) It comprises
an accented stroke and an unaccented stroke, the latter corresponding
approximately to the third count of a triplet. A brief rest which
separates these corresponds approximately to the second count of a
triplet. In melodic compass these songs are smaller than the Turkey
dance songs, and the progressions are larger. The largest range in
any of these songs is nine tones, which was the smallest range in the
Turkey songs, and 14 per cent of the intervals are a fourth, or larger
than a fourth, as compared with 7 per cent of similar intervals in the
Turkey dance songs.
102
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 75
No. 36. Woman's Dance Song (a) (Catalogue No. 779)
Recorded by Singer No. 10
Voice J = 80
DRnM J = 80
See drum-rhythm below
(1)
S
±5=^
E^^
9-^ — • — •-: — •-
E5
^•44; jz:t:ij_^:4-^ — ^-^
Drum rhythm (approximate)
. Analysis. — The rhythmic structure of this song is interesting.
Two rhythmic units occur, the first containing three and the second
two counts. After a repetition of the first rhythmic unit we note
a measure suggesting the second unit, followed by a measure resem-
bhng the first unit, this, in turn, followed by the second unit and its
repetition. The first unit reappears and is followed by a measure
bearing resemblances to both units, the song closing with three
repetitions of the second unit. This intelligent use of thematic
material indicates a degree of musical cultivation among the Utes.
The melody has a compass of an octave and contains all the tones
of the octave except the seventh. Whole tones comprise 84 per cent
of the progressions. (See No. 28.)
dexsmore]
NORTHERN UTE MUSIC
103
No. 37. Woman's Dance Song (b) (Catalogue No. 743)
Recorded by Singer No. 6
Voice J = 80
Drum J -80
Drum-rhythm similar to No. 36
(1)
(1)
#- #-•
m&^
^E^^@=^
r^ ^
£^
Analysis. — This song contains the tones B fiat, E flat, G natural,
and A natural, suggesting the key of B flat major, yet the third
of that key does not appear. (See No. 33.) The song begins
with an ascending octave. Only one other Ute song has this initial
interval (No. 91). Chippewa and Sioux songs with this peculiarity
are noted in Bulletin 53, page 81, and Bulletin 61, page 343. It
also begins and ends on the same tone. (See Nos, 42, 59, 91, and 97
of this series; also BuU. 53, p. 222, and Bull. 61, p. 257.) About
one-third of the intervals are fourths. Two rhythmic units occur,
the rhythm of the second unit being steadily different from that of
the first unit. A first and second ending occurs also in the dupli-
cation No. 39 and in No. 48.
This song is considered in the Appendix, pages 206-208.
104
BUREAU OF AMERICAN ETHNOLOGY
fBUi.1.. 75
No. 38. Woman's Dance Song (c) (Catalogue No. 744)
Recorded by Singer No. 6
Voice
80
Drum-rhytUm similar to No. 36
m
t=j:
1=
ES
1 r
:t;iS=t
m
^^^^ji
3:
4:
:^5
[■A:
I
Analysis. — This song contains only the tones of the minor triad
and seventh. The only other Ute song containing this tone material
is No. 71.
Concerning this characteristic among Chippewa songs, see Bulletin
45, page 142, and Bulletin 53, page 258; among the Sioux songs, see
Bulletin 61, pages 184, 337. This chord has been found in the music of
the American Negro ^^ and was noted by Prof. J. C. Fillmore in songs
of the Nass River Indians living in British Columbia; also among
the songs of the Dahomy collected by Prof. Fillmore at the World's
Columbian Exposition in Chicago, 1892.
In the songs analyzed by the present writer this chord appears in
two forms: (1) In songs of minor tonality it constitutes the tonic
chord with seventh added, and (2) in songs of major tonality it
constitutes the submediant chord with the dominant of the key
added as its highest tone. It will be noted that in the first form
the tonic triad appears as the lower and in the second form as the
upper portion of the chord. The second is the more frequent form,
as shown by the fact that 11 Chippewa songs are characterized by
this chord and only three are minor in tonality. (See song No. 30.)
In the song under analysis the tonic triad (G sharp, B-D sharp)
forms the framework of the melody, the seventh being less prominent
and occurring only twice. The rhythmic unit is short and its repe-
titions comprise ^1 the song except the closing measures. Four
renditions were recorded and show no differences except that in one
rendition the opening phrase, before the repeated portion, was
omitted. Major and minor thirds constitute 68 per cent of the
progressions.
wSee paper by H. E. Krehbiel, read before the Folklore Congress, July, 1894.
DExsMORE] NORTHERN UTE MTTSIO
PLOTS OF SONGS OF THE WOMAN 's DANCE
105
■5;
:s:
mm
No. 3ti. No. 37.
Fig. 5. — Plots, Group 4 (Woman's dance)
A comparison of the plots of these songs with the plots of the
Turkey dance songs will show a more decided contrast than is evident
to the ear in listening to the songs.
Lame Dance
The action of the Lame dance was described as that of a man
lame in the right leg. The motion was forward and the right foot
was dragged as though it were crippled. This step, however, was
entirely different from that of the Dragging-feet dance, in which
the motion was sideways and the feet lifted clear of the ground.
The steps of both of these were danced for the wTiter's observation,
the dances themselves having fallen into disuse. Only women
danced the Lame dance, and at a gathering in the old days it was
not imusual for 100 women to take part in the dance. The women
formed in two parallel lines more than 30 feet apart, standing one
behind another, facing the west. Each line had its leader. At a
considerable distance in front of these were the drummers, usually
four in number, each with a hand drum, and behind the drummers
was a line of men singers who faced the dancers. The women danced
forward until near the drummers, when the leaders of the two lines
turned and danced toward each other until they almost met. They
then turned away from the drummers and danced side by side
toward a point opposite that at which they started, the dancers
following them and forming a double line (fig. 6).
CHARACTERISTICS OF SONGS
In all the Lame dance songs the accompanying drum is in quarter
notes, following slightly after the voice. This does not appear in
any other songs recorded among the Utes and may be considered a
characteristic of the Lame dance. As in the Bear dance, the song
used at the conclusion of the dance was different in structure from
the other songs of the series. With the exception of the closing
song (No. 42) a wide range obtains in the Lame dance songs, varying
from 9 to 12 tones. With this wide range there occurs, as in the
Turkey dance songs, a predominance of small intervals, 52 per cent
106
BUREAU OF AMERICAN^ ETHNOLOGY
[bull. 75
of the progressions being whole tones. The fourth is prominent,
comprising 12 per cent of the entire number of intervals. There is
a variety of tone-material in these songs, all of which are harmonic
A
+ -*--♦- -t- -»- •*--*- ■*- + -¥■ -i- -\- -^ •*-
+
■<
+
+ B
+ •
■^-H-)--+-+--f--4--^--»--»--l-4--»--H-^ N
+ •
""
+
^ > >■
V-+- -4- -f--+--»-4--»--f--|--t--4--+-
41^
+
+ c
+
^ J( ■
"^-+4- -*--H-»--+-+ -h-l-4--f- + -f +
-< -< -*
Fig. (3. — Diagram, Lame dance. .I, Siuger.s. £, Drummers, f, Path of dancers
in structure. The closing song contains only two tones, is simple in
rhythm, and has a drumbeat in unaccented eighth notes, the other
songs having a drumbeat in quarter notes. The accompanying
instrument was a hand drum.
No. 39. Lame Dance Song (a)
Recorded by Singer No. 9
(Catalogue No. 701)
Voice J ::z 69
Drum J — 69
Drum-rhythm similar to No. 20
mm^^s
^^^^s
mMur=^^^
-^^E^E^-
t^^-Hj-
m
DEN'S more]
NORTHERN VTK MTTSTC
107
Analysis. — We have before us for consideration two renditions of
a song by the same singer (cf. Nos. 77, 78), the first rendition being
recorded in 1914 and the second in 1916. The duplication was
accidental, which adds to the interest of the comparison. On the
first occasion the song was sung three times and on the second it
was sung twice. Comparing the transcriptions of the two rendi-
tions, we find in the second a more regular rhythm and also an
ornamentation of the melody, as in the third measure. The first-
named peculiarity is showTi by the presence of rhythmic units, the
latter by a larger proportion of whole-tone progressions. Inquiry
was made concerning the life of the singer during the two years
elapsing between the making of the records, as the rhythm might
possibly be mfluenced by an adaptation to the ways of the white
man. The Government officials on the reservation were, however,
of the opinion that no appreciable change had taken place in the
singer and the difference in the records was attributed by them to a
difference in mood at the time of recording.
On comparing the analyses of the two renditions, we find the
following resemblances and dift'erences:
RKSEMBLANCES
Tonality Major.
First tone Octave.
Last tone Fifth.
Compass 12 tones.
Tone material Octave complete except seventh.
Structure Melodic.
First progression Upward.
Time of first measure. 2-4.
DIFFERENCES
Number of progressions
Proportion of major thirds. .
Proportion of major seconds
Rhythmic unit
Time of voice and drum
Second
rendition ' —
Key of
E flat major
I Interesting features of the second rendition af e the first and second endings and the connective phrase.
In both renditions the drum was in the same tempo as the voice,
but was struck slightly after the corresponding tone of the voice.
This appears to be a peculiarity of the Lame dance songs. In the
comparison of the two renditions it appears that the resemblances
are more important than the differences, establishing the identity of
108
BTTREATT OF AMERICAN ETHNOLOGY
[BULL. 75
the song. A comparison of the plots, though not showmg the rhythm
of the song, indicates the greater regularity in the second rendition.
Concerning the use of a connective phrase see No. 7. Syncopations
{nota legato) occur also in songs Nos. 41 and 75. A first and second
ending occurs also in Nos. 37 and 48.
This song is considered in the Appendix, pages 209-210.
Duplication of No. 39
Recorded by Singer No. 9
Voice J = 72
Drum J =72
Drum-rhythm similar to No. 20
^- •-• -tS- -0 _ ^
^^
fc=££^^FE
:#:
J I » ^ »
pi
(1)
(^)
(1)
i
^^?^^ -^
!^j? :j :j-
SE
fi^
^^
^-F-p--^
:#
^^^B:^
-f2-
=P^=^
y^i^^-fg
z^JzzzOi:
(2)
1st ending
^^^^^fE?^^^^^^
=if=t^
y f "■■(»-
2nd ending
1 r
:P^-
^^^^
^g^^^ii^^^rga
Connective phrase between renditions
DEXSMORE]
NORTHERN UTE MUSIC
No. 40. Lame Dance Song (b)
Recorded by Singer No. 16
109
(Catalogue No. 720)
Voice J_^ 76
Drum J:^ 76
Driim-rhythm similar to Nn. 20
^^te:
Fh'-tt-
^oc
Ste
t^ti
rT>~x
^fcf=
WJ
£^g
tfqc
I
r=l=5U:
^^
-^-^-#-
Tsi-yu- ta Tsi-yu-ta
Analysis. — This song contains only one word (Tsiyuta), said to be
the Shoshoni term applied by them to the Utes. The rhythmic struc-
ture of the song comprises four periods, each containing four meas-
ures, except the third, which has only three measures. Each of these
periods ends with a triple measure. In melodic form the song is
characterized by wide expansion and small intervals, the range being
1 1 tones and about 60 per cent of the progressions being smaller than
a major third. (See No. 28.) Three renditions were recorded, the
only differences being a slight variation in the fourth measure. The
song contains all the tones of the octave.
110
BUREAU OF AMERICAN ETHNOLOGY [bull. 75
No. 41. Lame Dance Song (c) (Catalogue No. 768)
Recorded bv Singer No. 17
Voice
63
Drum J = 63
Drum-rhythm similar to No. 20
S^it
?=i=
=P=^
t£aj^' LJ
p=p=
-=-f*-
ii5:
i^^t
gifeW4:^=y^^^^i^^^Nr=f=a
^ '
Connective phrase
Analysis. — Two renditions of this song were recorded, and in both
are found the same number of sixteenth notes in the third measure
from the close, this phrase being divided into three groups of two
notes each. The song contains no rhythmic unit, though several
measures begin with a dotted eiglith followed by a sixteenth note.
A short connective phrase was sung between the renditions. (See
No. 7.) For other songs containing rests see analysis of No. 8. Sixty-
five per cent of the progressions are whole tones — a peculiarity noted
in the analysis of No. 28.
It was said that the following song was sung at the conclusion of
the dance. A man approached a woman dancer and made a series
of gestures, after which a third person threw a blanket over them,
and they danced together while this song was sung.
densmoue]
NORTHERN UTE MUSIC
111
No. 42. Closing song of the Lame Dance (Catalogue No. 769)
Recorded by Singer No. 17
Voice J = 104
Drum J=112
Prum-rhythm similar to No. 18
3Sfc
^mm^
^ P r-«
P P P—\-^
^
n—n
^J
^^^
:p=p:
i
Analysis. — This song resembles No. 17, which was sung at the
conclusion of the Bear dance, but a comparison of the trend of the
two melodies shows the upper tone to be the more important in
No. 17 and the lower tone in the present instance. A fundamental
and its minor third are the only tones in this song, while No. 17
contains also the minor seventh, occurring as an unaccented tone.
This song comprises four periods, all having the same rhythm. It
begins and ends on the same tone. (See No. 37.)
PLOTS OF SONGS OF THE LAME DANCE
Hi
No, 39.
No. 39 (dup.).
'S.
No. 40. No. 41.
Fig. 7.— Plots, Group 5 (Lame dance)
In the plot of these songs we have a type that appears to avoid
the lowest point, differing in this respect from a majority of the
Sioux as well as of the Ute songs.
112
BUREAU or AMERICAN ETHNOLOGY
iBDLL. 75
The plots of No. 39 and also of its duplication are shown, thus
affording an opportunity for comparison which is clearer than that
of the transcribed melodies.
Dragging-Feet Dance
According to Star, an old informant, the Dragging-feet dance was
one of the social dances held after a scalp dance. Men and women
danced together, not alternating but standing as convenient, the
motion of the dance being sideways, ''with the sun." The step was
that recorded in the same dance among other tribes (see Bull. 61, p.
477), one foot being advanced sideways and the other foot lifted and
placed beside it.
characteristics of songs
The drum beat with the Dragging-feet songs was in quarter notes,
synchronous with the voice, not following after it, as in the Lame
dance songs. Two of the songs contain particularly long rhythmic
units, and none of the songs contain the seventh of the key. The
minor fourth comprises 42 per cent and the fourth comprises 14 per
cent of the entire number of intervals.
No. 43. Dragglug-Feet Dance (a)
Recorded by Singee No. 16
Voice J — 108
Drum J= 108
Drum-rhythm similar to No. 20
(Catalogue No. 721)
4=4:1-
M:
F — I — ■ — i — I- -4 I— — ^
3^3^
^^^^j^^^^^^^^^^m
Analysis. — This melody progresses chiefly by the minor third,
which constitutes 71 per cent of the intervals. The rhythmic unit
comprises five measures and occurs twice. It is interesting to note
the resemblance between the opening measures of the song and the
rhythmic unit. Nine renditions were recorded without a break in
the time. The drumbeat was synchronous with the voice.
densmore]
NORTHERN VTK MUSIC
113
(Catalogue No. 746)
No. 44. Dragging-Feet Dance (b)
Recorded by Singer No. 18
Voice J =104
Drum J = 104
Drum-rhythm similar to No. 20
^^^l^^i^
Analysis. — Nine renditions of this song were recorded without a
break in the time. The melody is rhythmic in character but con-
tains no rhythmic unit. Only three sorts of progressions occur —
the fourth (constituting 32 per cent), the major second (62 per cent),
and one interval of a major third (see No. 28) . All the major seconds
were uncertain in intonation. The song is harmonic in structure
and contains the octave complete except the second and seventh.
No. 45. Closing Song of the Dragging-Feet Dance
(Catalogue No. 702
Recorded by Singer No. 9
Voice ^ _ 104
Drum J — 104
Interrupted drum -rhythm as indicated
^^ -•-^ -•.
:^z^J2a='^-^-4-~t~~1^
£
-•--•-
s
«:
rp
ff
4-
Da™ r r r r r r r r f r
r^
■t
n J I J J I
" J
^^^^^^l^^i:^^jS^^^
r r r r r r r
r
r r
Analysis. — In this song, which was sung at the conclusion of the
Dragging-feet dance, there was a break in the drumbeat, as a signal
for the end of the dancing. This break was always given at the same
point in the song. In two renditions this interruption occurred as
2.5043°— 22 8
114
BUREAU OF AMERICAN ETHNOLOGY
[BOLL. 75
transcribed (cf. No. 30). It is interesting to note that in the inter-
rupted portion the drumbeat is shghtly after the voice, while in the
remainder of the song it is synchronous with the voice. The only
difference in the renditions (several of which were without drum) is
that in a few instances the first tone in the second occurrence of the
rhythmic unit was sung as a quarter note. The rhythmic unit is
lon^'-, as in No. 43. With the exception of one interval, a minor
sLxth, the progressions are thirds and major seconds. The song is
melodic in structure and contains the tones of the fourth five-toned
scale.
PLOTS OF SONGS OF THE DRAGGING-FEET DANCE
_M 1 r
::::::z:S::t:5-:
:;::::i:;;::::^:
No. 43. No. 45.
Fig. 8.— Plots, Group 6 (Dragging-feet diuicp)
The plots of these songs, while different from the plots of the Lame
dance songs, show a similar avoidance of the lowest point.
Tea Dance
The name of the Tea dance indicates its modernness. If held out-
doors the people danced around a fire, the men giving their bracelets
and other ornaments to the women who took part in the dance.
CHARACTERISTICS OF SONGS
A scanty tone-material and wide range characterize these songs,
none of which contain more than five degrees of the scale, while the
range of the songs is from 11 to 15 tones. Two are melodic in struc-
ture and one is melodic with harmonic framework, indicating freedom
of musical expression. The fourth, with its suggestion of motion
(see Bull. 53, p. 100), constitutes 28 per cent of the intervals. All
the songs are major in tonality, yet the minor third constitutes more
than 22 per cent of the progressions. The drumbeat of the dancing
song (No. 46) and of the song next following is similar to that of the
Woman's dance, the drumbeat of the third song being unaccented
eighth notes.
The following song was sung during the dancing:
dbnshobe]
NORTHERN UTE MUSIC
No. 46. Tea Dauce Song (a)
Recorded by Singer No. 7
Voice J =88
Drum J = 88
Drum-rhythm similar to No. 36
115
(Catalogue No. 733)
-^^^r-r -/-t-f-i \ ' ^ -T^f-Ftf—^^-r — w^^-w—
=2--^W=£.^=U-_J — U.^=E:d 1 ll " 1 1-^
Connective phrase
Analysis. — The keynote of this song is considered to be E, the
tonahty is therefore major, yet the major third appears only once as
a progression. The interval of a fourth is strongly in evidence, both
as a progression and in the structure of the melody. A rhythmic
imit occurs four times in succession, the two first occurrences being
on the tone F sharp, E, B, and the second and third occurrences being
on the tones B, G sharp, F sharp, after which the melody descends to
B along lines which suggest the tonic chord. The portion of the
melody included in measures 4 to 8 resembles numerous other Ute
dances in its reiteration of a minor third (cf. Nos. 16, 42, 51). The
tone material in this portion of the song is similar to that in No. 2.
Other songs containing rests are noted in the analysis of No. 8, and
other songs with connective phrase in the analysis of No. 7.
The two songs next following were sung after the people sat dowoi
and before the tea was served, a pipe being passed among them at
this time.
116
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 75
Voice J =104
No. 47. Tea Dance Song (b)
Recorded by Singer No. 7
(Catalogue No. 734)
Drum J = 104
Drum-rhythm sunilar to No. 36
(1) (2)
(3)
(2)
I I r
-•-. -i
:§=i^j:t=
:L^
^
M
I
£
-(t t= -^A
:t=il:
(3)
(1)
(1)
(2)
(3)
^^
:^
&
s
H^f^
-r^tSi • 11-4-
Analysis. — The drumbeat of this song is similar to that of the
preceding song, during which the people danced. The song had the
unusual range of 15 tones and is based on the fourth five-toned scale.
Two renditions were recorded without variation. This is interesting,
as three rhythmic units occur, the first and third closely resembling
each other. The eighth measure contains a reversal of the count-
divisions of the second rhythmic unit, in a triple measure. As has
been noted, a measure of this sort frequently gives a certain balance
to the rhythm of a song as a whole.
I
dexsmoue]
NORTHERN UTE MUSIC
No. 48. Tea Dance Song (c)
Recorded by Singer No. 16
117
(Catalogue No. 722)
Voice J = 84
Drum
84
Drum-rhythm similar to No. 18
ateg^jfe^
:?=^
--\=-
t^
^
t=e
m^^
^— ^
t:=P
^_p_^,_*
&
t=
S
:p=p:
s
-^--=1-
gifr^=r
^ ^ -1=
^ElZpt
\ 1 ^-•—i
2si ending
2nd ending
'^#:
i
-4r-(S;— — •
OIEttt±tz*iztz±±:ft=H
Analysis. — This song contains only the tones of the major triad
and second, has a compass of 11 tones, and is melodic in structure.
