MOOHy ARRAN IMMOQHVMHQH09 ee Se petea te eer Cte tts ee ent SRRRARN SERRA ~ SOND WNMMMMWWAY NY S OG RM OOO S CLL ty SOE SS ERA WRI. BULLETIN 53 PLATE 1 BUREAU OF AMERICAN ETHNOLOGY ODJIB’/WE ‘eh SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 fei i wA: MUSIC—II BY FRANCES DENSMORE NOV1i4 1918 WASHINGTON GOVERNMENT PRINTING OFFICE 1913 KJMRAW Te 14a vo are eee A, = ae e1vh ) LETTER OF TRANSMITTAL SMITHSONIAN INSTITUTION, BuREAU OF AMERICAN ETHNOLOGY, Washington, D. C., April 29, 1912. Sr: I have the honor to submit herewith a memoir bearing the title “Chippewa Music—II,” by Miss Frances Densmore, and to recommend its publication as Bulletin 53 of the Bureau of American Ethnology. This paper embodies the results of the author’s final studies of the music of the Chippewa, or Ojibwa, Indians, and supple- ments the material published as Bulletin 45. This latter publication has met with high favor among students of primitive music through- out the world, and some of the material contained therein has been adapted and presented by orchestras. Yours, very respectfully, F. W. Hopes, EHthnologist in Charge. Hon. Cuartes D. Watcort, Secretary of the Smithsonian Institution. III 2 = 64 ' /aGaqet 5 e 7 . Pie | a = f 4 bichon! ng d : 7 ret. Ves alpiede WOMANI hs ; kas ; iat 1 ae . , : ; a aint) ; or vd frybiiey Vitide vert Y eae matt } FOREWORD Chippewa music in its relation to tribal life constitutes one of the: subjects dealt with in the present volume, as well as in the writer’s first contribution to this study.! Not less important is the melodic and rhythmic analysis of the songs, which was begun in the first work and is developed more extensively in the following pages. The native religion of the Chippewa also was considered in Bulletin 45. War forms the keynote of the present memoir, together with the Drum-presentation Ceremony, which is said to have united the Chip- pewa and the Sioux in permanent peace. In both volumes there are songs of tribal games and dances, and songs ‘‘composed in dreams,”’ many of which are the individual songs of forgotten warriors. The analysis of the Chippewa words and part of the translation are the work of Rey. C. H. Beaulieu, a member of the tribe, and of Rev. J. A. Gilfillan, who for twenty-five years lived on the White Earth Reservation, in Minnesota. Grateful acknowledgment. is made also to Mrs. Mary Warren English, of White Earth, and to other native interpreters, whose interest and cooperation have contributed materially to the success of the work. 1Chippewa Music, Bulletin 45, Bur. Amer. Ethn. soon ledia) 62. naitaly: ai nr saute soroege it SMUT jsowoty its hiv Hats abe L io% Soe hits odin inne m5 : POC & . JO8 ; Ort Re yi yng alk to Bie: r ibs hr < 5 tae foftol ait 1 vinriensdmer piemn bignes BAW OFls cies k qq: oni tye ‘oat gest ant to adn m4 Tes coved tt Die Al 4 iw enone: a0 , yiew died: o1 29040 MISik te oH . ash bre k ; cx) “Ye ti Laub " a Sahat int. oft if : Ws voqein an ; % . ade . rae 3 joi tte . | Rs BO “y a3} —- ari j j , 4 uswi- tt Of “ fu : p ie" Lnietat Atoeanes we hs ee 9 » 4 “ ‘ ‘ i rk . oy Orth 1 The ge. : - ‘ ct iD wveasni “8 ty He he: . i ’ nt M urwvewgg ih : . a Pd 4 - "" . : e . p Leal ¥ : ‘ : | 4 . Ms = rt . re, , ro : .* Ve ° j @ * - rf . je . . . aw? & & 3 ¢ . * < = oF 4 - : : ; ripe Yen CONTENTS ies Ot ROMA ape a tae e yeas Fes oe A IA AY) abe iw Ou) 1. Arranged in order of serial nium bers [ROS ERE CD AAW BOE 2 JO MOLE 2. Arranged in order of catalogue numbers. _.......-. 2.2.22. 00000020222- Special signs employed in transcriptions of songs...................--....---- INaIROS Hl SERmeRs 1d heey 9 aloo nk SIGE, BORE IOF YB bee sytts fos OT 0 By Penal yale Oh CIM pPewaAPMMURICe!: ox. Posts hele l tees. PE UY SE I Batt What do the Chippewa sing? ShnS ay ke at it 2 ce OT! ELA IPED CLT Tap Wity.dol te Chinpewarcine? toons: eof ce esc e ess .3 SE Oe es Tabulated analysis of 340 songs...........-----..-2-2222222-2.2.. Seetboncatsiales ® Ree etd etal sIG 52 «<5 2S oo ints acs OM: RS ROOT, LU VP sTOHTeT: Mailer ronality. A age tas 2532 esha g <TD WO Moiese Table 2. First note of song—its relation to keynote.............. Table 3. Last note of song—its relation to keynote.............. Table 4. Last note of song—its relation to compass of song....... Table 5. Number of tones comprising compass of song..........- Maple + Gr Done materials 22.2 2c poesia tat cy SR Table “7 -Accidentals .... 2265 isc ack I ORT Dibble nS: Siete ctetcthsn oe eete ol. 3 65) fc St Table 9. First progression—downward and upward............. Table 10. Total number of progressions—downward and upward. Table 11. Intervals in downward progression .................... Table 12. Intervals in upward progression .................-..-.-- Table 13. Average number of semitones in each interval.......... PiecrubeY aaa ince Ny ktee SER Se Care ee ag meg bo oon Dor w Table 15. Part of measure on which song begins.................- Table thé. sivingthro of first Mmeasnne 1. <>. 5 syrner4 nm dpicteets wth: ters fhankesyre@hanse of Me: «gc aha as BS te ed cle na tee beelee ables 8 theiihns, pie of pected Jaaeumdasen berber Tabled9., Rhythmic unital sone igveec ltd wouing deneloulepence able 20. Metriciunit, of voicess!!iv ailecedal in adeweaisl Dad tid fable Zio Metre Unit ordrims>. 52-22... <...0.. 4... Soe se Table 22. Comparison of metric unit of voice and drum.......... Gran pimmi alysis ols dO Ob Baie 26. So Larsen n xin x a marerescem orcncpciarnrer open > ARTE SIDE Grand Medicine songs (Mide’ na/efimowi/niifi)...............-2.---- Dream songs (Ina’bindjigaii’ na/gimowi’/niifi)...........22..22.2... War songs (Miga’diwin’ na’gdmowi’niifi) ...:............2222-2....-- Love songs (Sa’gii’diwin’ na’gfiimowi’nifi)..............22.....-...- Moccasin game songs (Makizin’ata’diwin’ na’efimowi/nfifi)........... Woman’s dance songs (Ikwe’nimiwin’ na’giimowi/ndfi).............. Begging dance songs (Bagosafi“ninge’ nimiwin’ na/efimowi/niii). ..... Pipe dance songs (Opwa’gfinini/miwin na/eiimowi/niifi)..-.........-. Songs connected with gifts (Mi’gine, ma’moya/ne, na’ gamow!nin). . Songs for the entertainment of children (A’dizo’ke na’gfiimowi’ntif). - I) Tied ACC NIE OTE Se arts cg a RAS ge eae pete wie baie bite Melodic and rhythmic resemblances between song groups...-.-..---- ‘Tabulated analyses of resemblances: fit... os. oa. bias be an eigs 48 VIII CONTENTS War songs of the Mississippi Band cf Chippewa..-.................1.......... Songs connected with Odjib’we’s personal experience...................- Personal reminiscences of three warriors. ......-...---.-----.-.--------- The child’s dream of war (by Meja’kigi’jig)........- SS. | The training of young warriors (by Ma’djigi‘jig)...................... The war badge (by A’kiwén’zi) ............2--<-n.45 ee Sa ihren: Description of Chippewa war expedition, with typical songs.................. Songs connected with organization of war party......-.-....-..-...-..--- Songs of the warpath... . <<. siiew bes onsen ta bs weyers qe Se eee Songs on the return of a victorious war party ........--..-.-.-sseebin is. Sonpy of the peace pact. #2... ... 2.1... ....- ape War sohges concerming women... .....:.-...--..-Ge2bs «<ceeeide? gaP eb Tabulated analysis of “war songs... 20. vn, senate eae ae Children’s canies ofwar ie ot cet ee. Dy eben hance gt ee dgrum-presentation Cefemony . 222.) .<.4,224:.aebee OS: cbeclete eelee Ceremony of restoring the mourners. o> 2. es 5 Lk. ecciricice eet 2 Ceremony of divorce --¢ . a. 0-2 .5- Son. eos aba 4- tee Presentation of the drums. 2 biodos 022 ages $6 aks doa Lb. side saee Doe Feast: .)): :-gtapeaet oo -seBalet ath- vee Se ees tea oe ea oe - Tabulated analysis of Sioux songs of Drum-presentation Ceremony....... Songs of Lac du Flambeawm. Reservation: ;2):\..0s0% jose ebewel- 8. weleed ot -se ‘War songs! s so0.5 454.03: het ate ays ante epee ee he ee Tabulated arialysis..o.. 22. atk i aie Be sisi Reg a eee yearn ines. 2. cos 52s 8S Se eee ee a Se os ee ek Songs concerning a hays jabte,.i...a%ianwe sen pee - 2: ahda oes Game SOROS 6 nae tinh hac eet teie scouts saabeeasers tans GE aden. eee ‘Tabulatedtamal ysis... ase eee a ee ca i ae oe ee ee IOVEISONES ssa <o.2 2. kc oe ont recs oon ee AN oe ee ert gee ea Tabulated analysis.............-- RE LGD IN POPE I Fee Ag he od sCRP ATS IATIOS BUEIEE 2 oe Coie eas Sah sles dee nes we Oe eee ae ee Nouulern dancenonve 4- nee osc eee eee SS eee eee Sees SBME He pone concerns eit, Or A pony = oro ee ee oe oe ee Meecha pattie nonsde.-o. . So eee cos es aetna cee a eee Song forthe entertainment af children 2S =- 2.2. nse eee Unelassified songs—tabulated-analysis ..-. 7000 1) MRE Soh AMR ey Combined analyses of war, dream, love, and unclassified songs ......-..-- The symbols of songs which never were sung............-..------------- Songs of the Chippewa at Waba/ciifig village, Red Lake Reservation, Minnesota. Dreamisones . os ecisctas SoM arao den ke NE BSE - e SERS co Tabulatediatalysisvoios ki at oi tlet. eaeqniw). 20 stdah e Mido” Gongs... 2.2.5 x.-.9 co in.ncesntresdaada' omelet ion »'s-n cee OPE: ee suey eee Love SORES ..