The fourth occurs 14 times, comprising about half the entire number
of intervals. In contrast to the preceding song the drumbeat is in
unaccented eighth notes. For other songs containing rests see No. 8.
A first and second ending occurs also in the duplication of No. 39
and in No. 48.
PLOTS OF SONGS OF THE TEA DANCE
m.
'^
•5:
■^
-^:
m
No. 46. No. 48.
Fig. 9.— Plots, Group 7 (Tea dance)
A gentle descent characterizes the plots of these songs, with none of
the activity noted in the two groups of dance songs next preceding it.
118
BUREAU OF AMERICAISr ETHNOLOGY
[BULL. 75
Double Dance '^
Both men and women danced the Double dance, which was said
to be very old. The dancers stood in two lines facing each other
and not far apart. Men and women did not alternate in these lines,
but stood in any convenient order. So general was the interest in
this dance that in old times the lines often were 30 or 40 feet long.
In the dance one line moved forward about four steps, the opposite
line receding. The opposite line then advanced and the first line
receded.
CHARACTERISTICS OP SONGS
Two songs of this dance were recorded by Uncompahgre Utes.
Both songs have a clear rhythmic structure with more than one
rhythmic unit. No progression larger than a fourth occurs in these
songs. The accompanying instrument was a hand drum.
No. 49. Double Dance Song (a)
Recorded by Singer No. 8
Voice J =112
Drum J= 112
Drum-rhythni similar to No. 20
(1) (2)
(Catalogue No. 776)
P^S3^Si=ig:
^11 1 h — -B— L »
:t
'U=t^
to - 0 - ka - ne - ratS to - o - ka - ne - rats
(2)
a^
^—^-
m
#— •
I
3=h
^=£
to - 0 ka - ne - rats
Anahjfiift. — A progression by whole tones characterizes this melody,
about 73 per cent of the intervals being major seconds. (See No. 28.)
Two rhythmic units occur — one in double, the other in triple time.
These differ in the latter portion. The song is based on the second
five-toned scale and has a compass of six tones. Drum and voice are
synchronous.
" Nawa'to, a term used witb reference to anything that is "doubled together."
DENS MORE]
NORTHERN UTE MUSIC
119
No. 50. Double Dance Song (b) (Catalogue No. 770)
Recorded by Singer No. 17
Voice J:=92
Dkum J — 92
Drum-rhythm similar to No. 18
(1)
(1)
(2)
^^
m
3:
f=P^
:4=i^^±zz=tit
i^rr^^rg
(3)
(3)
Hi
abut:
:Ui:
-z?-
3=e
fcs
Analysift. — Thi.s .song comprises three rhytlimic periods, each with
its rhythmic unit. The tone material is the major triad and sixth,
which is less frecpient in the Ute songs than in those of the Chippewa
and Sioux, An ascending fourth occurs five times and a descending
minor third occurs nine times. In contrast to the preceding song
the drumbeat is in unaccented eighth notes.
PLOTS OF SONGS OF THE DOUBLE DANCE
IM
No. 49.
Fig. 10.-
No. 50.
-Plots, Group 8 (Double dance)
In these plots there appears a ''horizontal type" of outline with
rather wide intervals, the melody seeming to be "doubled" on itself
rather than following a decided trend, as, for instance, in the songs
of the Turkey dance.
Iron Line Dance
This is an old dance, in which both men and women participated,
standing alternately in the dancing circle. In the step of this dance
one foot was passed either over or behind the other and placed flat
on the ground. The motion of the dance was sideways, the dancers
progressing "with the sun." All the dancers sang and some of the
men carried hand drums, with which they accompanied the singing.
120
BUREAU OF AMERICAN ETHNOLOGY
fBULI.. 75
No. 51. Iron Line Dance Song (Catalogue No. 703)
Recorded by Singer No. 9
Voice J= 116
Drum J=116
Dnim-rhythm similar to No. 20
^g^sg
(1)
(2)
P^
# -ft-
3
U tJ U IK
-^—•^
^^
#=^
Pi - nu - pi - ya
(1)
(2)
mi
s
;#:
m.
pi-nu - pi - ya
"!****' II
pinu''piya.
WORDS
second wife.
Analysis. — Two rhythmic units occur in this song, the second
appearing to be an elaboration of the first. The opening and closing
measures contain phrases which resemble but do not repeat the
rhythmic unit. The principal interval is the minor third, which con-
stitutes more than 60 per cent of the progressions. All the tones of
the octave occur in the song, which is harmonic in structure. Drum
and voice are synchronous.
PLOT OF SONG OF THE IRON LINE DANCE
No. 50.
Fig. 11. — Plot, Oroup 9 (Iron Line dance
The plot of this melody is strong and interesting but of no definite
type.
densmore]
northern ute music
Social Dance Songs
melodi0 .analysis
Tabt.e ic— tonality
121
Major tonality.
Minor tonality .
Third lacking..
Number
of songs
Total.
Serial N OS. of songs
30, 32, 34, 35, 36, 39, 40, 41, 43,
44, 45, 46, 47, 48, 50, 51.
31, 38, 42, 49.
33, 37.
Table 2c.— FIRST NOTE OF SONG— ITS RELATION TO KEYNOTE
Beginning on the—
Twelfth
Tenth
Ninth
Octave
Fifth..
Third
Second
Keynote
Total.
Number
of songs
Serial Nos. of songs
34.
31, 4.5.
46.
35, 36, 39, 40, 41, 43, 47, 48, 5L
31, 37, 38.
32, 50.
33.
42, 44, 49.
Table 3c.— LAST NOTE OF SONG-ITS RELATION TO KEYNOTE
Number
of songs
Serial Nos. of songs
Ending on the-
Fifth
Third....
Keynote .
Total. .
33, 37, 38, 39, 40, 43, 44, 46, 48,
49, 51.
30, 32, 47, 50.
31, 34, 35, 36, 41, 42, 45.
122
BUEEAU OF AMERICAN ETHNOLOGY
[BULL. 75
Social Dance Songs — Continued
MELODIC analysis— continued
Table 4c.— LAST NOTE OF SONG— ITS RELATION TO COMPASS OF SONG
Songs in which final tone is—
Lowest tone in song.
Immediately preceded by-
Major third below.
Minor third below
Whole tone below.
Semitone below :
Songs containing a major third below the final tone
Songs containing a semitone below the final tone . . .
Total
Number
of songs
Serial Nos. of songs
14
30, 31, 33, 34, 36, 39, 40, 41, 42,
43, 45, 46, 48, 50.
1
38.
1
51.
3
32, 44, 47.
1
35.
1
49.
1
37.
Table Sc— NUMBER OF TONES COMPRISING COMPASS OP SONG
Compass of—
Fifteen tones. .
Thirteen tones
Twelve tones. .
Eleven tones-.
Ten tones
Nine tones
Eight tones...
Seven tones . - .
Six tones.. —
Three tones...
Total
Table 6c.— TONE MATERIAL
Second flve-toned scale
Fourth five-toned scale
Major triad and sixth
Major triad and second
Minor triad and seventh
Octave complete
Octave complete except seventh
Octave complete except seventh and sixth . .
Octave complete except seventh and third . .
Octave complete except seventh and second
Octave complete except fourth
Octave complete except third
Minor third
Total
Serial Nos. of songs
31, 49.
30,41,45,47.
50.
32, 46, 48.
38.
40, 51.
34, 36, 39.
44.
33.
43.
35.
37.
42.
DEN8H0BE]
NORTHERN ITTE MUSIC
Social Dance Songs — Continued
MELODIC ANALYSIS — Continued
Table 7c.— ACCIDENTALS
123
Songs containing no accidentals .
Number
of songs
22
Serial Nos. of songs
Table 8c.— STRUCTURE
Melodic.
Melodic with harmonic framework .
Harmonic
Total.
Number
of songs
22
Serial Nos. of songs
31, 33, 36, 37, 39, 40, 41. 45,
46, 48, 49.
30, 38, 47.
32, 34, 35, 42, 43, 44, 50, 51.
Table 9c.— FIRST PROGRESSION— DOWNWARD AND UPWARD
Dowmward.
Upward
Total.
Number
of songs
22
Serial Nos. of songs
31, 33, 35, 36, 38, 40, 43, 45, 46,
47, 48, 49, 50, 51.
31,32,34,37,39,41,42,44.
Table 10c.— TOTAL NUMBER OF PROGRESSIONS— DOWNWARD AND UPWARD
Number
of songs
Downward.
Upward...
Total.
420
248
Serial Nos. of songs
Table Uc— INTERVALS IN DOWNWARD PROGRESSION
Interval of a—
Fourth
Major third . . .
Minor third . .
Major second.
Minor second.
Total
Number
of songs
50
29
140
190
11
420
Serial Nos. of songs
124
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 75
Social Dance Songs — Continued
MELODIC ANALYSIS — Continued
Table 12c.— INTERVALS IN UPWARD PROGRESSION
Number
of songs
Serial N OS. of songs
Interval of a—
Ninth.
Octave
Seventh
Major si.xth . . ,
Minor sixth . .
Fifth..
Fourth
Major third . .
Minor third . .
Major second.
Minor second .
Total.
248
Table 13c.— AVERAGE NUMBER OF SEMITONES IN AN INTERVAL
Total number of intervals 668
Total number of semitones 1, 657
Average number of semitones in an interval 2. 4
Table 14c.— KEY
Key of—
A major
B flat major. . .
B major
B minor
D flat major...
D major
E major
F sharp minor
G major
G sharp minor
Third lacking.
Total
Number
of songs
Serial Nos. of songs
,45.
, 32, 34.
50.
36,'
30,;
49.
44.
51.
35, 39, 40, 41, 43, 46, 48.
31.
47.
38,'
33,;
,42.
,37.
RHYTHMIC ANALYSIS
Table 15c.— PART OF MEASURE ON WHICH SONG BEGINS
Nimiber
of songs
Serial Nos. of songs
Beginning on unaccented part of measure
Beginning on accented part of measure. . .
Total
32, 35, 38, 44, 46, 48.
30, 31, 33, 34, 36, 37, 39, 40, 41,
42,43,45,47,49,50,51.
DENSMORE] NORTHERN UTE MUSIC
Social Dance Songs — Continued
RHYTHMIC ANALYSIS — -Continued
Table 16c —RHYTHM (METER) OF FIRST MEASURE
125
Number
of songs
Serial Nos. of songs
First measure Ln-
2-4
30, 31, 32, 35, 36, 37,39,40,42,
44, 46, 47.
33, 34, 38, 41, 43, 45, 48, 49, 50,
51.
Total.
22
Table 17c.— CHANGE OF TIME, MEASURE-LENGTHS
Songs containing no change of time.
Songs containing a change of time . .
Total.
Number
of songs
Serial Nos. of songs
32, 34, 42.
30, 31, 33, 35, 36, 37, 38, 39, 40,
41, 43, 44, 45, 46, 47, 48, 49,
50, 5L
Table 18c.— RHYTHM (METER) OF DRUM
Number
of songs
Serial Nos. of songs
Eighth notes unaccented
Quarternotes unaccented
Each beat preceded by an unaccented beat corresponding to
third count of a triplet
Drum not recorded
30, 31, 32, 33, 42, 48, 50.
39,40,42,43,44,45,49,51.
36,37,38,46,47.
34, 35.
Total.
22
Table 19c.— RHYTHMIC UNIT OF SONG
Number
of songs
Serial Nos. of songs
Songs containing —
No rhythmic units .
One rhythmic unit.
Two rhythmic units. .
Three rhythmic units .
Total
30, 35, 39, 41, 44.
31, 32, 33, 34, 38, 40, 42, 43, 45,
46, 48, 49.
36, 37, 51.
47,50.
126 BUREAU OF AMERICAN ETHNOLOGY
Social Dance Songs — Continued
RHYTHMIC analysis — Continued
Table 20c.— TIME UNIT OF VOICE (AT BEGINNING OF SONG)
[BOLL. 75
Number
of songs
Serial Nos. of songs
Metronome-
63
69
72
76
80
84
92..
96..
104.
108.
112.
116.
41.
36.
35.
30, 34, 40.
33, 36, 37, 38.
48.
46.
50.
32.
31, 42, 44, 45, 47.
43.
49.
51.
Total.
Table 21c.— TIME UNIT OF DRUM
Number
of songs
Serial No*, of songs
Metronome-
63
69
76
80
84
92
96
104
108
112
116
Drum not recorded.
41.
39.
30, 40.
36, 37, S8.
48.
33, 46.
50.
32.
31, 44, 45, 47.
43.
42,49.
51.
34, 35.
Total.
22
Table 22c.— COMPARISON OF TIME UNIT OF VOICE AND DRUM
Number
of songs
Serial Nos. of songs
18
2
2
30,31,32,36,37,38,39,40,41,
43, 44, 4.5, 46, 47, 48, 49, 50,
51.
33, 42.
34, 35.
Total
22
DENSMOKE] NORTHERN UTE MUSIC 127
TREATMENT OF THE SICK
Two native methods of treating the sick were in use among the
Utes at the time this material was in preparation (1914-1916). In
both these methods there was a dependence on supernatural aid,
but in one method no material means were employed, while in the
other method it was customary to administer herbs or other reme-
dies. These two methods were also used by the Chippewa and
Sioux,-" and following the precedent of those volumes the term
"medicine man" will be used to designate the person who depended
entirely upon supernatural means and the term "doctor" to desig-
nate the person administering herbs. The following section com-
prises information given by Pa'gitS (pi. 10, c), a representative of the
first-named method, and Mrs. Washington, a representative of the
second. Pa'git§ explained the distinction between the two methods
by saying that a medicine man, when treating a sick person, pro-
ceeded according to directions from his supernatural adviser, given
him at the time, while a doctor, under similar circumstances, stated
first the authority by which he practiced his profession, describing a
long-past vision, usually of a bird or animal. He said that medicine
men did not buy songs of each other, as every medicine man pos-
sessed the ability to secure songs in a supernatural manner. Doc-
tors, on the other hand, were accustomed to buy and sell songs, the
older doctors frequently transferring songs to younger men. A good
remedy was worth a horse, this price including the herb, the history
of its medicinal use, and the song without which it would not be
effective.
Pa'git§, whose material will first be presented, said that he was
entirely independent of material means, not even using a rattle or
wearing amulets or ''charms" when treating the sick. He said that
after seeing and questioning a sick person he could tell whether he
could cure him. On being asked whether he ever began the treat-
ment of a case concerning which he felt uncertain, he replied Avithout
hesitation that he never did so, saying, ''We believe that if a doctor
begins on a case which he is not sure he can cure he will certainly
fail." Continuing, he said, "I always tell the person that he will
get well because I know it is true;" also, " If the sick person does not
think I can cure him I do not talk about it; I just cure him and
prove it." ^^
Concerning the source of his power, Pa'gits said that he treated
the sick under the tutelage of a "little green man" and that numerous
»» Bull. 45, Bur. Amer. Ethn., pp. 119-124; Bull. 61, Bur. Amer. Ethn., pp. 244-278.
" These statements are given in the words of the interpreter. Care was taken that the form of a question
did not suggest a possible answer, there being no desire to demonstrate the existence of mental treatment
among Indians.
128 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
other medicine men were under the same guidance, there l)eing many
of the little green men. He first saw the little green man when he
was a boy of about 12 years and has seen him at intervals ever since.
The songs used in his treatment of the sick were, however, received
by him about three years previous to giving this information. At
that time he was in the mountains and fell asleep. He then heard
the little green man singing these songs and learned them in this
manner. He said that when a man hears a song in a dream he sings
aloud in his sleep and remembers the song after he wakes. (See
p. 60.)
Describing the "little green man," Pa'gits indicated his height as
about 2 feet, saying he was green from head to foot and carried a
bow and arrows. In disposition he was^^'good to those he liked,"
and especially favored medicine men. He could hear those who
spoke unkindly of him and "shot his arrow" into them. These
"arrows" were removed by the medicine men, who were paid for the
treatment.
Pa'git§ said that the little green man "came around only at night."
If Pa'gitg wished to talk with the little green man he sat outdoors in
the early morning before sunrise. He sat facing the east and smoked.
No ceremonial act was connected with this and he had no drum or
rattle, neither did he sing. Sometimes it was not even necessary for
him to smoke in order to talk with the little green man. If he wished
to make a present to the little green man he left it beside the "hole "
which was the door of his dwelling. He was not obliged to give him
a present after each successful treatment of the sick, but once in
a while he gave him a handkerchief or other small gift.
The abodes of the little green men were said to look like little
chimneys and to be scattered through the mountains or any imsettled
country. Those who pass such a dwelling and recognize it always
throw a little branch of cedar or some other offering in front of it so
the little man will not be angry with them. Tradition says that one
night some white people filled the door of a little green man's house
with stones, but in the morning all the stones had been removed.
Pa'gits said: "The little man makes a fire at night, and you can see
a little light. In the early morning you can see smoke coming out
of his house."
Those who summoned Pa'gits to treat a sick person brought with
them a stick about 18 inches long, painted green and forked at the
end. This was his particular token and he made one for the writer.
When he reached the abode of the sick person he was directed by the
little green man as to what he should do. He always questioned
the sick person about what he had been doing, with a view to ascer-
taining the cause of his distress. It might be due to a physical
ailment, or (what was an entirely different matter) his distress might
DE.NSMORE] NORTHERN UTE MUSIC 129
be due to "poisoning." Thus it was said that "a pereon who had a
bad plant could put it in a man's footprints and poison him." In
that case it was the duty of the medicine man to learn who had poi-
soned his patient and to counteract it. Thus he would say to the
sick man : " I dreamed so and so, and I know who or what has poisoned
you." Pa'git§ said that throughout his treatments the little green
man staj^ed outside the tent, and he could see him and hear what
he said, every phase of the treatment being according to his direction.
Nine "medicine songs" were recorded by Pa'gitg, who said that
he sang them all when treating the sick. The relatives of those
whom he frequently treated had learned these songs and sang them
with him, continuing their singing when the method of treatment
required that he place his head against the body of the patient.
Pa'git§' "specialty" was the treatment of acute pain, and he said
that he could cure pain in any part of the body. He said that he
took from the patient's body a "strange something," sucking it out
through the skin. Then he took it from his mouth, held it in his
hand, and showed it to all the people, after which he put it again in
his mouth. As soon as this substance was removed from the patient's
body he began to recover. Sometimes this substance is one of the
little green man's arrows which he has shot into the person's body.
In shape this "strange something" was said to be- "like a carrot" and
1 or 2 inches in length. In color it was red, like blood, and in texture
it was not unlike a fingernail. The " arrows " were always of the same
kind, differing only in size. Pa'gits said that he usually had to sing five
times before he could extract this cause of the pain from his patient's
body. He sings five times in one evening, cures the patient, and
receives "about five or six dollars" as compensation. Wlien he has
sung for some time he says to the people around him, "Sing harder,
sing harder; I am going to take out what causes the pain." In a
few moments he has it in his hand and shows it to them all.^-
In describing the treatment of general cases by medicine men,
Pa'gits said that it often took two or three weeks to cure a sick
person, the medicine man singing at first every evening and then
less often as the condition of the patient improved. Sometimes he
sang two hours at a time, and if the person were very ill the medicine
man would continue his singing until daylight. "If the medicine
men are afraid a person will die, they pray and talk a great deal to
his spirit."
The second group of songs in this section were recorded by a
woman knowTi as Mrs. Washington, who considered that she treated
^■J Fred Mart, the writer's interpreter, stated that he once saw a treatment similar to that described by
Pa'gits and saw the substance apparently removed from the person's body. It was red, about an inch
long, and shaped like an arrow point .
25043°— 22 9
130 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
the sick by the aid of supernatural power but who gave herb medi-
cines in connection with the treatment. She said that she usually
sang these songs when the sun was at a height corresponding to
about 10 o'clock in the morning. The special efficacy of her songs
was said to consist in their power to counteract an evil influence
produced by some other person.
Mrs. Washington had been treating the sick for about four years
prior to the recording of her songs and said that ''a spirit" told her
what to do. This spirit was represented by an eagle. In summon-
ing her to treat a sick person, the messenger formerly brought a tail
feather of an eagle, but recently she had required that he bring a
downy white eagle feather, as she believed that her power was
increased by this feather. If she were not at home, the messenger
left the feather, on which there was no mark of any kind. Her
friends told her who required her services and when she received
the message she went at once to the sick person, taking with her
the feather which had accompanied the request. She also held this
feather in her hand during the treatment. Arrived at the home of
the sick person, she "prayed to the eagle" before beginning her
treatment, which was described as follows: The sick person was
placed in a reclining position and she sat beside him, placing her
forehead against that portion of his body where pain was felt. Some-
times she took earth and rubbed it on the patient's body, "working
dowTiward toward the feet." This earth was not prepared in any
way but was used "just as it was picked up." During this treat-
ment she sang the six recorded songs in the order in which they are
herewith presented. If the patient were very ill, she used a plant
which she obtained from the Shoshoni, but she valued this so highly
that she used it only for those who were closely related to her. She
stated that by means of this plant she once cured her daughter,
who was almost in a dying condition. No specimen of the plant
was available for identification, but the woman stated that she used
the root in powdered form and also had ''tlu-ee little round red
things," which were part of the plant. These were said to resemble
a walnut but were smoother than a walnut and red in color. They
were pierced with a hole so that they resembled large beads. The
sick person was required to place one of these in his mouth and
"draw air through the hole." This was used with all her medicinal
herbs. The roots of various herbs were used by her in her treatment.