->--<--s--dbfietwomde ne ati Ms ang. eee See Moccasin pame songs .. . tin Seycastre wes - Fel! bated ee bP eee eee Mane soneges 2 cso ce shen stein = = CIS oe eee haces ase Siw beet bot ee Combined analyses of dream, Mide’, love, moccasin game, and dance == ee ee ee ome cae PY Senne HP Meee ey eco erg ON aes songs of White Earth, Reservation« 23 aca. % nina tte Sone eee eee eee Pipe dance s0ng8. <6 oi ae ak on «pence ain pe toe, Nildie” BONES. oa. ayn ek ee Fee ee eh a a oi mg = Mocéasin Pame BODES. fe. os 8 aie et eS. = eo, 5 ae Love G0nps ccs eee sc oct ee Sees a es oo Sonpstor the’entertainment of/cilldrem o-oeseeseeeeeeeraa.-....--.226 Tabuiated muglysis. 22:3. SS ... Rhythmic units of Chippewa somes... oe ee ee eee ns =~. oo eee ‘Authorities efted -2.2< +: 22:.544-4 oe eee Index’: JEfe ooh S 2 cots oe nc Oe ee ee i... Page PoC NI WO os oe eet aeons ae tne ogo she ee eee sees tees es Frontispiece ; POMEL CUSVEE S TERE) cis cee crs mee se cs oe) s odin ee a wlew ease’ 42 Sores eame CTUNt cert 4. he tatters eh ota kas melas ech sme se he 44 Aetioletn-the-Gay «3553-62-25 vice oo See 2 Sain Se ere re eee 61 i (Odjip wes war-nonor fenthers. 225! 222/022 PP ee ee 62 Ga One We Bet NONE DANIO Lac 2 os e's aes ek eb Soe eee 62 Pads we sowar club and war Geum... 220-205... 2 0552 ce es eee 62 EP umuive ume miivie. seers Jie MS 2 De Ph CASO ewe 62 Sepia Pantie 2 net.cn. Peat, RM atte Seon hie nS ae se ec he 63 jG: Pouch and measure for bijikiwfck’...:.....2..-i.-..55-02--.-.2222 65 ene awe ts Worture Of SCOUL... .2..22-2-2-26- 2 ese be ee ee eee ee eS 74 TU GUEST a RS gS vk a eer me a 78 Pema UM AE ores ee eine i Ss Se a As Sel see een cas Rape 83 Rm Net eae at act ae ks Seine Sse worm ste aide oad em cee os aes 84 ae lea Nl hn EN ae i Se ning ow ye aie eld d Seid aun eb wis = age 86 Te bor ws War WAMU. so 55- se. cer. te cok ed = 2 Se ete Sees ee 91 Pee aati HOM iC) OOP. a2 5- 2208 Sos we bee ds ein tie oars Sa o> ae 118 18. Drum and stakes used in Drum-presentation Ceremony ........---- 145 19. Drum and its custodians Peale Se Die Nie ete enters eA Gea dee So ore 145 DUP ONMC Mek WIDL MAND Mente 2 <2 sc. ais24 2s gears w tes 22 2 a ae te On eee 148 21. Participants in Drum-presentation Ceremony.........-.....---.---- 166 22. Participants in Drum- -presentation Ceremony. . eaete boi 23. Prominent Chippewa actors in Drum- ee eon Jeane spa 168 24. Pine forest, Lac du Flambeau Reservation, Wis ...-.....----..-.-- 184 2p. Lac du: Meambeau and Chippewa village.........0 6.2.0. - 28s eee gene 184 PR ree eka Se eS Sad pte va eaea nko wee ieee 206 27. Moccasin game at White Harth, Minn ..................05..5024-5 211 ie. Moccasin came at, White Darth, Minn oo... 22. . 22. 02.205 ee$ ane 211 Zo. Moccasin came at White Barth, Minn’... 2.2... 22.0... s ee op ee 212 Bier tee rMEARHD CyUIOE oo. 22s Store hoe ciens © ew cis sqm eine e yee 222 Bb. MUMUPPOWA, GRESK. 252% cose ova ann Eis Son. hag ctr owetoes 2 sharee 223 Bae Mieeve ald, Leeming OR DPeCWs. +... ncce se ceva ede detente ae 223 SS cal DUNNO Storr es Ra ai a pe eRe eee SEM Nae Meee en? 223 a ARE MY A NILA ar hg clea ce € SS. Slr eis em mye a= Sk vin Se Spee 223 35. Chippewa moccasin (present style) .......-2-.-.-..-..- 602.2 .e ee 223 ab. Acuippewmewmaccanil, (Old PapLern). ..2--s3b-<9 oes Cas ee Ue te 223 37. Ma/kiik for maple sugar.......-.---.-.-- Lye) Ee eee 5 8 231 38. Chippewa summer camp, Leech Lake, Minnesota .........-...-..-- 232 So Omip pe wa Clad WC-DOSkUS Soc. < coerce an. go- See at waclae wees eee 241 Ay, ane WwaIMediGine POLES ii. 28 Se. cet aw eae eee ee ene ae 248 A Snip pe wa, MCOICWIS POLES. c= cic ob Ce Soe te ss enle oe ee lteter 248 seed Lake. at Wabeaeilip, Mumm. 0132 foe Sele bp ek eke ae 251 Reaomippewe Camp at Waba cine, Minn’ 27. .e 2202.2... ee tk te ee 251 a2, War dance of Waba’cine’ Chippewa. 252. 2o2.6 0.8 ce en | 252 Zo anceon Waber Clam OMIDPOWaA: no ...-22.2 65 soe ee hsoed oe Gee 252 Pape Pe MRR ANN MEM TIES 2s oy dats ela Bre ba See Ae obs aighn eae tise ab es = 34 2. Dried root of bi’jikiwtick’ with feathers attached........../-.-.-- 64 fuse he gin Coy 6a aa 6g C82 <a ea i ne a eae er Tester eae, § 146 Pe ESMeCEN OL THOCMANID Sy ccce tee. Oe ease eee pecs doe ae « 224 5. Birch-bark cone filled with maple sugar. .-... AOR Re 5 AGN ih Re RC 232 6. Design on cloth attached to medicine pole (native drawing)... .. .. 260 ILLUSTRATIONS Ix ga ee fs = te Pals ee C& pane ee Os BEES Yas 14 Fete. “te ein tg Re + _— * LIST OF SONGS 1. ARRANGED IN ORDER OF SERIAL NUMBERS SONGS CONNECTED WITH OpJis’we’s PERSONAL EXPERIENCE Sones or War Serial Catalogue No. No. AE eC OWORTN BODE. ool. oka es teeth te es BO EM SY 392 PenGo wera timateWar RONG. 2. soli sob et ee a eee wp ee oh 371 PE GS STH S24 EET 11125 i [5 3 gmt el ee ga a 346 cree pena MMT TSH MON AALS ob ae hes SB oo ees eS 387 Beacons olan unsatisied Warrior... 2.2... 22-22. 