These roots were powdered and prepared with water, the mixture
being administered by dipping a "little stick" in it and applying
the stick to the patient's tongue. As she gave the herb medicine
she "prayed to the eagle." She said that when this treatment was
administered the patient was sure to recover.
de.n.smoke] northern ute music 131
Characteristics of Songs
In the tabulated analysis of these songs (p. 141) we note that two-
thirds are major in tonality — a characteristic which is commonly
associated with cheerfulness. The upward tendency of the melodies
is sho^^^l by the fact that only two of the songs begin on an interval
higher than the fifth, and yet 18 of the songs have a compass of
more than five tones. This compass could only be attained by an
ascent above the initial tone. This is a contrast to a large propor-
tion of songs analyzed in which the first tone is the highest occurring
in the melody. The melodic material is scanty. Eleven of the 15
songs contain four or less scale-degrees, three are on a five-toned
scale, and one contains the octave complete except the sixth and
seventh. None of the songs are harmonic in structure and a large
majority are purely melodic. Two-thirds of the songs begin with
an upward progression, and 60 per cent of the entire number of
intervals are ascending intervals. The average interval contains 2.9
semitones. This is also the average interval in the songs of the
Chippewa Mide', whose fundamental idea is somewhat parallel to
that represented by these songs. As stated in a previous work
(Bull. 45, p. 13), ''the Mide' (Grand Medicine) is the native religion
of the Chippewa * * *. Its chief aim is to secure health and
long life to its adherents, and music forms an essential part of every
means used to that end." Also (p. 20), '"The power of the Mide' is
exerted through a combination of two mediums, music and medicine."
Observing the rhythmic characteristics of this group, we find that
four-fifths of the songs begin w^ith an upward interval and contain a
2-4 division in the first measure. This occurred also in 42 per cent
of the Chippewa Mide' songs and in 55 per cent of the Sioux songs
used in treating the sick. (Cf. in this connection Bull. 53, p. 10.)
All the songs contain a change of time. This occurs in all but one
of the similar songs and in about three-fourths of the Mide' songs.
Fourteen of these songs have one or more rhythmic units, all bui
one of the Sioux songs containing such units and 87 per cent of the
Mide' songs having the same peculiarity. These songs were sung
slower than similar songs among the other tribes mentioned.
Summary. — From these comparisons it is found that songs used in
the treatment of the sick among the three tribes analyzed have more
resemblance to each other than to other groups of songs, suggesting
a correspondence between the content of the song and the form of
its musical expression.
132
BUREAU OF AMERICAN ETHNOLOGY
I BULL. 75
No. 52. Song used in treatment of sick (a;
Recorded by SiNtiER No. 11
(Catalogue No. 711)
Drum not recorded
=9i^
^124E
^^
^
4:
E^^^^
No. 53. Song used in treatment of siclt (b)
Recorded bv Singer No. 11
(Catalogue No. 712)
J = 58
Drum not recorded
=9^.il#=^=^r=F
^fci
3=a=p:
-#-^
-*-^
I
±^\-f±t
No. 54. Song used in treatment of sicli (c)
Recorded by Singer No. 11
(Catalogue No. 713)
J=76
Dnuii not recorded
-(22
m—^—%
:tr=±t
No. 55. Song used in treatment of siclc (d)
Recorded by Sincjer No. 11
(Catalogue No. 714)
J =.'58
Drum not recorded
■ ^ . , ,-fi-^ n—r-f2 rioT" ^--h- ^ — ^-P-r^ ^-
4^=F
gwg^^^r^i^iif-fjw^^^gig^
DENSMORE]
NORTHERN UTE MUSIC
133
No. 56. Song used in tr«atment of sick (e)
Recorded l>v Sing Kit No. II
(Catalogue No. 715)
Drum not recorded
^^
^._^,^_,^;fl^-- -^- ^ ••-
t=t:
2£
^-^^
;#:
No. 57. ,Song used In treatment of sick (f)
Recorded by SiN(iKR No. 11
(Catalogue No. 716)
J =58
Drum not recorded
-(=2^^nf=-
Sii=^i^
m^&
^ — •
^-\^
'S' • — •-
:^==t:
I
No. 58. Song used in treatment of sick (g)
, (Catalogue No. 717)
Recorded by Singer No. 11
J =58
Drum not recorded
\~
-0-
^gg^PSggj^g
:=t:
:f=P=P=q
:£.it=t:
2F
«E^E33|-aEp^P=3zf=f=f±^ ^
ggg^^l
^S33Ef
=F=
tJo. 59. Song used in treatment of sick (h)
Recorded by Singer No. 11
(Catalogue No. 718)
a' =58
Drum not recorded
■^^=5=:t
:^zd
^-0-
=^F
P^^PII^^^I
^^^^
-t\-r^-—m-r-m-
^
^^
^-m^
-^^^
I
134
BUREAU OF AMERICAN ETHNOLOGY
No. 60. Song used in Iroadiicnt olsick (i)
[BULL. 75
Recorded by Singer No. 11
(Catalogue No. 719)
J = 63
Drum not recorded
i*2:
«— •-
SE5|ar^^ig4
-i»-^-»
"p=p=
-^- I
a^^jEEgj^^l^lig^mi^tligigl
-iS' — a-»-r'S'
'^^^^^^m^^
-(z — ^
n r
:#:
^^&:=^E^s
i=
■^i^
n
SONGS NOS. 52-60
Analysis. — These songs were repeated with less accuracy than any
previously recorded by the writer, yet they differ from the ''rudi-
mentary songs" (pp. 200-205) in that each song, as transcribed, was
found to occur at least twice on the phonograph cylinder. Each of
these songs has a definite beginning and ending, the remainder of
the cylinder containing melodic and rhythmic phrases which resemble
but do not duplicate those of the song. It can scarcely be stated
with positiveness whether these performances represent songs which
are only partially separated from the thematic material of which
they are made (see analysis of rudimentary songs) or are an inten-
tional "breaking up ' ' of composed songs. That the latter is a correct
inference is suggested by three observations: (1) These songs were
the personal property of the singer, and it would not be to his interest
to repeat them so accurately that others could learn them. (2) The
singer was a medicine man, and with the element of mystery sur-
rounding his performance it would suit his purpose to present an
''identity mth variety" in his songs. He said the people *'sang
with him." As each song has an easily learned unit of rhythm, it
would be quite possible for him to load the people through a succes-
sion of simple melodic progressions, depending chiefly on the recurrent
rhythm for their interest. (3) Tb.e personal e(|uation of the singer
should be taken into account. The man who recorded these songs
was a comparatively young man, well built, keen-eyed, and appar-
ently master of himself. The rudimentary songs were recorded by
aged women.
dexsmoue]
NORTHERN ITTE MUSIC
135
It is interesting to note in this connection the pitch of these phono-
graph records. The uniformity of pitch in successive songs suggests
mental concentration and among musicians of the white race would
be considered an evidence of musical ability. Consideration should
also be given to the fact that the interpreter used the word "song"
in reference to these, suggesting that to his mind they had an identity.
The rudimentary songs were interpreted by a different person, but
the word ''song" was modified, the interpreter saying "They sing
this way when they tell stories."
As a melodic peculiarity of these songs we note the sequence of
"keys" in the musicians' use of that term. (See tabulated state-
ment below.) It may seem anomalous to apply the term "key" to
these songs, as in almost half of them the third above the (apparent)
keynote does not occur. However, by applying this broad test, we find
what appears to be a connection between the idea of these songs and
their melodic content. The idea underlying the songs was a desire
that a sick person should recover, and in the sequence of tone material
or "keys," we find an effect of uncertainty followed by an effect of
confidence and rejoicing. The singer's intonation was fairly accurate
throughout the songs, especially on what may be termed the bound-
aries of the melody. Thus B flat, which is the opening tone of the
first six songs (Nos. 52-57), was unmistakable; also F and E fiat,
occurring later in the songs; while the B natural in the last three
songs was given with similar distinctness. The tone material of the
songs is as follows:
No. of
song
Kejaiote
Degrees of
major dia-
tonic scale
occurring
in song
52
53
54
55
56
57
58
59
60
Eflat
...do
...do.......
B flat
...do
...do
...do
...do
...do
1,2,3,5,6.1
1,2,5.
1,2,3,5.
1,2,5,6.
1,2,5,6.
1,2,5,6.
1,2,3,5.
1,2,3,5,6.
1,2,3,5,6.
1 Fourth five-toned scale.
Since we are accustomed to hearing tuned instruments, the effect
of this sequence of tone material can probably be noted most clearly
by playing the tones on a piano. This will be the more evident if
the chords of E flat, B flat, and G major are sounded before the single
tones used in the melody are played. The singer said that at a cer-
tain point in his performance he told the people to "sing harder," as
136
BUREAU OF AMERICATs^ ETHNOLOGY
[BULL. 75
he was about to extract the cause of the pain. It appears possible
that this may have occurred at about the seventh song (No. 58).
In two-thirds of this group of songs the first progression is upward,
and in a similar number the song begins on the accented portion of the
measure, both of these features suggesting confidence. The melodic
progressions consist chiefly of fourths and major seconds. It has been
frequently noted in Sioux and Chippewa songs that the interval of a
fourth characterizes songs concerning motion. It is a progression of
freedom, and does not suggest the feeling of certainty which charac-
terizes the perfect fifth or the major third. We note that the fourth
occurs 53 times in these songs, while the perfect fifth occurs but once.
The fourth constitutes 19 per cent of the entire number of intervals
and the major second constitutes 66 per cent. (See No. 24.) The
latter interval is seldom used as a passing tone, but alternates with
the tone below it in a manner which is without melodic importance.
The major third occurs only in Nos. 52, 54, and 60, and constitutes
about 4 per cent of the intervals. The songs are freely melodic in
structure.
Turning to the rhythm of the songs, we find that with one excep-
tion the songs contain a rhythmic unit, and that there is a greater
variety in the rhythmic units than in the melodic form of the songs.
Except in No. 60 the rhythmic unit occurs only twice in a melody,
but portions of it appear throughout the song, indicating that this
phrase has a constructive influence on the form of the entire song.
No. 61. Song used in treatment of sick (j)
Recorded by Singer No. 25
(Catalogue No. 752)
J =58
Drum not recorded
NORTHERN UTE MUSIC
137
No. 62. Song used in treatment of sick (k)
Recorded by Singer No. 25
(Catalogue No. 753)
J = 55
Drum not recorded
(1)
^^
n f
(1) (1)
Wu§:2=r
:i^g:
iizd^
±:iz3
(1)
■^ — I — I— I — I-
':^ It tt ^
(1)
2=r
4:— I- I I I i
-*- *- -25^
(2)
^
g^=^=r^
-•-#T-^
=1:
(2)
^ ¥ * «L
S
=&
3tid
•)
(2)
i^agtgng^
:r=!r
(2)
i
^
-*- ^*- -*- -5*-
(1)
^ ^ -wt -^
yfc^-J ^
:2:
I
-i^' a^-
r ^ V V ii -&
i^
^ -i- -#- ■*- -& -^- zl-
No. 63. Song used in treatment of sick (1)
Recorded by Singer No. 25
(Catalogue No. 754)
J=58
Drum not recorded
^^gE^l
^1=q=1=EI#=H=^i.rf^^-=i^ :fe^
t4=t=s=-S
S3B
■•- -•- -•- •-
*^
*—•—#—*
S^
^^— i=^
1^^^
-•-r
T^ ■# -#-
■*— * #-
a
^^*=^^F=^^^^-=S
A
33
^
:H
138
BUREAU OF AMERICAN ETHNOLOGY
[bull. 75
No. 64. Sonj? used in treatment of sick (m)
(Catalogue No. 755)
Recorded by Singer No. 25
J = 92
Drum not recorded
//
m^^
p=
-l —
-i9
\^
-(2
1*^^
=^
Q 1
! 1
"TT^i — r
1
-^^~T-
;s
-^ 1
(m ^j
■| 1
1 1
1 1
1
ill
1 '1
1 1
\s\) ^ J
J
-^ Ji
-A
J
It- Ji
H- 1 1
ij
^
^ -^-
-^ *^
o
m m
-sL
-d- ^ -•-
-e-
n
1 1
" V^
o
q
o
1 1 1
Q 1
*> N
■ /L ' » 1
Is 1
fi
2i
'»
^ P • V
-^4 1 L
-4H — ^-
-4H—
4 '
-^—
-.5' 1-6'
-4-^^
-4-1 J
'-^'^T^f— ^
^-J- ^^
•:^.
-s>-
-2--
/■
-:3_) 1
1^
a:
•—^4—^
-G>- -(&- -.©-
H
No. 65. Song u.sed in treatment of sick (n)
Recorded by Singer No. 25
Voice J = 88
Drum not recorded
(1)
(1)
(Catalogue No. 756)
(1)
I=fci2^
^^=^-
A-^-
P- H~^-
-P •-
(2)
(2)
g^e
//
?-f
^V
:K^
1^ — *-
U
(1)
(1)
-z;*-' -C-
l:2===F
^^
:4=t:4nfca.4z^^:
-#- -«>- -#- -j^ -5^.
-i^- -z?- -s>- -s?-
DEN. smoke]
NORTHERN UlTE MUSiC
139
No. 66. Song used in treatment of sick (o)
Voice J = 66
Diiiiii not recorded
Recorded by Singer No. 25
I (
(Catalogue No. 757)
^J W .0. .0. .0. ^. ^ -^- -^.
-^ -•--#- -i*- -*- ■*- -•- -*- -s*-
SONGS NOS. 61-66
Analysis. — ^These songs will be analyzed collectively, since, like
the preceding group, they are the property of an individual and all
pertain to one subject. In the preceding group a majority of the
songs are major in tonality and begin with an upward progression.
In this group of six songs five are major in tonality and four begin
with an ascending interval. The keynote is the final tone in all
the songs. Five begin with a 2-4 measure-division, a peculiarity
which occurred in seven of the nine songs in the previous group
recorded by Pa'gitS. None are harmonic in structure, though in
four songs there is an evident harmonic feeling. It is interesting to
note that the first three songs are in tempo J = 58, which was the
tempo of two-thirds of Pa'gits's songs. These, like his, are char-
acterized by the interval of a fourth and a major second, about 17
per cent of the intervals being fourths and 60 per cent being major
seconds. As these intervals do not characterize the entire material
analyzed by the writer, it is interesting to find them in both groups
of songs used in treating the sick. The interval of a fourth, as fre-
quently stated, has been found to characterize songs concerning
motion, and the major second is usually a passmg tone. In these
two songs it occurs most commonly as an ascending followed by a
descending progression.
A rhythmic unit occurs in all the songs recorded by this singer
and was present in all but one of the songs recorded by Pa'gits. In
the first three of the present group (Nos. 61-63) the rhythmic unit is
characterized by a count-division of two eighth notes, this being the
only count-division in the unit of No. 61. In Nos. 64 and 65 we
find a unit comprising two quarter notes followed by a half note,
but in No. 65 there is a second unit having a slightly different count-
140
BUREAU OF AMERICAN ETHNOLOCY
I lirr,!.. 75
division. No. 66, however, returns to the even eighth note division,
the unit being twice as long as in No. 61 but otherwise the same.
This pecuharity gives a rhythmic unity to the entire group.
The sequence of keys, which gave a certain melodic unity to the
songs recorded by Pa'git§, does not appear in this group, the keys
of which are in the following order: D flat major, B flat minor,
C major (two songs), and B flat major (two songs). A peculiarity
of Nos. 61, 64, and 65 is that the singer changed from a moderate to
a fortissimo voice after singing the first few measures. This
peculiarity has not previously been noted by the writer.
Plots of Songs Used in Treatment of the Sick
1?
'.-tt
)->-
No. .52.
No. 5.5.
'^M4k^^[
i^=a^=:;
No. no.
No. 62.
No. 63.
i
4<- — \m>hi-<mm^
11
:s^'5::m:
No. 64.
Fig. 12.— Plots, Group 10 (Treatment of sick)
DENS MORE)
NORTHERN UTE Ml'SK!
141
Tlic i)lots of this class of songs among the Lie do not sliow tlie
emphasis on the lowest tone which prevailed in smiilar songs among
the Sioux. (See Bull. 61, p. 283.)
Considering first the songs recorded by Pa'gits (singer No. 11),
we find Nos. 52-55 to be singularly uniform in type, characterized
by a downward trend, with only one or two ascending progressions.
This uniformity suggests steadiness and control. In Nos. 59 and 60
the outline changes to larger progressions and an evident emphasis
on the lowest tone. It will be recalled that Nos. 59 and 60 were
sung after the sick person had been somewhat restored by the action
of the medicine man.
Throughout the plots of the songs recorded by Mrs. Washington
(singer No. 25) there appears a resemblance, but the outlines them-
selves are not of a decided type. The range is much wider than in
the songs recorded by Pa'gits and the lowest tone is used more
frequently as an accented tone. Four of her songs (two-thirds of
the number) begin with an ascending progression.
Songs Used in Treatment of Sick
melodic analysis
Table Id.— TONALITY
Number
of songs
Serial Nos. of songs
Major tonality
Minor tonality
Third lacking.
Total . . .
52,54,58,59,60,61,63,64,65,66.
62.
5.3, 55, 56, 57.
Table 2d,— FIRST NOTE OF SONG— ITS RELATION TO KEYNOTE
Number
of songs
Serial Nos. of songs
Beginning on the —
Octave
1
1
8
1
1
3
66.
Sixth
60
Fifth
Fourth
62
Second
5H
Keynote
Total
15
142
BUREAU OF AMERICAN ETHNOLOGY
iBULb. 75
Songs Used in Treatment of Sick — Continued
MELODIC ANALYSIS — Continued
tabld 3d.— last note of song— its relation to keynote
Number
of songs
Serial Nos. of songs
Ending on the—
Fifth
8
52, 53, 55, 56, 57, 5S, 59.
54, 60, 61, 62, 63, 64, 65, 66.
Total
15
Table 4d.— LAST NOTE OF SONG— ITS RELATION TO COMPASS OF SONG
Number
of songs
Serial Nos. of songs
Songs in wliich final t one is lowest tone in song
12 52. 53. 54. 55. 56. 57. 58. 59. 60.
3
62, 65, 66.
61, 63, 64.
Total
15
Table 5d.— NUMBER OF TONES COMPRISING COMPASS OF SONG
Number
of songs
Serial Nos. of songs
Compass of—
Ten tones...
Nine tones..
Eight tones.
Six tones
Five tones. .
64, 65.
52.
53, 61, 62, 63, 66.
55, 57, 58, 59, 60.
54, 56.
Total .
Table 6d.— TONE MATERIAL
Number
of songs
Serial Nos. of songs
Fourth five-toned scale
.Major triad and second
Minor triad and fourth
Octave complete except seventh and si.xth .
First, second, and fifth tones
First, second, fifth, and sixth tones
52, 59, 60.
54, 58, 61, 64, 65, 66.
62.
63.
53.
55, 56, 57.
Total .
Table 7d.— ACCIDENTALS
Number
of songs
Serial Nos. of songs
15
UENSMouE] NORTHERN UTE MUSIC
Songs Used in Treatment of Sick — Continued
MELODIC ANALYSIS — Continued
Table Sd.— STRUCTURE
143
Number
of songs
Serial N OS. of songs
Melodic
11
4
52 53 54 55 56 57 58 59 60
Melodic with harmonic framework
62,65.
61 63,84,66
Total
15
Table 9d.— FIRST PROGRESSION— DOWNWARD AND UPWARD
Downward.
Upward . . .
Total .
Number
of songs
Serial Nos. of songs
53, 54, 60, 63, 66.
52, 55, 56, 57, 58, 59, 61, 62,
64, 65.
Table IOd.— TOTAL NUMBER OF PROGRESSIONS— DOWNWARD AND UPWARD
Do%vn\vard.
Upward . . .
Number
of songs.
209
151
Total .
Serial Nos. of songs.
Table 11d.— INTERVALS IN DOWNWARD PROGRESSION
Interval of a- -
MLnorsixth. .
Fifth
Fourth
Major third.. ,
Minor third . .
Major second.
Minor second .