2. bse ase i ans ge ses 391 me ORSON OMS. Se ee ak tee. De ee ae ata ees 384 wetter ORV GACT AONE. 3s dose St oe Se te ee tae ad 386 Bee ea iiccomist i Cre Wine o.oo as Sn iet we wie oe a an wie eae ai ee 338 Sematenntne aH OE MRERCAMIO Gens oC oe 5 ep aie Moe als oe 339 LL RiRBRD S IE 37a tS 2s Sanam RR 8 2 ce a ga $37 Pe, Soman Aine i Wai MPSSON COT os po ee Heel nie Sate 358 12. Bemamaot tae) War Messen eer ee on ao wee we ascrciernerdieoeisierenernnve 359 Pe REM EIORR, BRE El ooo. 2s = 5 Ixia wd Se dae eee orci nates 328 Pt hae Who siayed at home so - 2 wi... t eee once gee lego lan 388 (So nF lig OD SON ETC 8 Se eae ee i eee he ieee iene 7 eel a ORI Ge hgpene 360 i eOnMbe MIMO Gd Seah ccs 2558S 22558 roe oe Some ee Aa oe eden gee 361 Me Me eetpnee 25240 52505208) bcc del Pech essere ede eae 362 Me meioer ate tM TEMMEP.\ 08 227 orot> 22 one ee oto De feed ee ooo Sones es 343 Srey Shem ROeG Uae SOUR of o5 Ses oa s ends ood tee Esse ngae dons 333 Bee OUMCMNNCR ANS SRE nn ree SOR 2 S25 Sika dens elec ely shack ods 332 uM aLMROmieaimer es WLY PCO emt oa (UMAGA Rabo Naa oe kee he 370 aa renmbotune Ol yielWiHek". - 222552532222 se 2 yoo gs ee aoe 372 Zo, ancine sone Ol the bi gikiwlek 2060-222. 0a. fe gse An one ce dg ose oe 382 Za, Parse coum ofthe mi/nisino wiick. ¢: 52-2... 2202.2 s de ge wns lente ys 373 Boe SeCONd BONE OT TC MY RISING WOCK a. san wees op et a a= ot Seen oes 374 Boe tented, Sone Or LNG ail MistnhO WUC. oe) 2 oo ee ola Race alate oS 375 27. Fourth song of the mi/nisino’wiick...........-: see nT 376 Pee HOOHE.OL SWAP CHAE. 02000 0 Se ae ccs aee ns Se eae Ss et 369 Bete PUNE MRE. oon ccd coh. te sees age i rie e KOs on a 2e Boas 341 30. Song of a man who rushed toward the enemy.........-.-.-........ 329 pene RE rinntae OREIE A MAIR. oe tte ia Re were ata oe eee Oee.d Sel hele «sie s 349 22.) cone of help im the, fight sy sas gece 29: ra -dasbagter- 4st Hewett - ~~: 385 Soeuedte pan ot Naihe’ DINEH 524.6. -~o<ss sos ues shRse nesses ee acsc 335 34. “The Sioux women gather up their wounded”. ..............--.-- 336 ar pRMOML ATE IAW INO. CAMO oes ices epee ou 5 eR Ms 342 aot MOUS Oh Ghe.exhausted. WALTLOE > 2s bcieenteeny re feo we oI 367 NOIR BPR a tie Sah in ath eS ar io cen apd wre no « AORIME AED. BOE I 389 PM CAN MOINES Ft scant WIAA IRL VS NER ME Lard § SO WILE KUM 366 eee ao Ome Ob De I 4 os 526 ns sind See Sar entetaern tens» LAR OOS _DNB4® Sets 2\U ULI Fe ¢ SUC a mpg eg a a Ce ae a ar 365 Page 67 69 72 73 76 78 79 80 81 82 87 102 103 104 105 106 107 108 109 IE 112 114 115 116 ake7 119 120 121 122 XII LIST OF SONGS oe | Catglogne page Al. ‘Victory SON... 2.2000. 1s Sons. eet ae bo er 345 123 4D. SACOM oo... oo is aan Lode eelsa ce eee heen os ek. ee 330 124 43..“*l_ am called”... .. pew tock shee cist -¥dEASe aah Soe 331 125. 44. Bone ef ithe peare pact... 5 2 -- ein: sae pe - acing 2 = eee 352 127 45. Song when offering the peace pipe....-.-/...2 205... 6 see ee eee 390 128 SG VR WENO PA BONE. Soo ce bs as ee ee cee 354 129 Ave sUa Win CAsOUC sc. coece seca. fase chest ese Core ee eee 355 130 a0; OnE CONCERNING &2 brave: WOMAN... . 202 a5. --...- cee Sew ee 351 131 49. ““The Sioux woman defends her children” .................-------- 364 132 BO. Sone.or Mie capiye SlOuk WOMB... oo... -2 5. ame eee 334 133 ne War cone of Odjib’we's childhood?! . $3. 202.05 22. 2. Se ee 278 138 Mefiporeociure the Boye ReUh ooo -foo se) soa bones. 22d. eee eeeees 279 139 Baw LViiipoeiris: wath BONE «So. ae a ks oc f enein' se REI 280 139 Sones or THE DRUM-PRESENTATION CEREMONY CPU Opa. Gepiebibess 2 foo! oo wa vei as Cmte d oe ee ee ee he 149 ae ROOM Or Che CIC! c,cae. 2b soo ecm ce on Re aphees Speen Eee eee S.2 150 am: SONS Ol tip BHGAKOE 5.5750. <5. sb de en be eae ee Ee een Sic 151 Dr. Done OL the OWNEr OF Tie GLNM fo0 2. feeds 6 egies Ce ee Soe 8.4 151 BO. MONE Ot like WALMOM-.2.-0s fio one bee dae soe Sa ee cee ae oe 8.5 152 Boe SOHO ar CVE NY INS OMNES oo) sea e cds Ohad etn oe ee S. 6 152 Gu: Sone ot restoring the moumers; 3.22. c. foo. 38 oon es om eek a. 154 is OUD OL PAR Lhe [HO ICON. 2.28 nto 2 se Set ee me ee Pee ween 8.8 155 bo MOUNTS JHONO teense susie aioe Seyse sas Sears eee Ae ares 8.9 156 bay Phe pound comes pleadinely sid oe ise ees gel ae ee 423 158 i PHO hy Ons Aare BinMiiIe 7 .)Ll sce. so ke so Sonat aces =: aoe 424 159 ay E SO oe pore sk Sek De vee wks aes ese ele Slate eo en er 425 160 CEOs nora eee 20/3 3500 a ee a ra as Meta MEET Sa a Ae eis Des 432 161 i PREV ORCD CUEE Sm SS eta ore Sm oe ie es eee hte Sen oa eee Leen 428 162 Pers WORheO) BOE oF oo Se Sad pc oe cee ee ane See eee ie a ere ee 429 163 Oo SORE OF Ue PRO. 762 Sean cs ais eke oo ee ge eee ge Sea ee eee 8. 10 . 169 Ps IOUT Pt TRG REUIAR 2 atu cia era caha 2 set oleae a ACE EO cil ies are oye Be 170 7 Eons or the Closed GOOr sc o52. 