Total
Number
of songs
2
1
40
9
29
127
1
209
Serial No. of songs
144 BUREAU or AMERICAN ETHNOLOGY Ibdll. 75
Songs Used i\ Treatment of Sick — Continued
MELODIC ANALYSIS — Continued
Tabie 12D.— intervals in UPWARD PROGRESSION
Number
of songs
Serial Nos. of songs
Interval of a—
Major sixtli . .
Minor sixth..
Fifth
Fourth
Major third. .
Minor third . .
Major second.
Minor second.
Total
151
Table 13d.— AVERAGE NUMBER OF SEMITONES IN AN INTERVAL
Total numVjer of intervals 360
Total number of .semitones 1, 076
Average number of semitones in an interval 2.
Table Ud.— KEY
Number
of songs
Serial Nos. of songs
Key of—
B flat major.
B flat minor
C major
D flat major
E flat major.
G major
Irregular
Total
65, 66.
62.
63, 64.
61.
52, 54.
58, 59, 60.
52, 55, .56, 57.
RHYTHMIC ANALYSIS
Table Iod.— PART OF MEASURE ON WHICH SONG BEGINS
Number
of songs
Serial Nos. of songs
Beginning on unaccented part of measure .■
3
12
52, 54, 59.
Beginning on accented part of measure
53, 55, 56, 57, 58, 60, 61, 62, 63,
*t, 65, 66.
Total
15
DENSMORE] NORTHERN UTE MUSIC
Songs Used in Treatment of Sick — Continued
RHYTHMIC ANALYSIS — Continued
Table 16d.— RHYTHM (METER) OF FIRST MEASURE
145
First measure in-
2-4 time
3-4 time.
Total . .
Number
of songs
Serial Nos. of songs
52, 54, 55, 56, 58, 59, 60,61,62,
64, 65, 66.
52, 53, 57.
Table 17d.— CHANGE OF TIME, MEASURE-LENGTHS
Songs containing a change of time .
Number
of songs
Serial Nos. of songs
Table 18d.— RHYTHM (METER) OF DRUM
Drum not recorded.
Number
of songs
Serial Nos. of songs
Table 19d.— RHYTHMIC UNIT OF SONG
Number
of songs
Serial Nos. of songs
Songs containing—
Nn rhyt.hmif unit
1
12
2
53.
A rhythmic unit
52, 54, 55, 56, 57, 58, 59, 60, 61,
Two rhythmic units
63, 64, 66.
62, 65.
Total
15
Table 20d.— TIME UNIT OF VOICE
Number
of songs
Serial Nos. of songs
Metronome—
58
9
1
1
2
1
1
52, 53, 55, 57, 58, 59, 60, 62,63.
60.
63
66
66.
76
54, 56.
88
65.
92
64.
Total
15
25043°— 22 10
146 BUREAU OF AMERICAN ETHNOLOGY [boll. 75
Songs Used in Treatment of Sick — Continued
RHYTHMIC analysis — oontinued
Table 21d.— TIME UNIT OF DRUM
Number
of songs
Serial Nos. of sonp
15
Table 22d.— COMPARISON OF TIME UNIT OF VOICE
AND DRUM
Number
of songs
Serial Nos. of songs
Drum not recorded
15
WAR SONGS
While the general customs of war do not differ materially among
Indian tribes, there are distinctive points in the customs of the several
tribes that are of interest. Among the Utes, for instance, is noted
the ''washing of the wounded," and also a dancing in two circles,
one within the other, when the scalps are carried in victory.
Several aged warriors of the Ute recorded war songs, but recalled
them with difficulty, as the Utes have not been at war with another
tribe for many years. Their former enemies were said to have been
the Sioux and Arapaho, one purpose in war being the capture of
horses from these tribes.
Characteristics of Songs
A majority of the Sioux and Chippewa war songs were found to be
mmor in tonality, but 69 per cent of the Ute war songs are major in
tonality. Firmness and directness are further shown by the ending of
the same percentage on the keynote and the beginning of 56 per cent
on the octave. Eighty-seven per cent begin with a downward progres-
sion. The melodic material is scanty, only about one-half the songs
containing more than four degrees of the scale. The harmonic feeling
is slight, only about 12 per cent being harmonic in structure. The
average interval is slightly smaller than in the Bear dance, yet the
percentage of intervals larger than a major third is higher in the war
songs than in the Bear dance, this percentage being 22 in the Bear
dance and 25 in the war songs. This is due to the more frequent
occurrence of the interval of a fifth in the war songs. The accom-
panying instrument was a hand drum.
With three exceptions these songs begin on the unaccented portion
of the measure, this being in contrast to the directness of beginning
dexsmore]
NORTHERN UTE MUSIC
147
on the octave and ending on the keynote. There is a preference for
2-4 time, and only one song contains no change of measure-lengths.
The rhythmic character of the songs is evident, as, with one excep-
tion, the songs contain one or more rhythmic units.
Black Otter (To'patsuk, pi. 11, a) said that in the old days a man
who wished to lead a war party requested that the people of his band
be assembled at a certain place. When a camp had been established,
the men who had been on previous war expeditions went to the chief's
lodge and the chief announced the proposed undertaking. The men
smoked and the chief explained the matter in detail. When Black
Otter went to war the men rode on horses and used bows and arrows.
He said the Utes formerly used stone arrow points, but that the men
of his time had iron arrow points, the metal being obtained from the
Mexicans and ''shaped by rubbing with stone." The Indians made
drinking cups from the knots of trees and carried these cups with
them on the warpath. The night before a war party left the village a
dance was held, and the warriors paraded through the camp in their
war paraphernalia.
The following song was sung at the dance preceding the departure
of a war party. In recording it Black Otter's voice trembled. He
was almost overcome by emotion, saying it brought so strongly to
his mind the friends and associates of former years.
No. 67. War Song (a)
Recorded by Sinuek No. 1
(Catalogue No. 759)
Voice J_126
Drum J_ 126
Drum-rhythm similar to No. 20
-(=2-
i
istef
uit
.4:
a
-tZ-
s*
:4:
a
Sh
^ ":4=— l^ttiti^^Efzp^l
Analysis. — This song is on the fourth five- toned scale with D fiat
as its keynote. In structure it is melodic with harmonic framework.
The rhythmic unit comprises three measures. Attention is directed
to the ninth, tenth, and eleventh measures, which bear a close resem-
blance to the rhythmic unit, but were sung with a different accent
148
BUREAU OK AMERICAX ETHNOLOGY
[BCLL. 75
and plirasing. The half note in the ninth measure was sung as the
close of the preceding phrase, the tenth measure was begun with an
accent, and the eleventh measure given two quarter notes instead of
one half note. This distinction was clearly given in all renditions of
the song.
The singer stated that the following song was sung by a war party
when leaving the camp:
No. 6S. War Song (b)
Recorded by Singer No. 9
(Catalogue No. 704)
Voice J — 84
Drum not recorded
(p. • » • •-
2-pf— t:
gg:
ffi
-^
•ft
-•- -^-m-
vji^4,a^
■n- -(2.
4:
-(S2-.
^SsS
It
^— =1-
Et
-L4-
-y f •-
W
I
Analysis. — This melody is simple in form, has a compass of an
octave, and contains the tones of the fourth five-toned scale. It
begins on the octave, and ends on the tonic, about two-thirds of
the progressions being downward. In structure it is melodic. No
rhythmic unit occurs and the song as a whole has not a decided
rhythm. For other songs containing rests see No. 8.
No. 69. War Song (c)
Recorded bv Singek No. 1G
(Catalogue No. 723)
Voice
80
Drum J _ 80
Drum-rhythm similar to No. 18
(1)
(1)
-• — >-r[- — ^ — •-
iii:
I
i^^SiE^iSl
:p=p:
(2)
(2)
=i^r=t
^^
;^^
t=fr.
-I y — h—f
PEXSMOREj
NORTHERN UTE MUSIC
149
Analysis. — Several renditions of this song were recorded and show
no material variation. This is interesting to note, as the two rhythmic
units differ only in the division of the final count. The song is on the
fourth five-toned scale and has a compass of an octave. The fourth
is a prominent interval, comprising more than a fourth of the entire
number of progressions. The association of this interval with songs
concerning motion has been frequently noted. This song resembles
the song next following so closely as to suggest an unintentional
duplication.
No. 70. War Song (d) (Catalogue No. 792)
Recorded by Singer No. 19
Voice J = 88
Drum ,' — 80
Drum-rhythm similar to No. 18
Connective phrase
f^
Analysis. — Between the renditions of this song there was sung a
brief connective phrase which is represented in the transcription by
two half notes, but which was sung with various divisions of the
count. It is of interest as showing the manner in which the Utes
frequently break the ascent of an octave in repeating a song. This
is contrasted with the customs of the Sioux and Chippewa, who fre-
quently make the direct ascent of an octave or a twelfth in repeating a
song. Songs having a connective phrase are noted in the analysis of
No. 7. This song is divided rhythmically into two parts, which are alike
except for the fifth measure. It will be readily noted that no measure
corresponding to this appears after the rhythmic units in the second
portion of the song. Another slight difference is that the fh-st part
ends in 3-4 and the second in 2-4 time. The tempo of the drum was
not strictlj^ maintained, but was slightly slower than the voice
throughout the renditions. The melody is on the fourth five-toned.
150
BUREAU OF AMERICAlvr ETHNOLOGY
[Bur.r.. 75
scale, and about three-fourths t)f the intervals are descending progres-
sions.
One or more scouts, according to the size of the war party, were
deployed to watch for the enemy. The following is a scout song and
was said to have been sung by those who had been appointed to travel
along a ridge of high land, probal)ly parallel with the course taken by
the war party. The scouts slept there, and as the sun rose they
looked around but saw no trace of the enemy. The words are not
transcribed, but were said to mean (freely translated) "There is no
one near."
No. 71. Scout Song
Recorded bv Singer No. 16
(Catalogue No. 724)
VoicB J = 72
Drum not recorded
g^fe
M. ^ J^
;p=t
E
#-#L
i^ilE^
:|-*-^--#-4l
-t^-
Analysis, — This song contains only the tones of the minor triad
and seventh, a tone-material which is considered in the analysis
of No. 38. Throughout the rendition of this song the tone was firm
and the intonation good. The descent of a seventh in two intervals,
occurring in the rhythmic unit, is effective and is barbaric in character.
The intervals are large, and only 19 progressions occur in the song.
The tempo is quite slow. The interval of a fifth is prominent in this
song, 42 per cent of the progressions being fifths.
The following song was said to be that of a scout who perceived
that the enemy was near. The song was sometimes used as a parade
song. The singer, a comparatively young man, said that he learned
the song from the old men when he was a boy.
DEXSMORE]
NORTHERN I'TE MUSIC
No. 72. War Song (e)
Recorded by Singer No. 9
Voice J^= 126
Drum J = 63 (See footnote)
151
(Catalogue No. 705)
.pL ^.
ss^a^^^s
iiif
^•-^»
^-s— •— #-
i^E^E^
^
a&
Connective phrase
Analysis. — Instead of a uniform drumbeat throughout the song,
we have in this instance a very rapid drumbeat in the opening meas-
ures, followed by a quarter-note rhythm. Other songs with the
same peculiarity are Nos. 86, 87, and 88. This seems an individual
phase rather than one connected with the character of the song.
The quarter-note drumbeat was maintained steadily during the 3-8
measures of the song and synchronized occasionally with the voice.
Only one other song (No. 22) begins in 3-8 time. In the fourth and
fifth renditions the singer interpolated sharp, shrill cries before the
connective phrase. (See No. 7.) The melody contains the tones of
the fourth five-toned scale and is melodic in structure. Only one-
fourth of the intervals are larger than a minor third.
One of the oldest warriors in the tribe said that his father told him
of a war party in which he was leader. It was a large party, com-
prising from 30 to 50 men, armed with bows and arrows. The infor-
mation is not clear as to whether this song was sung by the attacking
warriors when near the enemy's camp or was composed in honor of
a successful attack. To sing during an attack is not customary,
yet it may have been done at this time, as the attacking party was
so large. The singer's manner was excited as he recorded the song,
and between the renditions he shouted, ''Now, now, run your horses
because our young men may be killed; because if we go into the
enemy's tents our scalps may be taken." The attack was said to
have been made just before sunrise.
152
BUREAU OF AMERICAN ETHNOLOGY [bui.i,. 75
No. 73. War Song (f) (Catalogue No. 747)
Recorded by Singer No. 18
Voice J = 76
Drum not recorded
i
li^qr
-* 7^
ii
gzfrrT~r^|3^f^^
:t
I
Analysis. — Two renditions of this song were recorded with prac-
tically no variations. In both renditions the second count in the
second measure was sung as two eighth notes, thus differentiating it
from the rhj^thmic unit in which the corresponding count is sung as
a quarter note. Neither are the divisions of the last count like
those in the following measure. Only about one-eighth of the
intervals are larger than a major third, and more than half are major
and minor seconds. (See No. 28.) The song has a compass of an
octave.
The scalps secured by a war party were not fastened in a hoop
but tied at the end of a pole "higher than a man's head." It was
customary for returning warriors to give a scalp to a woman whose
husband or son had been killed in war, also to a man who had lost
a near relative on the warpath. A returned war party paraded
around the camp at about 8 o'clock in the morning. In this parade
the scalps were carried on poles or fastened to the chin straps of the
horses. Some of the men had women behind them on their horses.
All were in gala attire and the leaders accompanied the songs by
pounding on hand drums. The following song was used on such an
occasion:
DBNSMORE]
NORTHERN UTE MUSIC
153
No. 74. Parade of returning warriors (Catalogue No. 748)
Recorded by Singer No. 18
Voice J =66
Drum J = 66
Drum-rhythm similar to No. 20
(1)
) ~i
•: .^- :•: .^.^. ** i::tz *:' f: ^. ^- Jt ^ ^ ^
\ i 1 kM — rl J — ta — rk"-"i 1 1 rl 1—
^Efe
Analysis. — This song is on the fourth five-toned scale with G flat
as its keynote. Two renditions were recorded, each containing a
repeated portion as indicated in the transcription. Two rhythmic
units occur, the difference between them bemg shght but clearly
given by the singer. The song is melodic in structure, and almost
half the intervals are major seconds.
154 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
No. 75. War Song (g) (Catalogue No. 749)
Recorded by Singer No. 18
Voice J— 63
Drum J = 63
Dri'.m-rhythm similar to No. 20
m^^M
^. ^ ^ f: -.^ ^. f. -^ -g. -f- ^ -f
Analysis. — This song is characterized by a compass of 12 tones,
which is unusual in this series. The song contains no change of
time, differing in this respect from a majority of the present songs.
The rhythmic unit is interesting and occurs seven times. As-
cending and descending intervals are almost equal in number, the
song containing 10 ascending and 10 descending major thirds. The
melody contains only the tones of the major triad.
A peculiar custom noted among the Utes was that of "washing
the wounded." This was done at the scalp dances, the body of a
wounded warrior being placed in the center of the dancing circle
and his wounds washed as certain songs were sung. The same was
done if a man had been killed and his body brought home by the war
party. Two songs of this act were recorded, and it was said the
same songs were used for any occasion of mourning and also, strangely,
were used on occasions of rejoicing.
deksmore]
15^0KTHERX UTK MlTStC
155
No. 76. Song when washing the wounded (a)
(Catalogue No. 725)
Recorded bv Singer No. 16
Voice J = 84
Drum not recorded
Analysis. — A peculiarity of this song is the measure in slower time,
this change in tempo heing the same in all renditions. (See No. 11.)
The phrasing was clearly given throughout the song. Sixty per cent
of the intervals are minor thirds, about equally divided between
ascending and descending progressions. The song contains only the
tones of the major triad and sixth.
No. 77. Song when washing the wounded (b)
(Catalogue No. 706)
Recorded by Singer No. 9
Voice J = 104
Drum not recorded
gggfe^Ef^^
;4:
4:
#-^^
B^lfgg
Analysis. — This song was recorded by the same singer at two differ-
ent times, thus affording an interesting opportunity for observing
the accuracy with which the song was repeated. (Cf. Nos. 39 and
156
BT^REAI' OF AMERICAN ETHNOLOGY
[bull. 75
78.) Six renditions were recorded in 1914, the renditions being
uniform and connected without a break in the time. The transcrip-
tion is from the cyhnder made in 1914. Five renditions of the same
song were recorded in 1916, at whicli time the writer did not play
the first record, but " hummed " the transcription. The singer recog-
nized it and said he would hke to make another record of it. This
second cyhnder was transcribed and tlie results compared. In this
comparison it is found that all the renditions recorded in 1916 omit
the fifth and sixth measures and the last measure of the song as
transcribed. As these measures are repetitions, this would be of
slight importance, but as it reduces the occurrences of these phrases
from three to two the chaiige suggests a tendency toward regularity
+ + +
+
+
+
+
+
/'
i-' : \ • -t
Fig. 13.— Diagram, Scalp dance.
a, Singers with hand drums,
opposite directions.
b, Two circles of women moving in
and conventionality. The first group of renditions was m a tempo
of J = 104, and the key of G minor; the second was faster (J =108)
but in a lower key — the key of F sharp minor. The 5-4 division of
certain measures was strictly maintained. The song contains the
tones of the second five-toned scale and is melodic in structure.
Considering the lack of variety in progressions the melody is inter-
esting and quite diversified. One-half the intervals are minor thirds,
and of the other half all except one interval are major seconds, that
interval being an ascending fourth. Other songs containing rests are
noted in the analysis of No. 8.
The dancing with the scalps (commonly known as the Scalp dance)
began late in the afternoon and ended soon after dark. There was
no feast connected with this dance. The singers stood in a line facing
DEN smoke]
NORTHEKN UTE MUSIC
157
the east, the men with hand tlrums })cing in the center of the Hne.
In front of the men were two circles of women dancers, one circle
being inside the other. The two circles moved in opposite directions,
the inner one moving "with the sun.'' Each group of women had a
leader, who wore a feather war bonnet. The leader of the inner
circle was the wife of the chief, and only she was allowed to carry a
scalp on a pole. The arrangement of the dancers is shown in the
accompanying diagram (fig. 13).
At the conclusion of the Scalp dances it was customary to take the
scalps to the chief. He had a large tipi with tall poles, and the scalps
were fastened at the tops of these poles, where they remained
xmdisturbed.
No. 78. Scalp Dauce Song (a) (Catalogue No. 760)
Becorded by Singer No. 1
Voice , = 96
Drum not recorded
Analysis. — This song was twice recorded by the same singer, only
one of the records being transcribed (cf. Nos. 39 and 77). The
repetition arose from an impression frec|uently noted among the
Indians, that if the words are changed in a melody it becomes a
different song. Thus, in the first instance, the singer said this was
a song which he sang in the war dance when he brought home a
captive woman, and, in the second instance, he said it was a scalp
dance song. The words were not taken in either rendition.
A comparison of the two cylinders shows the pitch of the rendi-
tions to be the same. Five repetitions of the song were recorded the
first time and six the second time. The differences in these 11
renditions are too slight to be of importance. In the first group the
opening phrase was occasionally repeated, and in the second group
the ending was occasionally changed in rhythm, and the fifth measure
(last two counts) contained quarter in place of eighth notes. Passing
from this comparison to an analysis of the transcription, we note that
the melody contains only the tones of the minor triad and fourth
and in structure is melodic with harmonic framework. More than
half the interval's are minor thirds, a majority of the remainder being
major seconds.
158
BUREAU OF AMERICAN ETHNOLOGY [bull. 75
No. 79. Scalp Dance Song (b) (Catalogue No. 750)
Recorded by Singer No. 18
Voice J_66
Drum J __ 66
Drum-rhythm similar to No. 20
#'^^
1 I
raFE^g^^^^fi^^i^fEfeiiES^i^if^
as^a
-(»— •
^^
E
#=f:
Analysis. — Considering F to be the keynote of this song, we find
the tone material to comprise the keynote, third, and fourth. The
structure of the song shows, however, what has been termed an
''interval-formation" rather than a key-relation of the several tones.
(See Bull. 53, pp. 7, 8.) Thus the first portion, and in every instance
the rhythmic unit, is on the fifth (B flat-F), while the middle and
closing measures are on the minor third (F-A flat). The intervals
are larger than in a majority of these songs, about one-fourth of
them being fifths. The major second comprises only about one-
sixth of the total number. Drum and voice have the same time
unit, but because of slight variations in tempo they seldom coincide
for more than a few measures.
Voice ."^^ = 169
Drum not recorded
No. 80. Scalp Dance Song (c)
Recorded by Singer No. 18
(Catalogue No. 751)
ggg^n^g
T~y~lF
la
^-
ir-p^r
^=P=
t=t:
^
B:
Analysis. — The measure-divisions in this song were clearly given
in all the renditions, and as the tempo is so rapid it is considered
dexsmore]
NOETHERN UTE MUSIC
159
advisable that the time unit be indicated as an eighth note. The
rhythmic unit occurs twice and is pecuhar in character. The fourth
is a prominent interval, comprising more than one-fourth of the pro-
gressions. The minor third appears with about the same frequency.