0. cae At ois hn 5 a ee eee 8. 12 172 Te SEARS AONE OF tive Ge BONE c 2 — nook en ata ee tae oom nae S. 13 173 7a. SOCOM PONE Ol ENC GOH GEARbs co. sacs tees = ce = pinta er ties caer ee ae 8.14 174 Toe er aRINE SOI Oe TAN RY FORRG! Sots on oe See es as ae bie in ne ae 8.15 175 oo, UP Our pile OF Le UDP inCRHO. pa. = o> So Oakes anny ce 2 ah ees 8 ee S. 16 176 fo tis Dem OUNtHhe GbE eins 2 Sas lee ei oe pee apices eee ro ae 176 77. Sixth song of the dog feast............---.----- Sgulveatet Bie oat ahs 8. 18 ie 7S. pevemin pone a: the dor tenet. 322 F so SS eee oe noe 8.19 178 Te oWW GEES GHEE oS ec ace. Som eee ant ee erie sho Sena S. 20 178 oO; Bolliger butberily 20 foe ee ateaes Ueno ae ca eee rea 437 179 Sones oF THE Lac pu FLAMBEAU RESERVATION War Songs 81. “A sang ‘of indecision... . .2o..22.-0 22s- ere ee can SO BRO 393 185 82. Sonpeof the sentry... .... B..-.--2.-.. knee dee eee 409 186 83. Sonp¢oncerning Gwi/wizane:.. 2.25.20. 505.46. 2l bas oe eee 406 187 64. “The Sioux follow me” ..... 5.0203 305. <0. 5. Sk 407 188 5. - i Angumd the ay” 0.22205 ve eee oa 415 189 1S.=Sioux song. LIST OF SONGS XTIT Serial : Catalogue No. No. Page PPMIEOPAL A WANTIOL Sooo. oes - ninco clas enw wane ee wee Be mes are 419 190 ES ete i ee ae 426 191 cos LENOIR TESS 0 120 DSS Se eg 411 192 EE MG INONS Cc en cc os. Galo c hate ecins bw ss begcco ee een 412 192 PU arsane (NOMWOrdH) reels SEO APN i Ne 416 193 91. War song (no words)......./..-..-.---- BASS SLIE ge a pe ge te 417 193 Rome Me e0te (NO AMOFUB IS. fe) 2255. Sees es ee UN ee 418 194 Oars Warps nmowerds)iS ff _2ien tat! Syl eae ne . Lowenstein) o6 we 420 195 Dream Songs ee eomemn tae Suncerbirds =... 2. 2+ set es ee ees ee ek eee d 394 198 er ISOM Geer (Goons. 2-8 2t. ss See ee nsec ese eechs- ces ess Wat 398 200 II MO ACER GD) S228 ooo bene em Ab ein nis oe ow ed 402 200 a RnR He Cer DAMCIN. o.oo le ssc dl sangSe deena. dat acind 433 201 ere EIUUMI GENS, S22. on be nde tas ses da ohencdew accuse get 434 202 uO JR) Pg ae ee 399 203 Songs concerning a Boy’s Fast ie Sone*betore a boy goes out tofast...-.- 2... - 22-522 220 eee eee sant 421 204 101. Song after a boy returns from fasting..........-- DSS SRR 422 205 Game Songs 102. Song of the hand game ........ Fels 2 CRS gee SEE OA 395 208 ethane Mietaaptin Pale DONEC) os oo Sct ieae de ae tee eee 396 209 Re acearim ame, ONE. (D) ooo. oa a eae Foe ie eee He ee dlp Be 5 397 210 Love Songs SCAM ENEL MIS Ce pt eo ey Ok coos gat Soe kaest Lee 400 216 TS MGY LT LDA Spa Ea Aa ie i a eae ane fe ae rape le rai eal ai 401 217 SE RRL OCG NAUULY “oe cetanace a ns cece a Co nce cee net eee te 430 218 rer PEN a AITO, Ge EEE 38.8 hele came Be Sere Oe SG Oe ties SOGS EEE See 431 219 ier tn LAM ONOE Hen 2 oF 322 leo SE LS accel ee eer LY 442 220 Meee Wecmitgior mig lover”... 22 i205 it2 thie iie ies eens ote ee 443 220 RPG ie Men tS SIP ae So Sy elle oak or eee et Dae 444 221 ee Sooner an Aas MOM! SLSR Sets Sneek ees eee eee 445 222 JUS} DOONEY ES 1a Se pee es ee Pe ee NE ey en Sah eee RO arene 446 225 Begging Dance Songs ibe ne OF HAE BOPB tes ee eon on n a re oe AOS Hn can ais) ee oD 403 22 ise. sdere l/come again 7 lee so ek ine Seek ade ase UO he sed 438 230 Pie oe Miawie SPAR te. eso etset od ose ibe aso slaps ehattued su ces cada! 439 231 Peres Nev tenvens 2 SAPs ae ha sh ss eiels ge 4 2 be Sees oon eokeins es eeu EEE 440 232 i emosnte al Uncnice 108 1600's 352-0 .cse cele Go acs acs eee ae Ral Chee 441 233 Southern Dance Songs MN OMIM a am eich Sag waa ay oan ence meas ye od hincks hes 404 234 Pee ieee OUI SWOOLUCAT,-o-.- +. .= 55/95 saa5 deSeeeoe tee nee os fone coed 405 235 etm (ON OMWOLCLS JME etre Mate eosyc lar. aco ichan wy eae arene aici ace ae as 413 236 PP OMMIU MRE oe Soir se See ea. 2 ine oe ene oa sm alge See we 414 236 Songs concerning the Gift of a Pony 123. Song accompanying the gift of a pony..........-.-222.22.2-42-24. 435 238 124. Song of thanks for the gift of a pony........-..-.......----.------+-- 436 239 XIV ' LIST OF SONGS © Moccasin Game Songs Serial Griniogie No. No. Page B20? GNO CWETES anc... 5 +5 seh Sate neous inode ce dake Meee = 2 SOR 410 240 E26 (NO WOES)". 5 a2 60-0053 s Wen eed ss Jd a ee ee Sa 427 241 DES LAMA Y oom 5 sit sacar PDA oo ooo eens Cee oe 447 241 SONGS OF THE CHIPPEWA AT WaBA’CING VILLAGE, Rep LAKE RESERVATION Dream Songs 128A, SOR Of SPRING = os roots ssca cece eese asl rat ae Col! UL SE 289 253 Ter, (No wikds)(eec sre hela sesetioc sles ee ses stenerss ss tek ee eee 315 255 Poo (NO WOEOR) Sots Hs 25222 ssserccs cee ak Sot een eras cen! Os ee ee 321 256 PSs, (Necwords) 2: Szacs at os2 ht > 28 bh ote} cs ca) SO 324 257 Wee. NO weds) > 3322 82ctres2:8esshgeess st oh iskec ices ec eee 327 257 PS ONO WURGR) Slo. 22852 2 isec phe et 522 ece Babee reas ep ee ae 317 258 Be AIO ORCAS ae Oe i a, yl Re he ete ne ee a oe ae aL ae ae 320 258 Rey GIy Wyre eee Ny a ee ok tin ee ocean Ayo eerie 323 259 iso. (No words) 2u8<¢ oo es see, s see e dacs Ae ee 325 260 137 (No words) ect sone S: oe hee 52652 ode. SOO TO Sees ea 326 260 138. ‘‘My body lies in the east”’.....- PS en ei eee a a Os Be 308 261 ee Ob tne Te ee ioe ek nn ep seo Poke es Sedat ae 309 262 140 PaeGarmedmmroimn daumerskayy-ressscne sce ees cee eee eee 310 263 Mi SPheapproach of the thunderbirds so.) 202i eee eee 311 264 HAD ante rcdniry etre ge SoS FOS AS AS eee eee 312 265 Ree itr Quimele fs ere eee: 25S Lee te Banas Aa aes A See 313 266 PARP NOR IREREULIS oho jag So ia oe 5 ale een ae Sak tem meee PA ee ee 319 266 a. Intemie Several heavens” 222+ pence sense lek pee eos 288 267 Ian iweomes' ince each: other... faci. acs soe aos eee cee 290 268 liane A WR RRR eT el Ee eth twa era Se pene eae: Ss See eee ae 291 269 ge es sey willwrosound ” . ...02.05- 00 sheen oss Soe eee ee eee 296 270 aS SOnraes primar BSS. Fe hs sae Saath oe arene Sie ee es ee 298 pay aie Aneneenianmette: Clog” 52 ehh as). eta tae nce nee es 299 272 ioier “Hesror clouds? Sivas nck bone chien ee he eee erie es soa 314 272 eae TIE hie Alay oe Sith alc Geicim Sains Mee Sino ene Ree oe ee 318 273 1os.9 we MME CEUMIMAL SSUES ce coool en ele Dene nae be ae e 322 274 Mide’ Songs Sune (a ieeenoide GiithieWiaee oc... Sinn cose chee ee oe beast eee eee 306 278 ga ee cs ic) ee A ee ne Eee WOR Be) AR. 304 279 Pa SOUS pied bates cok < wcs sewn ae sig ccc aa ae eee 307 280 Love Songs 1577 “have lost my sweenmeart \erec os se aces ote se Sea Cee een oe 300 280 Tey ST elt not drial. cas: 2S Oe aes sn Soe ae coi 301 281 To: (Ne Words)- 02: 252 22225-02525 v cede dans 22se- see eee 302 281 160: (No Words): -s--s5223 3 Paae sss 5 sano de ese acces cone ee ee 303 282 Moccasin Game Songs 161; (Mo words) 2250.5 poe ose ee es ore ataeleie = afc sie Sie a sree er 292. 282 162: ‘‘The sound. of his footsteps” -......- /zeser, b-len 3 2 8 «apd Bate aap ties 293 283 ISOs > (NO: SPGPOS) ve siv peters zeus’ See Bivinn. 5nd «i: 1 eee aot 305 284 LIST OF SONGS Dance Songs Serial Catalogue No. No. et ME CO ADDI gre as ee 295 ay ee EM BMAQR neo eee et ee a SelSae sn Neca Soca e es 294 PGembCRLer i away Vso Os es earn Sais Pores 2 eisees ee er TLE 316 eee enue entire world > iteacat ay). Seba aed J. 2. eid 297 Sones or WuirE EartH RESERVATION ee em CVE Bat Aer Sree eee ee, eke AMT este 268 Smee lh were a SOUAM-IAW oun a. tse a st Sem e ee done bese ee 269 ITT 2 TSS ag el ae NUR Senne ae Ee 270 Pipe Dance Songs PMR, ce eE ete Re EE oti Neg vic cele Che pte ded ee Ae 408 ete pNONER See co Se Set oll eke le we Seber 281 BE lee fen a towel ceadetar tks +): Sites pial Hemet does =,2netda't 282 Mide’ Songs Meters Purina! Some uid seroma tale INIA. S|. a. eteeweeds boo. eee 283 eer pees Mita lt Sone bo) ceria ls BOOR Loe cece ere hw sare vet ok = 284 " Moccasin Game Song PU 0 GN. cs 0 SE ee tesa ee) Serene an Ses 285 Love Songs See a einbeme tone my lover”) se2).2A + disc wsel: aide th Lo. oo oc 286 fete site te) SOMO AWA nde ee OES te Los son ICOM Lote eo 2 ot 287 Songs for the Entertainment of Children ' ieaeonecmbe (ate of oilences...0. 0... 2... Yoid LV ee 448 eM, GPE G CRA WING. 9 oe 5. oe nish ye 2 2U, SE ee as oe 449 1 See also Nos. (serial) 51, 52, 53, 127. Page 285 285 286 287 XVI LIST OF SONGS 2. ARRANGED IN ORDER OF CATALOGUE NUMBERS lage Name of singer Description of song Title of song 0. 268 | Henry Selkirk......... Unielassified;..2- 25-23. “We have salt??....:. 230 eee 7) (6 Co panes See cai © = |pse5- OO) osha. sees “Tf I were a son-in-law”’......... 210 |, Main’ gans......02.2. 758 Lovesong. 22.3222 .% SP WViGnle StORHIl iy? tia 2 Soe are?) Odjibiwe = cee 2. 43 5.228 For the entertainment] Warsong of Odjib’we’s childhood. of children. BIOS con (1 tr eh eee ei OO sehe coc eee ene Song before the boys’ fight. .....- 280 |..... (OS eer eeere (ee dose steeise eset soe Little girls’ war song............- ABT ate CGS ese ah aps ay : Pipe dance song.....-- er Eanle DIOVEER’? 51552. << nies eee PAPA eee COR SRL SEH a Ieee Se dO-siac states see CONG so ae eee eee 283 | Na’waji’bigo’kwe...... Mide"songimes sea.2oe = Mide’ burial song (a)............- cy oa RE Ae ee ma COs see ee Mide’ burial song (b)..........-.. 285 | William Potter.......- Moccasin game song...]| (No words)...............---.--- 286 | Mrs. Spears..-......--- HOVE SONGS ade = geneees “T have found my lover’’........ 2Ria eee (0 bo es RE er te es GOsa ian Se eee “He is goingiaway 2... 22elk. on. 288) | Aide! pile... os5-22 2c Dreamisong. 