In structure the song is melodic with harmonic framework, and the
melody tones are those of the major triad and sixth.
No. 81. War Song (h) (Catalogue No. 794)
Recorded by Singer No. 20 (Charles Mack, pi. 11, c)
Voice ^=60
Drum J z_ 60
Drum-rhythm similar to No. 18
i^^^^
^iiS
SSEffi^^
S=i
:5iJ:
30:
Analysis.— This song has a compass of 11 tones and is on the sec-
ond five-toned scale. One rhythmic unit occurs which is long and
varied in count-divisions. The several renditions of the song show
no material variation. In structure the song is melodic. Twenty-
five of the 33 progressions are minor thirds and major seconds. Of
the remainder all but one are fourths.
No. 82. War Song (i)
Recorded by Singer No. 20
Voice J — 92
Drum J - 108
Drum-rhythm similar to No. 20
(Catalogue No. 795)
'^^^^
-5:^^
E
:U;i:
:-E=:=l=fT£-^
ii^
^
•(5> •-
^=1
g^^^
^
^^
as^
T w
:p=P=|C=p=-'F
t-^
m
160
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 75
Analysis. — This song, like many others of the present series, pro-
gresses chiefly by whole tones (see No. 28), yet it is a melody with
abundant variety and interest. In structure it is melodic and con-
tains the tones of the major triad and second. The drum is slightly
faster than the voice and its tempo was steadily maintained. A
rhythmic unit occurs six times in the song.
Plots of War Songs
11
No. 71.
No. 74.
Ilil
5;
No. 75.
No. 79.
Fig. 14.— Plots, Group 11 (War songs)
While a few of the war songs show the ordinary type of steadily
descending trend broken by one or two ascending progressions, we
find that about one-half of them contain a wideness of interval which
has not been notf^"* ^n any group of songs previously plotted.
War Songs
MELODIC analysis
Table 1e.— TONALITY
Number
of songs
Serial Nos. of songs
Major tonality
Minor tonality
Total . . .
67, 68, 69, 70, 72, 73, 74, 75, 76,
80, 82.
71, 77, 78, 79, 81.
DENSMORE]
NORTHERN UTE MUSIC
161
War Songs — Continued
MELODIC ANALYSIS — Continued
Table 2e.— FIRST NOTE OF SONG— ITS RELATION TO KEYNOTE
Number
of songs
Serial Nos. of songs
Beginning on the—
Twelfth
1
9
1
4
1
75.
Octave
67, 6S, 69, 70, 73 76 78 79 SO
Sixth
74.
Fifth
71, 72, 77, 82.
Fourth
81.
Total
16
Table 3e.-
-LAST NOTE OF SONG— ITS RELATION
TO KEYNOTE
Number
of songs
Serial Nos. of songs
Ending on the—
Fifth
3
2
11
71, 74, 82.
76, 80.
67, 68, 69, 70, 72, 73, 75, 77,
79, 81.
Third
Keynote
78,
Total.
16
Table 4e.— LAST NOTE OF SONG— ITS RELATION TO COMPASS OF SONG
Songs in which final tone is-
Lowest tone in .song
Immediately preceded by-
Major third below
Whole tone below with foiu'lh below in a previous
measure
Songs containing a fourth below the final tone
Total .
Number
of songs
Serial Nos. of songs
67, 68, 69, 70, 71, 72, 73, 75, 77,
78, 79, 81. ^
76, 80.
77.
72.
Table 5e.-
-NUMBER OF TONES COMPRISING
COMPASS OF SONG
N
of
umber
songs
Serial Nos. of songs
Compass of—
Twelve tones
1
1
2
4
8
75.
Eleven tones
Ten tones ;
81.
67, 71.
Nine tones
72, 74, 80, 82.
Eight tones - -
68 69 70 73 76 77 78 79
Total
16
25043°— 22-
-11
162
BUEEAU OF AMERICAN ETHNOLOGY
War Songs — Continued
MELODIC ANALYSIS — Continued
->
Table 6e.— TONE MATERIAL
[BULL. 75
Second five-toned scale
Fourth five-toned scale
Major triad
Major triad and sixth
Major triad and second
Minor triad and seventh
Minor triad and fourth
Octave complete except seventh and sixth
Minor third and fourth
Total
Number
of songs
Serial Nos. of songs
77, 81.
67, 68, 69, 70, 72, 74.
75.
76,80.
82.
71.
78.
73.
79.
Table 7e.— ACCIDENTALS
Number
of songs
Serial Nos. of songs
Songs containing—
No accidentals
Fourth raised a semitone
Total
67,68,69,70,71,73,74,75,
77,78,79,80,81,82.
72.
Table 8e.— STRUCTURE
Melodic
Melodic with harmonic framework
Harmonic
Total
Number
of songs
Serial Nos. of songs
68, 70, 71, 72, 74, 77, 81, 82.
67, 69, 73, 76, 78, 80.
75, 79.
Table 9E.— FIRST PROGRESSION— DOWNWARD AND UPWARD
Downward.
Upward
Total
Number
of songs
Serial Nos. of songs
68, 69, 70, 72, 73, 74, 76, 76, 77,
78, 79, 80, 81, 82.
67, 71.
DENSMORE] NORTHERN UTE MUSIC 163
War Songs — Continued
MELODIC ANALYSIS — Continued
Table lOE.— TOTAL NUMBER OF PROGRESSIONS— DOWNWARD AND UPWARD
Number
of songs
Serial Nos. of songs
Downward.
Upward . . .
Total
285
175
Table He.— INTERVALS IN DOWNWARD PROGRESSION
Number
of songs
Serial Nos. of songs
Interval of a —
Minor sixth .
Fifth
Fourth
Major third . .
Minor third .
Major second.
Minor second
Total
1
16
38
31
H3
110
6
Table 12e.— INTERVALS IN UPWARD PROGRESSION
Number
of songs
Serial Nos. of songs
Interval of a —
Ninth
Octave
Seventh
Major sixth. .
Minor sixth . .
Fifth
Fourth
Major third . .
Minor third . .
Major second.
Minor second.
Total.
Table 13e.-AVERAGE NUMBER OF SEMITONES IN AN INTERVAL
Total number of intervals *^
Total number of semitones 1, 625
Average number of jemitones in an interval 3. 5
164
BUREAU or AMERICAN ETHNOLOGY
War Songs — Continued
MELODIC ANALYSIS — Continued
Table 14e.— KEY
[BULL. 75
Key of—
B flat minor. ..
B major
C major
D flat major. ..
D major ,
E flat major. ..
E flat minor..
F minor
G flat major. ..
A flat major. ..
G sharp minor
Total
Number
of songs
Serial N OS. of songs
81.
75.
73.
67, 69, 70.
68.
76,80.
78.
79.
74, 82.
72.
71, 77.
RHYTHMIC ANALYSIS
Table 15e.— PART OF MEASURE ON WHICH SONG BEGINS
*
Number
of songs
Serial N OS. of songs
13
3
67, 68, 69, 70, 72, 73, 74, 76,77,
78, 79, 80, 82.
71, 75, 81.
Total
16
Table 16e.— RHYTHM (METER) OF FIRST MEASURE
Number
of songs
Serial Nos. of songs
First measure in-
2-4 time
3-4 time
3-8 time
4-8 time
67, 69, 70, 71, 73, 74, 75, 77, 79.
68,76,78,81,82.
72.
Total.
Table 17e.— CHANGE OF TIME, MEASURE LENGTHS
Number
of songs
Serial Nos. of songs
1
15
75.
67, 68, 69, 70, 71, 72, 73, 74, 76,
77, 78, 79, 80, 81, 82.
Total . .
16
DENSMORE]
NORTHERN UTE MUSIC
War Songs — Continued
RHYTHMIC ANALYSIS — Continued
Table 18e.— RHYTHM (METER) OF DRUM
165
Eighth notes unaccented
Quarter notes unaccented
Rapid Ijcat resembUng a tremolo at opening of song, followed by
a quarter-note beat
Drum not recorded
Total.
Number
of songs
Serial Nos. of songs
69, 70, 81.
67, 74, 75, 79, 82.
72.
8, 71, 73, 76, 77, 78, 80.
Table 19E.-RHYTHMIC UNIT OF SONG
Songs containing—
No rhythmic unit..
One rhythmic unit.
Two rhythmic units .
Total
Number
of songs
Serial Nos. of songs
67, 70, "1, 72, 73, 75, 77, 78, 79,
80,82.
69, 74, 76, 81.
Table 20e.— TIME UNIT OF VOICE
Number
of songs
Serial Nos. of songs
Metronome—
60
2
1
81.
63
75.
66
74, 78, 79.
69
71.
76
73.
80
69.
84
68, 76.
88
70.
92
82.
104
77.
126
67, 72.
168
80.
Total
16
166
BUREAU OF AMERICAN ETHNOLOGY
War Songs — Continued
RHYTHMIC ANALYSIS— continued
Table 21e.— TIME UNIT OF DRUM i
[BULL. 75
Number
of songs
Serial Nos. of songs
Metronome—
60
1
2
2
1
1
1
1
7
81.
63
72, 75.
66
74, 79.
80
69.
88
70.
108
82.
126
67.
68, 71, 73, 76, 77, 78, 80.
Total .
16
Table 22e.— COMPARISON OF TIME UNIT OF VOICE AND DRUM
Time unit of voice and drum the same .
Voice faster than drum
Voice slower than drum
Drimi not recorded
Total .
Number
of songs
16
Serial Nos. of songs
67, 69, 72, 74, 75, 79, 81.
70.
82.
68, 71, 73, 76, 77, 78, 80.
1 A tremolo drumbeat precedes the even beat in No. 72.
PARADE SONGS
In former times if the Utes were gathered in a large camp a
"parade" took place every morning. Such a parade was noted
in the description of the Sun dance (p. 80). Both men and women
were on horseback, the men preceding the women. At the head of
the procession rode two leaders side by side, beating on hand drums^
while all the company sang the Parade songs. These songs were
numerous and popular.
Characteristics of Songs
The principal characteristic of Parade songs is an ornamentation
comprising small note values. Examples of this occur in Nos. 84,
87, 89, 90, and 93. These did not vary in the repetitions of the song.
About half the songs contain no rhythmic unit, showing the rhythmic
feeling to be less than the melodic. With one exception the Parade
songs are major in tonality. The compass is unusually large, all the
songs having a range of an octave or more than an octave. Only one
song is harmonic in structure, and a majority begin with a downward
progression.
pensmore]
Voice J_63
Drum not recorded
m&^
No. 83. Parade Song (a)
Recorded bv Singer No. 4
-#— ^
167
(Catalogue No. 696)
iii=t
Bm3t
^^-0-*
'^^^-=tz
^Airl
P=F^
tr-
B^
^
Analysis. — The slow tempo of this song was steadily maintained
throughout three renditions, which were sung without a break in the
time. The melody progresses chiefly by whole tones, which con-
stitute two-thirds of the intervals. The song is melodic in structure
and contains all the tones of the octave except the seventh.
No. 84. Parade Song (b)
Recorded by Singer No. 9
Voice J = 66
Drum J nr 66
Drum-rhythm similar to No 20
-•-• -•- -•- I I I
(( 'atalogue No. 707)
^-^-f: r r-^
^-f » p — • j
-i — L^-i — L^^-^ — rz
— H> ^-^i^ 1
Connective phrase
Analysis. — The rendering of this song was particularly clear in
intonation and count divisions, not varying in the repetitions. Drum
and voice have the same time unit and are synchronous. The song
is peculiar in that the only progressions are fifths, fourths, and semi-
tones, and also in that the ascending and descending progressions are
almost equal in number. The melody tones are those of the major
triad and second, and the structure of the song is melodic with
harmonic framework. (Concerning the connective phrase see No. 7.)
168
BUREAU OF AMERTCAX ETHNOLOGY [bult.. 75
(Catalogue No. 708)
Voice J- 92
Drum not recorded
=^?
^
No. 85. Parade Song (c)
Recorded bv Singer No. 9
4i:
FP
^S
=9*
=US=^
|c=P=
Sz^:
=P=?f
4^=^
Connective phrase
Analysis. — Five renditions of this song were recorded, two being
separated by shrill cries and the others connected by a short phrase.
(See No. 7.) In ever}' rendition the accent is changed in the last
occurrence of the rhythmic unit. Minor thirds and major seconds
are the principal intervals of progression, though the variety of
intervals is greater than in a majority of the Ute songs under analysis.
No. 86. Parade Song (d)
Recorded by Singer No. 9
Voice J::=66
Drum J= 66
Druin-rhythni similar to No. 72
(Catalogue No. 709)
-^ -^ -(2.
^W
£
-t=l-
1=
-^
.:M^
-<S2-
S^
^
:#t
#— f-
3n
^
:t=t3:
ii2
3^
^ — h
T^ryii' f 0 — • r* P-
:!U:
P-»
s
^f»-
^
I
Connective phrase
-•- -•-•-•--•-
Analysis. — This melody contains six kinds of intervals in ascending
progression, which is an unusual number. Tiie drinnboat in the first
four measures of the first rendition was tremolo, after which the
nENSMOREl
NORTHERN I'TE MrSIC
169
quarter-note beat was continuous. (See No. 72.) Drum and voice
have the same time unit, determined by the majority of the meas-
ures, but the drum is steadily maintained, while the voice tempo
varies slightly. The time of the transcription should be understood
as indicating the accents and the approximate note values rather
than actual durations of time, resembling some of the songs in which
the pitch indicated by the notation is only approximate. These
variabilities are too slight to be shown in any except an exceedingly
detailed graphic form, the transcription showing, however, the trend
of the melody with sufficient exactness for our present purpose.
Four renditions were recorded and contain no important differences.
The connective phrase in this song is unusually long. Another song
using a similar phrase between renditions is No. 7.
No. 87. Parade Song (e^
Recorded by Singer No. 17
(Catalogue No. 771)
Voice J =63
Dhum j:=63
Drum-rhythm similar to No. 72
(2)
(1)
I
(2)
-^.» -^
Sa
4:
§^^5
W:
4^- m-^
(1)
a:&
Analysis. — Drum and voice have the same time unit in this song,
but because of slight variations in tempo they never exactly coincide.
In each rendition the drumbeat was tremolo to the point marked X,
after which it was in quarter notes. (See No. 72.) Three rhythmic
units occur, the first being emphatic in character and appearing
always on the same tones, which is unusual. The third unit differs
from the second only in the division of the last count, but this dif-
ference was steadily maintained. The tone material is that of the
fourth five-toned scale and the song has a compass of 12 tones. The
average interval in this song comprises four semitones. Reference to
the tables of analysis on page 42 will show this to be an unusually
large interval.
170
BUREAU OF AMERICAN ETHNOLOGY [buli,. 75
No. 88. Parade Song (f) (Catalogue No. 762)
Recorded by Singer No. 16
Voice J = 66
Drdm J — 66
Drum-rhythm similar to No. 72
g^g^miiji^ai^
atit
t^
3sB
J3=^=t=^
&=Bt=1
e
Analysis. — This song has a compass of 12 tones and contains the
major triad and second. In structure it is melodic with harmonic
framework. The drumbeat was tremoh) to the point marked X,
after which in four renditions it was in quarter-note values. (See
No. 72.) The repetitions of the song necessitate an ascending
interval of a twelfth, which was sung with good intonation. The
fourth is the interval of most frequent occurrence, constituting 54
per cent of the entire number of intervals. (See No. 3.) This
interval has frequently been noted as associated with the idea of
motion.
No. 89. Parade Song (g) (Catalogue No. 780)
Recorded bv Singer No. 21
VOICB J =60
Drum J = 60
Drmn-rhythm similar to No. 20
-•- ) -0- m -»^ m •
T--0-'-0-
Analysis. — This song has a compass of 10 tones and c(mtains all the
tones of the octave. More than half the progressions are whole
tones. (See No. 28.) The lowest tone in the third measure was not
dexsmore]
NORTHERX UTE MUSIC
171
always sung clearly, the descent to this tone being glissando. The
time was steadily maintained throughout all the renditions, which
were uniform in every respect. Other songs using a connective
phrase are noted in the analysis of Xo. 7.
No. 90. Parade Song (h)
Recorded bv Singer No. 19
(Catalogue No. 793)
Voice
l_
80
Drum J - 80
Druni-rhythm similar to No. 18
Analysis. — The interval of a fourth comprises 52 per cent of the
progressions in this song. (See No. 3.) No rhythmic unit occurs,
and the song is not particularly rhythmic in structure. The song is
major in tonality, melodic in structure, and contains all the tones of
the octave except the seventh.
No. 91. Parade Song (i)
Reforded bv Sint.er No. 7
(Catalogue No. 735)
Voice
132
Drum J =132
Drum-rhythm .similar to No. 20
-«. _^ .^- ^. .^.^.^. ^ ^. -#.
mis
a
g=g
-v —
tMT
^tf:^
^
m- • -m- -m- -t-~ -m- -m- -»- • -m- -m- « «
M^^
-^^0-
'-m.
^^
Bi^
^lEif:
3^
Connective phrase
ag^gi^gg^l$g?^BB5F»a
Analysis. — Few songs of the present series are so typical as this,
yet the quality which makes it typical is hard to define. Two-thirds
of the intervals are minor thirds and major seconds, but in this it
172
BUREAU OF AMERICIAX ETHNOLOGY
[bull. 75
resembles many other songs. Neither is the proportion of ascending
and descending intervals imusiial, there being 40 per cent of ascending
and 60 per cent of descending progressions. But the song is minor in
tonality with a special prominence of the subdominant. This is quite
unusual and worthy of consideration by students. The melody tones
are those of the second five-toned scale with the seventh sharped.
The tonic chord appears as the framework of the melody. The
ascent of an octave in the first measure and the beginning and ending
on the same tone are noted in the analysis of No. 37. A short con-
nective phrase was sung between the renditions. (See No. 7.)
No. 92. Parade Song (j)
Recorded by Singer No. 1
(Catalogue No. 761)
Voice Jr=132
Driun not recorded
^^
M:
:3i:
Si:
SEE
E^E^[g^
Connective phrase
-#__-^-
Se^
2iif— r
^v^
4:
a
to
#— #
ri
Analysis. — ^Throughout the renditions of this song the intonation
on the descending minor third was faulty, yet the fourth and octave
were sung with good intonation. The fourth constitutes about one-
third of the progressions. The song is harmonic in structure and
contains the tones of the major triad and fourth. (Concerning the
use of a connective phrase see No. 7.)
de.nsmore]
NORTHEEN UTE MUSIC
No. 93. Parade Song (k)
Recorded by Singer No. 1
173
(Catalogue No. 762)
Voice J := 66
Drum not recorded
-•- -0-
Connective phrase
Analysis. — The rhythmic structure of this song is worthy of special
attention. The first two measures were sung only once, after which
the remainder of the song as transcribed was sung four times, the
last rendition ending at the double bar. An introductory phrase is
rarely used in Ute songs, though appearing frequently in the songs
of the Chippewa. Other songs of this series containing a connective
phrase are noted in the analysis of No. 7. In all the renditions of
this song the count divisions were as indicated. The song comprises
two rhythmic periods which resemble each other yet show enough
difference to give variety and character to the song as a whole. The
first period comprises the third, fourth, and fifth measures, and the
second comprises the three following measures. A comparison of
these will show the variations. The song has a compass of 11 tones
and contains the major triad and second. The whole tone is the
chief interval of progression (see No. 24). Although the song is
major in tonality, the major third does not appear as a progression.
174
bureau of american ethnology
Plots of Parade Songs
[bull. 75
A wide compass and sharply descending trend characterize the
plots of a majority of these songs. The Parade songs were sung on
horseback, but with two exceptions (Nos. 86 and 92) the plots do
not show the profile that has been associated with songs concerning
i
x.
m
:szzi
li
:^:
i:
I
No. 86.
No. 87.
:$:5;
■■£:
«-<i
No. 92. No. 93.
Fig. 15.— Plots, Group 12 (Parade songs)
animals. Even in No. 86 the rise and fall of the outline is not from
the lowest tone, as has been noted in the plots of songs concerning
animals in motion.
HAND GAME SONGS
A money the Ute, as among other tribes, this game is played exten-
sively and large stakes are placed upon its success. The implements
of the game used by the Uinta Ute at \^Tiite Rocks, Utah, and col-
lected by Culin in 1900 comprise ''four slender, higlily polished
bones, 3^ inches in length; two bound with a strip of leather in the
middle." ^^ The game among the Yampa Ute in northwestern Colo-
rado was observed in 1877 by Mr. Edwin A. Barber and described as
follows: "A row of players, consisting of five or six or a dozen men,
is arranged on either side of a tent, facing each other. Before each
man is placed a bundle of small twigs or sticks, each 6 to 8 inches in
length and pointed at one end. Every tete-a-tete couple is pro-
vided with two cylindrical bone dice, carefully fashioned and highly
polished, which measure about 2 inches in length and half an inch
23 Culin, Stewart, Games of the North American Indians, 24th Ann. Kept. Bur. Amer. Ethn., p. 315.
Washington, 1907.
DExsMORE] NORTHER^^ UTI-: MUSIC 175
in diameter, one being white and the other black, or sometimes orna-
mented with a black band. * * * Qne of the gamblers incloses
a die in each hand and, placing one above the other, allows the
upper bone to pass into the other hand with the other die. This
process is reversed again and again, while all the time the hands
are shaken up and down in order to mystify the partner in the
passing of the dice. The other man during the performance hugs
himself tightly by crossing his arms and placing either hand under
the opposite- arm and, with a dancing motion of the body, swaying
to and fro, watches the shuffling of the dice with the closest atten-
tion. "\ATien this has gone on for a few minutes, the latter suddenly
points with one arm at the opposite arm of his partner and strikes
himself under that arm with the other hand. Whichever hand of
his rival. he chooses is to be opened, and if the dice are in it the
guesser takes them and proceeds in the same manner. If, however,
he misses, and the dice are not there, he forfeits one counter, and
this is taken from his bundle and stuck in the ground. Thus the
game continues until one or the other has gained every stick." ^^
In the game as observed by Barber the hand game songs were
accompanied by beating on "rude parchment-covered drums," but
the writer was informed that on the Uinta and Ouray Reservation
the songs were formerly accompanied by beating on a horizontal
pole, the singers being seated on either side of the pole and each
holding two sticks with which they beat in time to the song.
C^lARACTERISTICS OF SoNGS
Two peculiarities are found in these songs and in no others of the
present series: (1) A sliding upward of the tone on ascending pro-
gressions, resembling the sliding downward which appeared in songs
of the Bear dance; (2) a sharply accented tone followed by a short
rest. Concerning the first-named peculiarity it is interesting to note
that after this observation had been made by ihe writer a comment
by Barber came to her attention, corroborating it by a statement
written more than 40 years previously. The following notation (fig.
16), taken from Barber's article, indicates the sliding upward of the
voice. Barber states, concerning the Ute hand game song: "No
words are sung, but the syllable ah is pronounced in a whining, nasal
tone for every note. * * * The war and dance songs of the Ute
are different from this, yet they are somewhat similar." ^^
The sliding upward of the voice, as well as the second-named
peculiarity of the hand game songs, appear in Nos. 94-99. Four-
fifths of the songs are major in tonality, two-thirds are harmonic in
»< Barber, Edwin A, Gaming among the Utah Indians. American Naturalist, vol. xi, no. 6, pp. 351-352.
Boston, 1877.
» Ibid., pp. 352,353.
176
BUREAU OF AMERICAN ETHNOLOGY
[BDLL. 75
structure, and 7 of the 10 songs contain a rhythmic unit. No interval
larger than a fifth occurs in these songs, and about one-third of the
intervals are whole tones. Thus it is seen the progressions are smaller
than in many of the songs under analysis. This, together with the
large proportion of songs having a rhythmic unit, shows that rhythm
is a more important phase than melody in the hand game songs.
The average interval is 3.2 semitones, with which we contrast the
average interval in the Chippewa moccasin game songs, which was
3.5 semitones. Only 33 per cent of the moccasin game songs con-
Wiih agitation
U^^—^
#F
■#*■
'*■
4
>-
Ah, ah,
ah, ah,
ah, ah,
ah, ah, ah,
ah, ah, ah, ah.
ah, ah, ah,
a
I
■M
:±
i^
=v^
s
i^
:j=zb#
ah, ah, ah, ah, ah, ah, ah, ah.
Fig. 16. — Music of hand game song noted in 1877
ah.
tained a rhythmic unit. As the Ute hand game, with its beating on
a pole as accompaniment, appears more primitive than the Chippewa
moccasin game it is interesting to note the greater importance of
rhythm in the Ute songs. No words were used with these songs.
No. 94. Haud Game Song (a)
Recorded by Singer No. 4
(Catalogue No. 697)
Voice J -96
Drum not recorded
m^^^m
m
m
?
4:fd
^n
£^
;E
:|=ttz=t|::
^f^
\m^m
Analysis. — This song is characterized by a sliding upward of tone
and by short rests. (See No. 8.) The rhythmic unit is interesting
and occurs twice. Five renditions were given with no break in the
time, the final measure always containing three counts, as transcribed.
The song is harmonic in structure and the intervals are more varied
than in a majority of these songs. The melody tones are those of
the major triad and second.
DENSMOBE]
NORTHERlSr UTE MUSIC
No. 95. Hand Game Song (b)
Recorded by Singer No. 7
177
(Catalogue No. 736)
VoiCB J = 120
Dkom jz=120
Drum-rhythm similar to No. 18
Az
B-
a=?:
:t=t=^
"1
^m
Analysis. — This, like the preceding song, contains a sliding upward
tone and also short rests. (See No. 8.) The rhythmic unit furnishes
the chief interest of the song, occurring three times on the same tones.
The song is harmonic in structure and has a compass of six tones.
Although the compass is so small the interval of a fifth occurs twice.
No. 96. Hand Game Song (c)
Recorded by Singer No. 22
Voice J - 100
Drum J - 100
Drum-rhythm similar to No. 18
(Catalogue No. 796)
Sl^
-^±
3^
fp=
^1^
-^
gff^
^=^
^
-^-
3:
-#^*— 1 f 1
Analysis. — Five renditions of this peculiar melody were recorded,
the only differences being that in one rendition a certain phrase was
repeated. As indicated, there was no break in the time between the
renditions. The rhythmic unit gives coherence to the melody, and
it is possible to show this in notation, though the peculiar manner of
singing can not be graphically shown. The song contains 16 pro-
gressions, 13 of which are fourths. (See No. 3.) It has a compass
of six tones and contains the tones of the major triad and second.
For other songs containing rests see No. 8,
25043°— 22 12
178
BUREAU OF AMERICAN ETHNOLOGY [bull 75
No. 97. Hand Game Song (d) (Catalogue No. 745)
Recorded by Singer No. 6
Voice J = 92
Drum ^zi 116
Drum-rhythm similar to No. 18
^5^
S
■^2-
-^--^
f«
:pn
-<S2_
4:
^
ii3:
Analysis. — The timo was not rigidly maintained in the renditions
of this song, but the drum was persistently a little faster than the
voice. The renditions differ very slightly, in some the second count
of the first measure being omitted. It will be noted that this omis-
sion makes the two parts of the song alike. The progressions are
30 in number, 26 being minor thirds and 4 major thirds, yet G is the
implied keynote of the melody. The song begins and ends on the
same tone, which is unusual. (See No. 37.) Other songs containing
rests are noted in the analysis of No. 8.
No. 98. Hand Game Song (e)
Recorded by Singer No. 7
VoiCB J~ 112
Drum jzi: 112
Drum-rhythm similar to No. 18
(Catalogue No. 737)
Analysis. — This is a very short melody, but is characteristic and
strongly rhythmic. The only interval is the major second. (See
No. 28.) The rest in the first measure was clearly defined. (See
No. 8.) Seven renditions were recorded with no break in the time.
densmore]
NORTHERN UTE MUSIC
No. 99. Hand Game Song (f)
Recorded by Singer No. 4.
179
(Catalogue No. 698)
Voice J _ 60
Drum not recorded
-•-• A- -0- ^l-.
=^z^
^;
m^^m
■-^rx
jtz^nut
m^^^
ili^^3
g^
-=?— ^
P^^
Uf
^
1^]
Analysis. — The part of this song preceding the change of time
was sung only once, followed by the second part, which was sung
nine times without a break in the time. The first part is a pleasing
melody with little character. The second part is unmistakably a
hand game song, resembling No. 98. As the singer was considered a
rehable informant, the song is present^ed as it was sung. It has a
compass of nine tones and contains the tones of the fourth five-toned
scale; 58 progressions occur, 40 of which are major seconds (whole
tones). (Concerning the change of tempo see No. 11.)
180
BUREAU OF AMERICAN ETHNOLOGY
I BULL. 75
Voice
63
No. 100. Hand Game Song (g)
Recorded by Singeb No 22
(Catalogue No. 797)
See drum-rhythm below
Drum-rhythm
Jttz
Analysis. — Six renditions of this song were recorded and show no
differences except that the second count of the third measui-e was
occasionally sung as two eighth notes. The song presents some
interesting points of rhythm. Thus we note that the last count of
the second measure contains a reversal of the count divisions in the
second count of the rhythmic unit. The fifth measure contains in
its second count a division resembling that of the rhythmic unit but
which was uniformly sung as two sixteenths instead of an eighth note.
The only progressions are fourths and major seconds. In ascending
progression there are seven fourths and three whole tones, and in
descending progression there are eight fourths and three whole tones.
Considering A to be the keynote of the melody, its tones are the key-
note, fourth, and fifth. Four drumbeats were equivalent in time to
one quarter note of the melody; the drum is therefore regarded as
having a rhythm of sixteenth notes. Drmn and voice were synchro-
nous at the begimiing: of each count.
No. 101. Hand Game Song (li)
Recorded by Singer No. 7
(Catalogue No. 738)
Voice J — 76
Drum not recorded
m^^
r f-r
m
:t:
izz
Analysis. — In all the four renditions of this song the division of
the first count in the first measure was different from that of the
DEN'SMORE]
NORTHERN UTE MUSIC
181
corresponding count in the third measure. These slight differences
repeated persistently show that the rhythm of the song is clear in
the mind of the singer. This song is harmonic in structure and has
a compass of five tones. The major third constitutes 76 per cent of
the progressions, the remaining intervals being four minor thirds and
one ascending: fifth.
m
No. 102. Hand fiaine Song (i)
Rerorded by Singer No. 4
Voice J ^104
Drum J =^ 104
Drum-rhythm similar to No. 18
^^ -
(Catalogue No. 699)
at
4i:
■2z
P • P
a=
3:
:^=
irLt=W^
:ai.f=fiit
m
p-#^^
^=1^=:^
ILV^
it
±^
-P-O^^-
=s=t=
^
Analysis. — This melody progresses chiefly by whole tones, these
constituting 73 per cent of the intervals. (See No. 28.) G is
regarded as the keynote, the song containing this tone with its second,
fifth, and sixth. The melody begins with an upward progression,
though the general trend is downward.
Plots of Hand Game wSongs
:^;
m
;?;
No. 94.
mm
No. 95.
f^m
'{t^Bai\-:^
No. 97. No. 99.
Fig. 17. — Plots, Oroup 1.3 (Hand game songs)
The plots of these songs show an emphasis on the lowest tone
which is lacking in other groups and which recalls the plots of the
songs of Sioux medicine men confident of their power.
182
bureau of americaist ethnology
Hand Game Songs
[BULL. 75
MELODIC ANALYSIS
Table If.— TONALITY
Major tonality
Third lacking.
Total...
Number
of songs
Serial Nos. of songs
9', 95, 96, 97, 98, 99, 101.
100, 102.
Table 2f.— FIRST NOTE OF SONG— ITS RELATION TO KEYNOTE
Sn|s' Serial Nos. of songs
Beginning on the—
3
2
3
1
94, 99, 102.
Fifth
95, 101.
Third
96, 97, 98.
Keynote
100.
Total
9
Table 3f.— LAST NOTE OF SONG— ITS RELATION TO KEYNOTE
Number
of songs
Serial Nos. of songs
Ending on the—
Fifth
2
1
6
96, 100.
Third
97.
Keynote
94, 95, 98, 99, 101, 102.
Total
9
Table 4f.— LAST NOTE OF SONG— ITS RELATION TO COMPASS OF SONG
Number
of songs
Serial Nos. of songs
Songs in which final tone is—
Lowest tone in song
Immediately preceded by major third below. . .
Songs containing a minor third l)elow the final tone
Songs containing a semitone below the final tone . . .
Total
94, 96, 98, 100, 101, 102.
97.
DENSMORE] NORTHERN UTE MUSIC
Hand Game Songs — Continued
MELODIC ANALYSIS — Continued
Table 5f.— NUMBER OF TONES COMPRISING COMPASS OF SONG
183
Compass of—
Nine tones . .
Eight tones .
Six tones
Five tones . .
Three tones .
Total.
Number
of songs
Serial Nos. of songs
99, 102.
94.
95, 96, 100.
95, 1,01.
98.
Table 6f.— TONE MATERIAL
Fourth five-toned scale
Major triad
Major triad and seventh
Major triad and second
First, fourth, and fifth tones
First, second, fifth, and sixth tones.
First, second, and third tones
Total.
Number
of songs
Serial Nos. of songs
99.
97,101.
95.
94,96.
100.
102.
Table 7f.— ACCIDENTALS
Songs containing no accidentals.
Number
of songs
Serial Nos. of songs
Table 8p.-
-STRUCTURE;
Number
of songs
Serial Nos. of songs
Melodic
4
5
98, 99, 100, 102.
94,95,96,97, 101.
Total
9
Table 9p.— FIRST PROGRESSION— DOWNWARD AND UPWARD
Downward.
Upward
Total.
Number
of songs
Serial Nos. of songs
94, 95, 96, 98, 100, 101.
97, 99, 102.
Ig4 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
Hand Game Songs — Continued
MELODIC analysis — Continued
Table IOf.— TOTAL NUMBER OF PROGRESSIONS— DOWNWARD AND UPWARD
Downward.
Upward —
Total .
Number
of songs
127
96
Serial Nos. of songs
Table 11f.— INTERVALS IN DOWNWARD PROGRESSION
Interval of a—
Fifth
Fourth
Major third . .
Minor third . .
Major second.
Minor second.
Number
of songs
Total.
Serial Nos. of songs
Table 12f.— INTERVALS IN UPWARD PROGRESSION
Interval of a—
Fifth
Fourth
Major third . . .
Minor third . .
Major second.
Minor second.
Total .
Number
of songs
96
Serial Nos. of songs
Table 13f.— AVERAGE NUMBER OF SEMITONES IN AN INTERVAL
Total number of intervals
Total number of semitones
Average number of semitones in an interval
223
730
3.2
DENS MORE]
NORTHERN UTE MUSIC
Hand Game Songs — Continued
MELODIC ANALYSIS — Continued
Table 14f.— KEY
185
Number
of songs
Serial Nos. of songs
Key of—
A major
D major
E flat major. .
E major
G major
A flat major. .
Third lacking
Total
94.
99.
98.
95, 97.
101.
100, 102.
RHYTHMIC ANALYSIS
Table 15f.— PART OF MEASURE ON WHICH SONG BEGINS
Number
of songs
Serial Nos. of songs
Beginning on unaccented part of measure
Beginning on accented part of measure. . .
Total
96,97.
94, 95, 98, 99, 100, 101, 102.
Table 16f.— RHYTHM (METER) OF FIRST MEASURE
Number
of songs
Serial Nos. of songs
First measure in—
2-4 time
5
4
94, 95, 96, 98, 101.
3-4 time
97, 99, 100 102.
Total
9
Table 17F.— CHANGE OF TIME— MEASURE-LENGTHS
Number
of songs
Serial Nos. of songs
Songs containing no change of time
2
7
98, 100.
Songs containing a change of time •.
94,95,96,97,99, 101, 102.
Total
9
186
BUREAU OF AMERTCAIN- ETHNOLOGY
Hand Game Songs — Continued
RHYTHMIC ANALYSIS — Continued
Table ISf.-RHYTHM (METER) OF DRUM
[BULL. 75
Number
of songs
Serial Nos. of songs
Eighth notes unaccented
Sixteenth notes unaccented .
Drum not recorded
95, 96, 97, 98, 102.
100.
94,99,101.
Total .
Table 19f.— RHYTHMIC UNIT OF SONG
Number
of songs
Serial Nos. of songs
Songs containing—
No rhythmic unit. .
One rhythmic unit.
97, 99, 102.
94, 95, 96, 98, 100, 101.
Total.
Table 20F.— TIME UNIT OF VOICE (AT BEGINNING OF SONG)
Number
of songs
Serial Nos. of songs
Metronome—
60 ..
99.
63
100.
76
101.
92
97.
96
94.
100
96.
104
102.
112
98.
120
95.
Total
9
Table 21f.— TIME UNIT OF DRUM
Number
of songs
Serial Nos. of songs
Metronome—
63
3
100.
100
96.
104 :
102.
112
98.
116
97.
120 ...-r
95.
Drum not recorded
94, 99, 101.
Total
9
DENSUOKEJ NORTHERN UTE MUSIC
Hand Game Songs — Continued
RHYTHMIC ANALYSIS — Continued
Table 22F.-COMPARISON OF TIME UNIT OF VOICE AND DRUM
187
Time unit of voice and drum the same
Voice slower than drum
Drum not recorded
Total
Number
of songs
Serial Nos. of songs
95, 96, 98, 100, 102.
97.
94, 99, 101.
MISCELLANEOUS SONGS
The three songs next following were called "smoking songs" and
were recorded by Kolorow, a member of the Uncompahgre band of
Utes. Kolorow stated that the first of the songs (No. 103) was sung
by a party of men on their way to the lodge of the chief. On their
arrival the chief lit a pipe and offered it to each man in turn. The
men were seated in a circle on the ground and the second song (No.
104) was sung. After they had smoked for a while they stood in a
circle and sang the third song of the group (No. 105).
No. 103. Smoking Song (a)
Recorded by Singer No. 21
Voice J = 120
Drum J =120
Drum-rhythm similar to No. 20
(Catalogue No. 781)
£fe££.
?c:^
-<2-
4:
©^
-#— ^-
^
Tt-r^
^"^
;4:
m
•i;fct#
^
^
Pi~j^[r§=j I I I I Ti
m^^-
Analysis. — This song is irregular in its melodic structure, but is
classified according to the latter portion, which contains the triad of
B flat minor. All the tones of the octave except the sixth are present
in the melody, which has a compass of 1 1 tones. About three-fourths
of the intervals are minor thirds and major seconds.
188
BUREAU OF AMERICAN ETHNOLOGY
[BOLL. 75
No. 104. Smoking Song (b)
Recorded by RiN(iKR No. 21
Voice J = 84
Drum J =84
Dnun-rhythm similar to No. 20
(Catalogue No. 782)
^Wr^
=§yj
P=prqE
y P P-
-jP-rP-P—P-
m
:p=P=p:
5hffi=
±ittt
A±
4£:
^^^^^f=W^^
S
e
•^^-
S:
I
Analysis. — Harmonic in structure, this melody contains only the
tones of the minor triad and fourth. It has a range of nine tones and
contains 32 progr(>ssions, more than half of which are a major third
or larger than a major tliird.
No. 105. Smoking Song (c)
Recorded by Singer No. 21
(Catalogue No. 783)
Voice J = 72
Drum
72
Drum-rhythm similar to No. 100
Analysis. — This song opens with the same phrase which formed
the rhythmic unit of the preceding song, but as there is no phrase
resembling it in the remainder of the song it is not considered a
rhythmic unit. The compass of the song is only six tones, this being
much smaller than that of the preceding songs. The melody tones
are those of the fourth five-toned scale. A rapid drumbeat charac-
terizes the song, only one other song of this series (No. 100) having
the same drum rhythm.
In explanation of the following song it was said that "when an
Indian had a little tobacco which he had gotten from a white man
DEXSMORE]
NORTHERN UTE MUSIC
189
the other Indians went to his house and sang this song. Then he
woukl give them some of the tobacco. Afterwards they would go
and sing somewhere else."
No. 106. Song when begging for tobacco
Recorded by Singer No. 16
VoicB J — 72
Drum J = 72
Drum-rliythm similar to No. 18
(Catalogue No. 727)
Analysis. — Six renditions of this song were recorded, the last three
being like, the transcription and the others differing slightly in the
fourth and fifth measures from the end. The song is melodic in
structure, has a compass of 12 tones, and contains the major triad
and second. The principal interval is the major second, comprising
71 per cent of the intervals. (See No. 24.) The song contains no
rhythmic unit and is not rhythmic in general character.
The following song was sung on the arrival of visitors. The
informant said: "We sang this song in the old days to show that
we were glad to see our visitors. Then they gave us presents — a
horse, a rifle, or a buffalo robe." ^*^
No. 107. Song when welcoming visitors (Catalogue No. 728)
Recorded by Singer No. 16
Voice J = 80
Drum Jir;80
Dnim-rhytiim similar to No. 20
)
a^E^
b4 • I — W=
m
3t3t
3
^=i=i=
^
^ r^
m
^
■* d rJ-
SEE
-s^
-i5>-
Analysis. — This song is characterized by the interval of the fourth,
one-third of the intervals being fourths. The song has no rhythmic
2" Before recording the song on the phonograph the singer recorded a few sentences which were trans-
lated. In these he said that after the singing of this song it was always customary to give a present, and
as the writer was a visitor he hoped that the usual custom would be observed. The writer accordingly
presented him with a small American flag.
190 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
interest, which may account for the fact that the renditions differ in
tone values, the transcription being from the first rendition. In
structure the song is melodic, in tonality it is major, and it contains
all the tones of the octave except the sixth and seventh. It has a
compass of seven tones.