2s. < 2sees2 “Into the several heavens’’...... 289 |.-.. 4 high 2th eee col es (50 ey a pee Sef A:song pf sprine-< = eee ae Z90N Po AOS oneness leone (6 (i pete te eee! “Two foxes face each other”’. .._. PL) IN eee eS ae el eee do. iS: Ae 2 SRO TOMA OL a ees 2 eee ra |e ON. 0) see See Moceasin game'song: -.|) (No'words) 222.2: 722252 eee PB ees CG 0 pi eter [aoa MOS Foe SS as “The sound of his footsteps’’.. - - 294 i fo GOSE es sen e- Senee ese Danceysong 3. °F 223 52-% ‘Oro Iolied a man?? 2. eee eos 205 |Saes Gort caro. ADEE Woman’s dance song.| (No words)............-..------- 206i) Re ariwiie: 52e2 2 53 Dream songs 32.65.25. “The sky will resound”’........_. 297 Nseees LOUD Eee se see eset! Dancesonr: Ass sos “he entire world’? --Seseeua eer 7 ae ae COE ey eee Dream song........... PSOne wind oes nese Erase eas 70 ea 00 ee See PS (010 nh Bie ae ene “An overhanging cloud’’....... BU.) eee COGS Sa Se ieee MOVE SOME: nic. ees “T have lost my sweetheart’’.. .. BOL eheee 2 a pat es a ieee iene Meee C6 (ta aegis Oho <T willnetdrmke <2. .esnee 302))...-- G (5 ee eter eee eee DOs2e seve ees GNonwoards e527: esc eee SIE Fl beset 56 U0} Sees ge es a Soe eee Os Ar se eee eee | sae G0te saseete. pea eee ee S04 a asa GOse ee eae o Mideisoneh-2. c---o laces C6 (> ae pe ee NE he. BOSi)ooacr OS ee ae eae ee Moccasin game song. -.|...-.- GO. oc s.eh anecc ater See Sees SOG) ee 2 GO) esse Taos Mideisone- 5... as-s-22 “The noise of the village’’. ..-.-- B07alees: LORE iss Heese esse ae Oh seoae eee ‘Bokingly ss 7 -t. -- aeeeee SOBileeeed (1 Loves ARS ae ae fee Dream (doctor’s) song .| ‘‘ My body lies in the east”’......- 30916 -oe OP a eae eel eee (haere meso orace “Sitting with the turtle”........ Sh 0h Baaee dove ese Nosema: cone Gs a8 eas cate 58 “Carried around the sky”’........ ak ae GO seers esos cane UG) Se setnsees cae “The approach of the thunder- birds.”’ SI?) e.=n8 (3 0 age tet tet a a SAAOER Secc a eae “‘White-haired raven”’........... Bb Bes GO: Sixt ee ve Folens AOgtetes sage 2s: (No words)=3- 3.222: 5-2 eee 314 | Ki’miwtna’/nakwad. Dream songs. 5... 2< = <Heapsof Glowds”2 3-55 2e eee Ay G9 ere MGs 2 eb Ssoee es Saletees MOSS Ao oes 8 (Noswords)).5: 25 -s222nesee a Beep 316 | Gegwe’djibi’ta@m.....-. Southern dance (ca’- | ‘I carry it away’’.........--..- se wuno’ga) song F 317 | Awtn’akim{gickain’..| Dream song........-.-- (No: words)..:.55-03. 2. Ggenceees ABs ee co (1 piece eel nen (81 eae A rege ‘Around tne sey... coeeeeee es SIE oe ee (0 (6 a aera ste EE Mice GO. So: Sco eee CNotwords) ii. 25 2222. coe ee S20 iS a-<xto GOn ce thd. ieeseeeioeee ODS ee ei acscoanscus Ere GO ee saree eee 5G eee (6 (0 eRe ee epee MIS I HOPE Sts Cuca ea Acpeese GOs it Rie eae ee eee 822) [2352 Cc {sar aera pm ermine | ta ye WO es SAS. aR AEE “The thunderbirds”< 2.224... B23 Ts. Od: ho ee ee Warde Gt; Pee ee (Nowwords)*.-22..2 252 DAs 5 o's CS ae Ree ls Ream eg ells lee DO os,22 see nl shee wee ee 325 [c= Os. oosecemesoeet | wees DOs ca Boose nosloeeete CC REAR ee area ener | LIST OF SONGS XVII Cata- i wt : Serial ng Name of singer Description of song Title of song ae Page 326 | Awin’akim/Iigickin’..| Dream song .......--. (ONTO 6 Me rr i 137 260 Ba eta dose. 2 eheee Bee Ba GoM: We She. 3-6 ce c|5s os OS a 3 Ce ee enn 132 257 es (eOdtb we. =... ..>.oe2e8 Wansonetie ie). 25. MMCGLMOMCAN <o omscaeG cancers nce 13 89 Oa she G0sSeacs. <ccmi ce ee Ree Goss Sere 4-1 6265 Song of the man who rushed to- 30 109 ward the enemy. S30 iat. Gof. o.. -e. 2 -eeea sera ol! sS2ase.. <2 SAUCERS teen cm see Ea eey 42 124 BSH is te C0 (eR A 2 be bree nae do miesseess. 5-5-2 SOLSTINEN EGG I eee ae Re eee eee 43 125 3327-ees = Dos re enue oS Sa ee Goesesee orcs. AC WAT DING eee US eee ee 20 97 833"| Be ORs oe ce oe ce eee ae OEE Le Se “T will go to the south”’.......... 19 96 B84 uae Ot iat eo ORE Ms Mane bos = Song of the captive Sioux woman. 50 133 335i eee (010 Ae Aa es roe semeiet (OPS (0 (0) | ge 2 ore Death song of Name’binés’....... 33 114 SB cee (0 (0) Fee ae ee ee Gor Mee T sus “The Sioux women gather up 34 115 their wounded.”’ Bal | eee GOSS aa2 Sseeese|- Peet Goze lwseertst ects “ At Ca/gobéns’ village’’........- 10 82 Basi |ekh. (6 aa eS ee ed ee Cots e505. ce Death song of Ga’witayac’....... 8 80 BOO! seek. 0 (0 pI de Gola. Sr a5 See “On the bank of a stream’’....-. 9 81 Baily eA s 8 Gok: _ x. eeietse ew || veiz Ossie Se. Dru sone 9a. 4 oo 2s. asceece Ses 29 108 B42) ee = (c | ee eR cae ea CC fo) ot i ie ae ee “They are playing a game’’_..... 35 116 BasiiGek = GObendnasaccms scisen| Saces Sto os) eee Song of the leader..............-- 18 95 S45 ees MOsepets ese acas onc es loft St Sasa. cis. Victory sonme hs. 2-2) 220 ieee. 41 123 346 |... GOL eee eee eee acid ace dota se 4.0 Fen “An eagle feather I see’’........ 