The two songs next following were said to have been sung to an
accompaniment of pounding on a rawhide. The rhythm of this
pounding is different from that of the drumbeat in the other Ute
songs under analysis. This rhythm is transcribed with song No. 108.
The unaccented stroke of the drummer's stick is in the nature of a
rebound and might be expected when the pounding is upon a stiff
but unstretched material. A similar rhythm was noted among the
Chippewa and described in Bulletin 45, page 6, as follows: "In
beginning the rhythm of the woman's dance, the drummers give the
unaccented beat with a rebound of the stick, so that it seems to be
connected with the beat which precedes rather than that which
follows it. As soon as the rhythm is well established, however, the
unaccented beat clearly connects itself with the succeeding beat."
Thus the rhythm of the drum at the opening of a certain performance
was as described above, and changing to the rhythm noted with No.
36 of this series. This rhythm is further considered in Bulletin 53,
page 10, the observation being made that the rhythm is similar to
that of the adult heart. The rhythm occurs with only two Chippewa
songs (Nos. 11 and 12, Bull. 53). These are the songs of a war
messenger and the song which was sung on his return.
Concerning the preparation of the rawhide used with the Ute songs
it was said that two large buffalo hides were sewed together and
allowed to dry, so that they were very stiff. Holes were cut at inter-
vals along the edge and a thong passed through the holes. Both
men and women stood around the rawhide holding the thong with
the left hand and pounding the rawhide with a stick held in the right
hand. Often 10 or 12 persons stood around the rawhide.
When singing No. 108, a party of men carried the rawhide from
tent to tent. No gifts were expected, the song being one of the
"serenades" which are noted among numerous tribes.
DENSMORE]
NORTHERN UTE MUSIC
No. 108. Serenade
Recorded by Singer No. 16
191
(Catalogue No. 729)
Voice J = '2
Beating on rawhide J = 72
See rhythm below
^
I
m^:^
it
p=p=
iS^
-(2-
l:4=i
=9^^:^^
« — » I "• ^ I • — •— ^
lt4:
^
S^^^
3=P=
^
P iiu9 T"'/ r~^~f'^r~»"i — ^ — r~r^
Rhythm
Analysis. — This song is harmonic in structure and contains the
tones of the foiu-th five-toned scale. It progresses chiefly by whole
tones, about 61 per cent of the intervals being major seconds. (See
No. 24.) The fourth is also a prominent interval.
The singer who recorded the following song did not describe it as
a "serenade." He said that men and women stood around the raw-
hide, and that " they did this only once in a while in a large village,
at night."
192
BUREAU OF AMERICAIST ETHNOLOGY
[BULL. 75
No. 109. Song around a rawhide
Recorded by Singer No. 2
(Catalogue No. 785)
Voice J = 96
Beating on rawhide J _ 96
Rhythm similar to No. 108
35^
^
^crm^^^^^
§s
g^^-;^i:?fg^
^
^5
i^^3
4^— <g-r-
-^i^
\ I l»^-*
■—'■J V-A
W=fW^=^
-w^^U\-i^
I
Analysis. — In this song the fourth is raised a semitone. The song
contains all the tones of the octave except the seventh and is har-
monic in structure. The progressions number 44, somewhat more
than the usual number in Ute songs. Only four of these intervals
are larger than a minor third.
The following is an example of an old dream song. As indicated
in the songs of the Bear dance, it is not unusual for young men at
the present time to ''receive songs in dreams." (See p. 60.) Tliis
song, however, was recorded by Kanav (pi. 10, h), an aged man,
who said that his uncle ''dreamed" it and that he used to sing it
when he was alone. The words were not recorded, but were said to
mean "We are playing along the shore."
DENSMORE]
NORTHERN UTE MUSIC
193
No. 110. Dream Song
Recorded by Singer No. 23
(Catalogue No. 799)
Voice J __ 120
Drum not recorded
(1)
(1)
(2)
^t^
(2)
(2)
mi^^^m
m
m
Analysis. — Four renditions of this little melody were recorded with-
out a break in the time. The keynote is A, and the melody contains
only this tone and its second, third, and sixth — a tone material not
occurring m the songs previously analyzed by the writer. More than
65 per cent of the progressions are whole tones. (See No. 28.) Part
of the melody lies. above and part below the keynote. Two rhythmic
units occur, the first in triple and the second in double time.
Plots of Miscellaneous Songs
This group of songs is diversified in character and the plots show
no prevailing type. The following outlines are interesting in their
variety and may be compared with the corresponding songs:
■
I ! 1 III —
No. 106.
No. lOS.
m^:
"^z;
'^^:
:z:=^e:
■£z:
No. 109.
Fig. 18. — Plots, Group 14 (Miscellaneous songs).
25043°— 22 13
194
bureau of american ethnology
Parade and Miscellaneous Songs
melodic analysis
Table 1g.— TONALITY
[BULL. 75
Number
of songs
Serial Nos. of songs
Major tonality .
Minor tonality .
Total....
83, 84, 85, 86, 87, 88, 89, 90, 92,
93, 105, 106, 107, 108, 109, 110.
91, 103, 104.
Table 2g.— FIRST NOTE OF SONG— ITS RELATION TO KEYNOTE
Beginning on the—
Eleventh
Ninth
Octave
Fifth
Third
Keynote
Total.
Number
of songs
Serial Nos. of songs
103.
85, 88.
92, 93, 106, 109.
83, 84, 86, 87, 90, 104, 105, 10\
89, 107, 110.
91.
Table 3g.— LAST NOTE OF SONG— ITS RELATION TO KEYNOTE
Ending on the —
Fifth
Keynote.
Total . .
Number
of songs
Serial Nos. of songs
83, 84, 86, 87, 88, 89, 93, 104,
106, 107, 108.
85, 90, 91, 92, 103, 105, 109, 110.
Table 4g.— LAST NOTE OF SONG— ITS RELATION TO COMPASS OF SONG
Songs in which final tone i.s-
Lowest tone in song
Immediately preceded by whole tone below . . .
Songscontainlng a minor third below the final tone.
Songs containing a whole tone below the final tone .
Total •
Number
of songs
Serial Nos. of songs
83, 84, 85, 86, 87, 88, 89, 90, 91,
92, 93, 103, 105, 106, 108, 109.
104.
110.
107
PENSMORE] NORTHERN UTE MUSIC
Parade and Miscellaneous Songs — Continued
MELODIC ANALYSIS — Continued
Table 5G.— NUMBER OF TONES COMPRISING COMPASS OF SONG
195
Compass of—
Twelve tones
Eleven tones.
Ten tones
Nine tones...
Eight tones..
Seven tones..
Six tones
Total
Number
of songs
Serial Nos. of songs
87, 88, 106.
93, 103.
85,89.
83,86.
84, 90, 91, 92, 104, 108, 109.
107.
105, 110.
Table 6g.— TONE MATERIAL
Second flve-toned scale
Fourth five-toned scale * .
Major triad and fourth
Major triad and second
Minor triad and fourth
Octavecomplete
Octave complete except seventh
Octavecomplete exceptseventh and sixth
Octavecomplete except foiu^th
First, second, third, and sixth tones
Total
Number
of songs
Serial Nos. of songs
91.
87, 105, 108.
92.
84, 88, 93, 106.
104.
89.
83, 85, 90, 103, 109.
107.
Table 7g.— ACCIDENTALS
Number
of songs
Serial Nos. of songs
Songs containing—
No accidentals
17
1
1
83, 84, 85, 86, 87, 88, 89, 90, 92,
93, 103, 104, 105, 106, 107,
108, 110.
91.
Fourth raised a semitone
109.
Total
19
196 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
Parade and Miscellaneous Songs — Continued
MELODIC ANALYSIS — Continued.
Table 8g.— STRUCTURE
Melodic .
Melodic with harmonic framework.
Harmonic
Total.
Number
of songs
Serial Nos. of songs
83, 86, 87, 90, 103, 105, 106, 107,
110.
84, 85, 88, 89, 91, 93.
92, 104, 108, 109.
Table 9g.— FIRST PROGRESSION— DOWNWARD AND UPWARD
Number
of songs
Serial Nos. of songs
Downward.
Upward.
83, 84, 85, 86, 87, 88, 89, 92, 93,
103, 104, 105, 107, 110.
90, 91, 106, 108, 109.
Total.
Table lOG.— TOTAL NUMBER OF PROGRESSIONS— DOWNWARD AND UPWARD
Downward.
Upward
Total.
Number
of songs
339
214
553
Serial Nos. of songs
Table llG.— INTERVALS IN DOWNWARD PROGRESSION
Interval of a—
Fifth
Fourth
Major third..
Minor third..
Major second.
Minor second.
Total
Number
of songs
4
64
35
55
170
11
339
Serial Nos. of songs
DENSMORE] NORTHERN UTE MUSIC
Parade and Miscellaneous Songs- -Continued
MELODIC analysis — Continued
Table 12g.— INTERVALS IN UPWARD PROGRESSION
197
N umber
of songs
Serial Nos. of songs
Ninth
Octave
Seventh
Major sixth . .
Minor sixth..
Fifth
Fourth
Major third . . ,
Minor third . .
Major second.
Minor second.
Total...
TABLE 13G.— average number OF SEMITONES IN AN INTERVAL
Number of intervals 553
Number of semitones 1, 789
Average number of semitones in an interval 3
Table 14g.— KEY
Number
of songs
Serial Nos. of songs
A major
B flat major...
B flat minor..
C major
D major
E flat major...
E major
F major
F sharp minor
G major
A flat major...
G sharp minor
Total . . .
110.
109.
103.
85, 87, 8
88, 90.
93, 106.
83, 105.
92, 107.
91.
86.
84, 108.
104.
Table 15g.— PART OF MEASURE ON WHICH SONG BEGINS
Number
of songs
Serial Nos. of songs
Beginning on unaccented part of measure
Beginning on accented part of measure . . .
Total
83, 84, 85, 87, 88, 89, 91, 92, 103,
104, 105, 106, 107, lOr, 109.
86, 90, 93, 110.
198 BUREAU OF AMERICAN ETHNOLOGY [bcll. 75
Parade and Miscellaneous Songs — Continued
RHYTHMIC analysis
Table 16g.— RHYTHM (METER) OF FIRST MEASURE
Number
of songs
Serial Nos. of songs
First measure in—
2-4 time
12
83, 85, 88, 89, 90, 91, 93, 105,
3-4 time
106, 107, 108, 109.
84, 86, 87, 92, 103, 104, 110.
Total
19
Table 17g.— CHANGE OF TIME, MEASURE-LENGTHS
Number
of songs
Serial Nos. of songs
Songs containing no change in time ^
19
Table 18g.— RHYTHM (METER) OF DRUM
Number
of songs
Serial Nos. of songs
Eighth notes unaccented
Quarter notes unaccented
Each beat followed by an unaccented beat corresponding ap-
proximately to one count of a triplet
Rapid beat resembling a tremolo at opening of song, followed by
a quarter-note beat
Drum not recorded
90, 105, 106.
84, 89, 91, 103, 104, 107.
108, 109.
86, 87, 88.
83, 85, 92, 93, 105.
Total.
Table 19q.— RHYTHMIC UNIT OF SONG
Number
of songs
Serial Nos. of songs
Songs containing —
No rhythmic unit.
One rhythmic unit
Two rhythmic units . .
Three rhythmic units .
Total
86, 89, 90, 91, 92, 93, 104, IDS,
106, 107, 108.
83, 84, 85, 88, 103, 109.
110.
87,
DEN8M0BE] NORTHERN UTE MUSIC
Parade and Miscellaneous Songs — Continued
BHTTHMio ANALYSIS — Continued s
Table 20g.— TIME UNIT OF VOICE
199
Number
of songs
Serial Nos. of songs
Metronome-
go
1
2
4
3
2
1
1
1
2
2
89.
g3
83, 87.
gg
84, 86, 88, 89.
72
105, 106, 108.
80
90, 107.
84
104.
92
85.
9g
109.
120
103, 110.
132
91,92.
Total
19
Table 21g.— TIME UNIT OF DRUMi
Number
of songs
Serial Nos. of songs
Metronome-
go
5
89.
g3
87.
gg
84, 86, 88.
72
108,
80
90, 107.
84
104.
9g ;
109.
104
105, 106.
120
103. ,
132
91.
83, 85, 92, 93, 110.
Total
19
Table 22g.— COMPARISON OF TIME UNIT OF VOICE AND DRUM
Time unit of voice and drum the same.
Voice slower than drum.
Drum not recorded
Total.
Number
of songs
Serial Nos. of songs
84, 86, 87, 88, 89, 90, 91, 103,
104, 106, 107, 108, 109.
105.
83,85,92,93, 110.
I A tremolo drumbeat preceded the even drumbeat in Nos. 86, 87, 88. (See analysis of No. 72.)
200 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
RUDIMENTARY SONGS
The repetitions of the preceding songs show them to be entities,
having a beginning and ending, and clearly remembered by the singer.
The following material is different and may be called "the stuff of
which songs are made." It has no definite ending and the perform-
ance could probably have been continued indefinitely. The trans-
cription is closed at a convenient point in the melody. A rhythmic
feeling is evident, but there is no repeated unit of rhythm except in
the first song. The melodic formation is largely on a major triad.
It appears as though the tones of a major triad were in the singer's
consciousness and he made combinations of these and other tones
as suited his fancy. The intonation on the octave, or hoiindanj
of the melody, was reasonably good, the fifth was somewhat less
assured, and in many instances the other intervals can be indicated
only approximately by musical notation. The several singers had
no hesitation in beginning the songs, seeming as familiar with this
variable form of musical expression as younger singers with the
conventional song. The three old women who recorded these songs
were in the room at the same time and each seemed to concur in
the others' performance. There was no opportunity to learn whether
they could duplicate these performances at a later time, but it seems
extremely doubtful that they could have done so with any degree of
exactness. It was said that the accompanying stories were narrated
to the music. Thus, if the narrator changed the words of the story,
he would probably vary the music accordingly.
All these stories are about animals, and we note in the music a sug-
gestion of the characteristic df the animals, though this comparison
can not safely be pressed too far. In song (a) , which is said to have
b^en sung by the prairie dogs, the tempo is rapid and the movement
of the melody can be described as agile. Song (b) also is in rapid
tempo and concerns a race between the tadpoles and the mice. In
song (c) the motion of the story is less marked, but the tempo of the
song is the same as in song (a) . Only a portion of the cylmder is
transcribed, as the phrases after the change of time were repeated
over and over with slight changes that are not interesting. Song (d)
presents a much slower tempo and a heavier type of melody. The
accompanying story is that of the bear who stole the wolf's wife.
In this, as in song (c), a large part of the phonographic cylinder
contains only the phrases which appear in the latter part of the
transcription and which are repeated in varied but unimportant forms.
Wiyu't§ (pi. 11, h), an aged woman who recorded the first three of
these songs, said that she learned them from her mother up in the
canyon. When she was a little girl her mother sang them to her and
told her of the time when "the wolves were people." That was
DKNSMORE] NORTHEEN UTE MUSIC 201
when her mother's grandfather was aUve. She said that " the wolves
worked at all the industries. Both the men and women worked,
and when the woman got tired the man took his turn and worked.
Each worked five times in a day when they were smart. The wolf-
man made a rabbit trap and tanned the hides so they were soft for
blankets and clothing. He had a stone knife. His wife wove cloth
of bark. They ate chokecherries and lived in a house woven like a
birds' nest. Their dishes were made of sand and dirt. They made
kettles of sand and dirt and boiled meat in them. They also made
frying pans and plates. After they made these things they had a
fire, and when the fire was red they put the dishes in the fire for a
long time, which made them hard and strong. Their bread was
baked in the ashes, and they had nice white bread. Sometimes they
made bread out of chokecherries."
In addition to the songs which are transcribed Wiyu'tS recorded a
song which she said the wolves sang, but by an unfortunate acci-
dent the cylinder was broken before the song could be transcribed.
Story of the Prairie Dogs
The following story was sung to the melody transcribed as "Rudi-
mentary Song (a)."
Once the prairie dogs and the wildcats were all white. There was
a prairie-dog man who wanted a wildcat woman to run away with
him. At first she did not like him, but afterwards she ran away with
him. Her mother did not want her to marrj' the prairie dog because
he did not hunt. Her mother wanted her to marry the magpie, who
hunted and got rabbits and other animals. So the mother went and
took her daughter away from the prairie dog and gave her to the
magpie, who gave his mother-in-law everythmg that he got in the
hunt. They lived up in the mountain. The mother-in-law told the
prairie dog that he was of no use because he lived in the ground.
202
BUREAU OF AMERICAN ETHNOLOGY
Rudimentary Song (a)
[BULL. 75
Voice J=i84
Drum not recorded
fas
^m
--^i
t=i
m
^S?Se©
4-^
T^ZI^
±1
^^m
*:
&
tzt
-1 — ^— M:
-s*-
^d^
&
^
'(2—^
:^iS^:
&
i
-i^h-0-
f=jt
4=£:
i^
'.±:i
m^
^
i^
^=1=
'5^iR-i — r^^
:^^:=it
Si-T-^* "-•-r-«-
^=-^f • '-^:
-z)-' -z^.
^^^j^
feU^^
-^— #-
fr— H^
S
^
^^i^^fc^i^^^^
Story of the Frog's Children
This stor}^ was related in song, a portion of the melody being tran-
scribed. The story, in the words of the interpreter, is as follows:
The frog ate a great deal, and so he was very fat. The jack rabbit
was as big as a dog, and he bit the frog on the face and leg. The frog
was so fat he could not run away. The rabbit shook the frog and
said, "You can't make me let go." Then the frog said, "Yes, I can."
Afterwards the frog's little children (tadpoles) ran races with a
mouse. Before the race they shook hands, and the mouse said, "You
can't beat me, you have such fat tails"; but the frog's little children
won the race.
DEXSMORK]
NORTHERN UTE MUSIC
Rudimentary Song (b)
203
Voice J = 88
It
m.
is
Eg
*rH.4z:i:
f •*•
3?
^
^E^
^4^-
^^i
:&
3t3t
5^=2^
3=S^
li
^
a:
3^
SF
jtzM
g
-^-f^q
i^^i
m
ICp^ '^4 ^ . g=^4l^
4=::|5il4^Ea.4
VtT
p^
S£5p
SES
iziat
-f— ^-
atrzt
^^^^n^^^^^^
^^n^f^^m
w
.dJ\A.^=^^±
±2
§%f=l
e^^33
=t
a-i^
^
S
4-^^^— ^[T4
-#- 1^ -Z5l-
^
Story of the Red Bug and the Fox
The story narrated to this melody was as follows: A red bug on
the ground stung a fox so that he could not lie down. When he
awoke he cried with paia all the time. He cried CA^ery hour. The
fox was not afraid of the bug. He stayed close to the bug all the
time and said to the bug, ''Good morning; wake up," quite early in
the morning. Then the bug wanted the fox to dance with her. The
204
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 75
fox said, "No, we can't do that; go to sleep." She said, "I can't,"
He said, ''Yes you will, yes you will." He said it twice. She said,
,*Good morning, sir; good morning, sir."
Rudimentary Song (c)
Voice J =88
^=96
^ '-»• -»■ -*■ -•- V^~3~3 ~i
-#- -S*- -3*-
The following stoiy was related and its song recorded by Fanny
Provo (singer No. 13).
Story of the Bear who Stole the Wolf's Wife
A bear came and stole the wolf's wife. She had a little baby.
The baby cried, and so the father wolf followed the bear's tracks
and found the mother wolf. The bear was very angry and began
to fight with the wolf, but the wolf threw him on the ground and
took the mother wolf away. The bear had told the wolf that her
husband could not beat him, but the wolf threw the bear' on the
ground and beat him. The little wolf baby cried and screamed while
his father was away. He was glad to see his mother and ran to her.
The mother wolf did not want to leave the bear, but her husband
made her come back with him.
Rudimentary Song (d)
VoicB J =63
g^y,
^
^
^
^^^^^^
I
denshore]
northern ute music
Plots of Rudimentary Songs
205
A different method has been used in the "plotting" of the rudi-
mentary songs. Heavy horizontal lines are used to represent the
keynote and its octave, a light dotted line represents the third, and a
heavy broken line represents the fifth. On these horizontal lines the
(a)
(6)
(c) (d)
Fig. 19.— Plots, Group 15 (Rudimentary songs)
progression of the accented melody tones is plotted by means of a
curved line. It will be noted that, with few exceptions, the accented
tones occur on the intervals represented by horizontal lines. Ac-
cented tones occurring on other intervals are represented by curves
at approximately the correct distance between the horizontal lines.
APPENDIX
In order to test the accuracy of certain observations concerning
the relative rhythms of voice and ch"um in Indian songs, the writer
secured the courteous cooperation of Dr. Dayton C. Miller, head of
the department of physics, Case School of Applied Science, Cleve-
land, Ohio. The phonograph on \vhich the Ute songs were recorded
was taken to Cleveland, together with phonographic records made on
the reservation. These records had already been transcribed by ear,
the only instruments of measurement being the piano for the pitch
of the tones and a standardized metronome for their time duration.
The phonograph was installed m Dr. Miller's laboratory (pi. 12),
portions of two records were played by the phonograph, and the
Fig. 20.— Photograph of drumbeat
sound recorded graphically by the phonodeik. (See pi. 13.) The
accompanjdng analyses of the photographs, kindly prepared by
Dr. ^liller, show the result of the test. A full consideration of the
phonodeik, invented by Dr. Miller, is contained in ''The Science of
Musical Sounds." "
Analytical Study of Photographs Taken with the Phonodeik
woman's dance — NO. 37
A portion of the music of the Woman's dance, of about 23 seconds'
duration, as reproduced by the phonograph, was photographed with
the phonodeik, making a film record about 38 feet long. The part
of the song which is photographed begins when the stylus of the
reproducer of the phonograph is about 2^^ inches from the beginning
end of the wax cylinder record; it is at the beginning of a new stanza
of the song. [A portion of this photograph, with its musical
tranacription, is shown in pi. 14,]
»' Miller, Dayton Clarence, The Science of Musical Sounds. New York, 191fi, pp. 78-88.
206
^;>v>vvy^^^^yo^'^/<<^^^^ ;^'
. Ti-\io i^holo^rjiili^
iillii«#!«
ilo^;ra].li> ..f LluMi <>i M.-cniKl and all m( third inraMirc uf Laiiiv du.
WUL
syi
c^lNJ-
m
m
m
ffl
^- ;q^
DE.NSMORE] NORTHERN X'TE MUSIC 207
The first purpose of the study was to determine the relation of
the drumbeats to the accents of the voice. In the photograph there
are 62 drumbeats, which are indicated on the photograph by white *'s,
and they arc numbered consecutively by numerals in circles as (g).
The effect of the drumbeat is to produce a short series of vibrations
of the general pattern shown in figure 20,
When the voice is very soft or silent, the drum record is as shown
at @ and @ ; when it is superposed on the voice, the effect is shown
by a few extra wide vibrations, as at ©, ®, and ®. By careful
study it has been possible to identify all of the drumbeats, though
some of them are faint.
The dots in a row below the sound record are time signals one one-
hundredth second apart. In taking this photograph the film was
moved by hand, resulting in a varying speed; when the dots are
nearer together, the corresponding speed is slower. The numerals
between the *'s are the time intervals between the drumbeats in
hundredths of a second.
The first study of the photograph shows a remarkable regularity
in the rhythmic beats of the drum. The beats occur in pairs follow-
ing an accented tone of the voice; 30 pairs are shown on the photo-
Ratio of 2:3
Ratio of 1:2
• • • •
Fig. 21.— Ratios of drumbeats
graph. The interval between the two beats of a pair is, in 17
instances, 0.29 second; there are six intervals of 0.28 second, four
of 0.30 second, two'of 0.27 second, and one of 0.31 second. The
interval may then be said to be 0.29 second, with a variation rarely
exceeding 0.01 second either way. The average of intervals between
the pairs of beats is 0.45 second, there being seven of this length;
there are 10 intervals of 0.44 second, five of 0.46 second, three of
0.43 second, and five of 0.47 second. Thus the average interval
between pairs is 0.45 second, the variation from this value rarely
being more than 0.01 second and never being more than 0.02 second.
The ratio of the interval between the two beats of a pair to the
interval between pairs is almost exactly 2:3, and this ratio is main-
tained with mechanical regularity throughout the song. It was
suggested that the drumbeats might be thought of as occurring in
triplicate with one beat of each triplet omitted. This would require
a ratio of 1 :2. The difiFerence between the two ratios is shown in the
spacing of the dots in the following rows (fig, 21) :
A further noticeable peculiarity is that the first beat of a pair of
drumbeats follows the beginning of an accented voice tone with
great regularity. Of 25 such instances identified on the photograph
208 BUREAU OF AMERICAN ETHNOLOGY Ibdll. 75
the drumbeat follows the voice by 0.12 second in 12 cases, and in
no instance does the interval differ from this by more than 0.02 second.
A comparison has been made of a portion of the photographic
record, about 20 feet long, between drumbeats © and @, with the
phonograph reproduction timed with a stop watch. In this manner
it was possible to locate the principal notes in exact time.
Figure 1 [pi. 15] is the music as originally submitted, transcribed
from the phonographic record. The letters A, B, C, etc., indicate
certain distinct notes of the phonographic rendition; the correspond-
ing portions are marked with the same letters on the upper edge of
the photograph. While listening to the phonograph the relation of
the pairs of drumbeats to the music was noted by ear and roughly
marked on the score thus : D^D^ d^ D^ !Il\ Thirty-four of these beats
are numbered on the score, and the same beats were identified on
the photograph and correspondingly numbered. By noting the rela-
tion of the drumbeats to the notes of the score and by observing the
variations in the width (loudness or rhythm) of the photographic
record as related to the corresponding drumbeats on the photograph
it is possible to locate the beginning of each note of the music. The
corresponding notes of the score and the photograph are lettered
a, h, c-p, q, r.
Figure 2 [pi. 15] is a diagram showing the exact time relations of
the drumbeats and notes, as determined by counting the hundredths
of seconds on the photograph. The spacing along the staff shows
the exact time value of each note and the relation of each note to
the drumbeats. The bars [marked ©, ®, ®, etc.] are the drum-
beats, numbered as on the photograph, thus (8). The numbers
between the circles are the intervals, in hundredths of a second,
between the drumbeats. The numbers above the notes are the inter-
vals, in hundredths of a second, between the beginning of the notes
and the succeeding drumbeats, as counted on the photograph.
The numbers below the staff, as 109, 39, 27, etc., are the intervals
between notes (length of notes) in hundredths of a second. Inspec-
tion shows that 9 is approximately a common divisor of this number,
and for purposes of comparison they were divided by 9, the approxi-
mate results being given in the next row of figures, as 12, 4^, etc.
These numbers are proportional to the lengths of the notes. Assum-
ing 8 to correspond to a quarter note, the first note is a dotted quarter,
and the second is an eighth note, etc. The interpretation of the
lengths of the note in musical notation may then be written as in the
last line of figure 2 [pi. 15], and inspection of this series enables the divi-
sion of the notes into appropriate groups for the bars of music. This
latter operation should properly be done in connection with the
phrasing and rhythm of the words.
DENSMORE] NORTHERN UTE MUSIC 209
The pitches of the notes having ])een obtained from the tran-
scribed record,^* the completed musical transcription is obtained as
given in figure 3 [pi. 15]. The revised location of the drumbeats is
shown b}' the dots below the score.
One of the interesting results of the quantitative transcription of
this phrase is the fact that it agrees so well with the original musical
transcription. There is no essential difference. Perhaps the omis-
sion of the measure in 3-4 time is not justified, though the exact time
value is as given in figure 3 [pi. 15]. A more extended study would
certainly make possible an exact transcription of the whole song, but
the close agreement of the two methods hardly justifies the great
amount of labor involved in the photographic method. This study,
was undertaken principally to learn what could be done if it were
desirable.
LAME DAXCE — XO. 39
The portion of the music of the Lame dance of about 15 seconds'
duration as reproduced by the phonograph was photographed with
the phonodeik, making a film record about 19 feet long. The part
of the song which is photographed begins when the stylus of the
reproducer of the phonograph is about 2^ inches from the beginning
end of the wax cylinder record. The original musical transcription
of the portion photographed is given in figure 4 [pi. 16]. The pur-
pose of the study was to determine the relation of the drumbeats to
the rhythm of the voice. The record of a drumbeat appears on the
photograph as a short series of vibrations of the pattern shown in
figure 20.
Thirteen consecutive drumbeats have been identifietl, and they
have been marked by *'s and numbered by serial numbers in circles,
as ®, @.
The dots in a row below the soimd record are time signals, one
one-hundredth second apart. The numbers below the dots between
the *'s are the time intervals between the drumbeats in hundredths
of a second.
The notes of the music which have distinct accents as heard on
the phonograph are marked A-G on both the score, figure 4 [pi. 16],
and on the upper edge of the photograph. Each note of the score
is marked with a letter, as a, h, c-w, and the same notes when
identified are similarly marked on the photograph.
There is a remarkable regularity in the beats of the drum. The
12 intervals between beats, in hundredths of a second, are 92, 92,
« A certified test of the author's pitch discrimination was made in 1914 by Prof. Carl E. Seashore, dean
of the Graduate College, University of Iowa, Iowa City, Iowa.
2.o043°— 22 14
210 BUREAU OF AMERICAN ETHNOLOGY [bull. 75
89, 91, 92, 90, 91, 90, 94, 93, 93, 91. The average interval is 0.92
second.
Figure 5 [pi. 16] is a diagram of the time relations of the various
elements of the music drawn to exact scale, 1 millimeter being equal
to Tinny second. The drumbeats are marked by bars and these
and the notes are marked as already described. The numbers above
the notes are the intervals in hundredths of a second between the
beginning of the note and the preceding or succeeding drumbeat, as
counted on the photograph. The numbers, as 39, 193, etc., are the
intervals between notes (lengths of notes) in hundredths of a second.
The note c is 0.39 second long; e and/ together are 0.74 second long;
g and li, 0.74 second long; and Z, 0.71 second long. It would appear
that a quarter note may be taken as equal to 0.74 second, exactly
the same value as is very definitely shown to exist in the Woman's
dance. The first note of the diagram is then an eighth note, the
second is a dotted half note, etc. The interpretation of the length
of the notes in musical notation may then be written as in the last
line of figure 5 [pi. 16]. The phrase thus interpreted is hardly long
enough to determine the length of the bar, ])ut the piece seems to be
in 2-4 time, with bars as indicated. This is in substantial agreement
with the original transcription.
From this study of the photograph of the Lame dance it is difficult
to determine any definite relation between the drumbeats, which
occur with mechanical regularity, and the voice, which has a varying
accent and rhythm. Perhaps it may be said that a drumbeat
follows an accented vocal note, as beats @, 0, and ® follow the
accented notes ef, gh, and jl:. On the other hand, the strongly
accented note v) follows beat @ after a short interval of 0.11 second.
In the Woman's dance each pair of drumbeats seems to correspond
very directly to the 2-4 measure of the musical notation, and such
a measure has a length of 0.29 + 0.45 = 0.74 second, which is the
period of the pairs of beats. In the Lame dance the quarter note
of the voice seems to be exactly the same as for the Woman's dance,
0.74 second, but in the Lame dance there is no apparent relation of
this interval to the drumbeats, which are 0.92 second apart.
Daytox C. Miller.
April 9, 1918.
INDEX
Accidentals, table showing use of 37 ,
75, 91, 123, 142, 162, 183, 195
Analysis, tabulated —
of Bear dance songs 73-79
of Chippewa, Sioux, and Ute songs 30-51
of Hand game songs 183-187
of Parade and miscellaneous songs 194-199
of social dance songs 121-126
of songs used in treatment of sick 141-146
of Sun dance and undetermined dance
songs 90-95
of War songs 160-166
summarized 55
Animals, the subjects of songs 200
Aree V, a singer 17, 18, 19
Aricansaw, a Paiute singer 17,18,19
Barber, Edwtx A.—
quoted on hand game 174-175
work of, on Utc language 25
Basket-drum used by Pima Indians 27
Basketry of the Utes 26
Bear dance—
description of 56-58
songs of 58-59,61-72
Ute name for 20
Begging song 189
Black Otter, an informant 147
Blueotter, Sidney, a singer 17, 18, 19
Brunot, Felix R., treaty signed by 24
Burial customs 29
Calholtn, James S., treaty signed by 23
Capote, a Ute band 24
Ceremony of the Sun dance 79-81
Chamberlin, Ralph V., work of, on Ute
language 25
Chigoop, a singer 17, 18, 19
Chippewa, Sioux, and Ute songs, tabulated
analysis of 30-51
Compass of song —
number of tones comprising 34,
74,91, 122, 142, 161, 183, 195
relation of last note to 33,
74, 90, 122, 142, 161, 182, 194
smaller in Ute songs 52
Composition of songs 26
instance of cooperation in 26
Connective phrase in Ute music 64
CuLiN, Stewart, quoter' on hand game 174
Dances. See Bear dance. Double dance,
Dragging-feet dance, Iron Line dance. Lame
dance. Scalp dance. Sun dance, Tea dance,
Turkey dance. Undetermined (religious)
da-nee. Woman's dance.
Daxner, Ivan, Slovak songs selected by 55
Page.
Double dance—
description of 118
songs of 118-119
Ute name for .- 20
Dragging-feet dance—
description of 112
songs of 112-114
Ute name for 20
Dreams, songs composed in 60, 62
DRtJM-
Used in Turkey dance 95
Used in Woman's dance 101
Ute name for 20
Dwellings of Northern Utes 25
Eagle, prayer to, in treatment of the sick . . . 130
Fasting, during Sun dance 79, 80, 81
Flageolet—
description of 28
Ute name for 20
Food of Ute Indlans 25-26
Frank, Andrew, a singer 17, is, 19
Gifts—
at dances 81
at Tea dance 114
from \'isitors 189
to '• little green man " 128
Glissando, used to imitate sound made by
bear 58,65
Grand Rh'Er, a Ute band 24
Hand drum, description of 28
Hand game—
description of 174-175
songs of 176-181
Harrington, John P., work of, on Ute lan-
guage 25
Hawley, E. H., musical instniments de-
scribed by 26, 27, 28
HrdliCka, Dr. AleS, mention of 55
Inclosure , for Bear dance 57
Industries of the Utes 26
Instruments, musical 26-28
Intervals—
in downward progression, table showing,
40, 76, 92, 123, 143, 1(13, 184, 1%
in upward progression, table showng — 41, 70,
92, 124, 144, 163, 184, 197
Ikon Line dance—
description of 119
song of 120
Ute name for 20
Isaacs, a singer 17,18,19
Johnson, Tim, a singer 17, 18, 19
Kanav, song recorded by 192
211
212
INDEX.
Key— Page.
tables showing 42-43, 77,93, 124, 144, 164, 18.5
use of the term 43
Keynote—
relatior of first note to 31,
7.3,90,121,141,161,182,194
relation of last note to 32
. 74,90,121,142,161,182,194
KoLOROW, Jim—
a singer 17, 18, 19
songs recorded by 187-188
Kroeber, a. L., work of, on Ute language. .. 25
Laceration, not practiced by Utes in Sun
dance 79
Lame dance—
diagram of 106
songs of 106-111
Ute name for 20
I>ANGUAGE OF UTE INDIANS 25
" Little green man," described 127-128
Little Jim, a singer 17, 18
Mack, Charles, a singer 17,18
Major thirds, large proportion of, in Ute
songs.
52
Major tonauty, higher percentage in,' of
Ute songs 52
Mart, Fred—
a singer 17, 18, 19
songs composed by 60-62
Mason, Otis T.—
quoted on basketry of Utes 26
quoted on food of Utes 26
Measure, part of, on which song begins 44,
77,93,124,144,164,185,197
Medicine. See Sick, treatment of .
Medicine-man, methods of, in treating the
sick 127-129
Miller, Dr. Dayton C—
acknowledgment to 205-206
analytical studies by 206-210
Morache—
description of 26-27
use of, in Bear dance 57
Ute name for 20
See Notched-stick rattle.
Muache, a Ute band 24
Musical instruments 26-28
Nikoree, a singer 17, 18, 19
Northern Ute.s—
bands composing 24
territory occupied by 24, 25
NOTCIIED-STICK RATTLE —
described 27
rhythm of 60
See Morache.
NuSiNA, a Ute chief and medicine man 19,62
OtniAY, Chief, buried in fissure or cave 29
Pageets, Teddy—
a singer 17, 18, 19
an informant and medicine man 127
Pa'gitS, Ute name of Teddy Pageets 17
Painting of the body—
for Bear dance 57
for Sundance 80
Pant, Jim, a singer 17,18,19
Parade before Sun' dance 80
Parade songs 167-173
characteristics of 166
plots of 174
Pegaroos, PAtn., a singer 17, 18, 19
Per.vnk, Eugene, a singer 17,18,19
PnoNODEiK, photographs taken with 206
Pima Indians, basket-drum and scraping-
stick used by 27-28
"Plotting" of melodies, de\ised by author. 72
Pole, for Sun dance 80
Pottery of the Utes 26
Prayer at Sun dance 80
Progression, first, table showing 38,
75,91,123,143,162,183,196
Progressions, table showing total number
of 39, 76, 92, 123, 143, 163, 184, 196
Provo, Fanny, a singer 17, 18, 19
QuiN ANCE, a singer 17, 18, 19
Rain sticks, of Pima ceremonies 28
Rattle, notched-stick —
described 26-27
rhythm of 60
See Morache.
Red Cap, a Ute chief, of White River band.. 18,24
Reed, VernerZ., account of Bear dance by.. 57
Resonator, method of using 27
Rhythm (meter)—
of drum or morache, tables showing 46,
78, 94, 125. 145, 165, 186, 198
of first measure, tables showing 44-45,
77,93.125,145,164,185,198
Rhythmic unit of song, tables showing... 78,
94,125,145,165,186,198
Rubbing stick, use of 27
Russell, Frank—
on basket-drum of Pima Indians 27
on scraping-stick of Pima Indians 27-28
Saritch, Charue, a sin.eer 17, 18, 19
Scalp dance—
description of 15&-157
diagram of 156
songs of 157-158
Scalps, customs concerning 152
Scraping-stick, use of 27
Semitones, average number of, in each inter-
val 42, 76, 92, 124, 144, 163, 184, 197
Serenade 1^1
Sick, treatment of 127-130
Sickne.ss, cured by Sun dance 79-80
Signs, special, used in transcription of songs. 16-17
Sioux, Chippewa, and Ute songs, tabulated
analysis of 30-51
Slovak songs, compared with those of Chip-
pewas, Sioux, and Ute 55-56
Smoking songs 187-188
SocuL organiz.\tion of the Utes 24
Song.s—
classes of 26
composition of 26, 60
list of 11-16
miscellaneous 187-193
of Bear dance 58-72
of Double dance 118-119
of Dragging-feet dance 112-114
of Hand game 175-187
INDEX.
213
Songs— Continued. Page.
of Iron Line dance 120
of Lame dance 106-111
of Sun dance 81-S7
of Tea dance 114-117
of Turkey dance 96-101
of Woman's dance 101-105
Parade 167-173
Rudimentary 200-205
Slovak, analysis of 55-56
undetermined dance 88-89
used in treatment of the sick 131-140
war 146-159
Stak, John, a singer 1 7, 18, 19
Structure of songs —
harmonic and melodic, defined 38, 39
tables showing. ... 38, 75, 91, 123, 143, 162, 183, 196
Sun pance—
description of 79-81
obtained from Arapaho 79
songs of 81-87
Ute name for 20
Tabby, a Ute chief 19, 24
Tabequache band—
now known as Uncompahgre 24
treaty with 23
Tawats, a Ute chief 19
Tea dance—
a modem dance 114
songs of 114-117
Ute name for 20
Time, tables showing changes of 45,
78,93,125,145,161,185,198
Time unit—
of drum or morache, tables showing 50-51,
79,126,146,166
of voice, at beginning of song 48-49
of voice and drum, comparison of 51,
79,95,126,146,166,187,199
of voice and drum, tables showing 50,
78,94,126,145,165,186,199
use of term 49
Tonality—
definition of 30
major and minor 31
tables showing. ... 30, 73, 90, 121, 141, 160, 182, 194
Tone material, tables showing 35-
36, 75, 91 , 122, 1 12, 162, 183, 195
TONNER, Clark, a singer 17, 18, 19
Turkey dance—
description of 95-96
diagram of 95
drum used with 28
songs of 96-101
Ute name for 20
Uinta, a division of the Utes 19, 24
Uinta and Ouray Reservation—
location of 24, 25
Northern Utes living on 24
Sun dance held on 79
Uncompahgre—
a division of the Utes 19
formerly known as Tabequache 24
Undetermined (religious) dance, songs of. 88-89
Utah, a sj-nonym for LTte 23
Ute Indl\ns, description of 23-29
War Songs 146-159
characteristics of 1 46
plots of 160
Washington, Joshua, a singer 17,18,19
Washington, Mrs.—
a singer 17, 18, 19
treatment by , of the sick 127, 129-130
Weeminuche, a Ute band 24
Weetch, Dave, a singer 17,18,19
Weeyutchee, a singer 17, IS, 19
Whistle, eagle bone, Ute name for 20
White Rh'er band —
a division of the Utes 18
desertion of reservation by 24
Woman's dance—
drum used with 28
mention of 96
obtained from Shoshoni 101
songs of 101-105
Ute name for 20
Yampa, a food plant 18
Yampa band, a division of the Utes 24
Yarrow, H. C, quoted on Ute burial 29
Zampatika, the Ute name of a White River
band 13
o
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Densmore, Frances
Northern Ute music,
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