3 72 348) | sae (ee eg s- aeeeeeene bae ae CO (}ias 5 Sees The songiof Melkiimi. 2. 3220-22. - 39 121 349) | 2. DOM seer. ose eee een Glee. Sa eae ‘(Vf I had ‘been aman’? 2.2 -- 5. | 31 111 Sol} 2s. = LS SERS ees creas eee don 50th sca eet Song concerning a brave woman. . 48 131 Zap eos OF sept ences ere see | eee (0 (ER ee ar = Song of the peace pact........... | 44 127 B54) |e Ors fase ccs < |e dQ Stes PER oa Ca’wino’ga song (@).......------| 46 129 B51 | tee (6 Cees eee Ee ce LOT EF oS 3 Ca’wino’ga song (b).......--.--- 47 130 State ee MOreSaccasacsceusec|szias (UES Ss: eee aoe Song of the war messenger... .... 11 87 S59) | te = Os eeesasseecoten | fone Oa ile 8 Bae Return of the war messenger. .... | 12 88 360) | See =< OF a cee Peon eee dope as eo... Pledpesoner 2. 2cfec ca. eee eee 15 92 SEL BR GOs she coon teens See: |\s=eae da seere 263.20. .- Dance of the dog feast.........-. 16 93 B62) | ast. - dos. es et Sei ed OO Ae Song of departure................ 17 94 G4 Mk Os -SReuE AM UIE ee OSE. SEER. bk 3 “The Sioux woman defends her 49 132 children.”’ 365 |..:-- doles aghast eae Glee eet a Ss Song ofirejoicing |... ...-2--2-=-- 40| 122 B06) 28e. - GOt soo cos ES ees os ee Fe 2k Sa Cap SON SMe casa pescce ee eee 38 120 B67 eee GL SSE Sree tes vel be ereaee Cote} Song of the exhausted warrior. --. 36 117 369!) oe. - GOS eee cceee ler Seen Ch Se ato ae eee Song of a war charm............. 28 107 B10) |aeee Obese sense ceases |aemee COTE 2945.5 eet IATTOW. SONS YES 5 5 iss nc cE) Ee 21 98 Sy AL eee 0) ee ee Sec ae (aeaee GO! SAS so sss Odjib’we’s first war song. -.....--- 2 69 G72) | Jeo: Cotes ae ete eee dO. 228s = cecaens Origin of the bi’jikiwfick’......_. 22 99 373 | Na’waji’bigo’kwe......|----.- does sa etd =o First song of the mi’nisino’wick. - 24 103 B74 RL. OG aoe c-ckece vee el aciae 5 GOS 58 SET a. crs Second song of the mi’nisino’ wick 25 104 Siar: MO PSe ESE LS ices |e ase Gomis #28 oe. Third song of the mi’/nis{no’wick. 26 105 SxO Watt ct Lo ee an aa BS Eg bes doh. hx see. 2S Fourth song of the mi/nisino’wtick 27 106 Beau) Main’ pans: 22... 32 9S owt see eS tse Dancing song of the bi’ jikiwtick’. . 23 102 384 ONISK SWAN Lec. we ses cleo ocn Golwent 204). War medicine song............-.. 6 78 385 |..--- Oe fen aa | a Os 25.22.22 .ceae Song of help in the fight. ........ 32 112 386) 5... (5 Koa ae ra ae Pe (6 (oS a Niski’gwiin’s dream song. .....-. 7 79 SoC Odjib were. 2 2. P22 S320 3 outs: -toeaacaaee Song of a mislaid scalp..........- 4 73 388 |-.-.. (GU 5a ener erties me |e oe Oly? | ene eee ““The man who stayed at home’’.|: 14 90 a89 | 24t : Ob nis 2 ER does. wee8.*2. a Gilpeampes St a 37| 119 67996°—Bull. 53—13——11 XVIIL “ LIST OF SONGS logue Name of singer Description of song Title of song 0. 390.| Odjib’we.........-.-.- War songs: 32202: -.-- Song when offering the peace pipe. oO ere GOs hearse sa - emer eine CL eae | Mop eso Song of an unsatisfied warrior. ... 392 |\et GOs. set eesstnsne as eee GONE Bre be ece2 Odjib’we’s dream song.........-. 393 | Mide'wigi’jig....-.-.--|----- GOL 2 Dee =. 28 A song of indecision.............. 394 | H/niwdb’e.......-..--- Dream'song:’....:..-2: Song of the thunderhirds ........ B95; ee CON ccccckessccs=teleseras ce Cope ee ae Song of the hand game..........- 396 | 425.. Goes 5 cite ta dttesclwere Obe? Se Eee ie Moccasin game song (@).......-.- B97-| 88. - WOde cs ss tek teesceee eee dod res Ae ec Moccasin game song (b)....---.-- B98) eee GO sn 2 cen ek ee 1 He 2 Gowen Lo... ,-e-| HORE onbhe deer (2). 0.25.22 .eee 399 |..... doi Cates Sie 4 hie GOSS See retane e Soneionbepuiralo -..o.2 2.22. <ece AO || Fe... GOFa ccs ee ee MOVE SONGE Sos. <2 ae SSG OWALD MNO? 2. 35-0 oo5m es s'sseeie | ANT Wee ao Cos GEE Ue a: GOs Peete aee CSW OMOUMERD tacts 2 aa). tnenceeeee 402A We care Ose. Sas seas Dream sone. 55... - Song of the deer (b)..........-.-- | A035 Jeeice GO ose cic cree eS Begging dance song. ..| Song of the dogs.......-..-..-.-- ] AOA |2e2. 2 (0 I del Southern dance song. .| (No words)............-....----- AOD: es - < Cc {0 oe | Ea (Oy eS eee ee “Invite our sweetheart’’.......-- 406: | 2. QUE eens ee eee nas Wiarisone 3 5iees 2.32 Song concerning Gwi'wizins. ..-. 47 | 6. - GOs... a5 <0 - ONS RHEE GOSS C8 s.- seen “The Sioux follow me”’.......--. 408" ae =) G(0e ete eas SE eres Pipe dance song......- SOLIS ea een ee eee ee 409 |...-. GOS suoseeo eee Wansongioiet? 2... Song of thetsentry. 52-2... ss-c8= ALOU oe dOsescescn55 eee Moccasin game song...| (No words)......-.--..-....----- AN |e <2 GOs ween or ect eee War SOBEL AE. 55 cle <de0 CNRS: Awe PN en ey ee SPR 5 pe (i fo epee Sepa: = 2) BL (Cee eS! See Perey co Lome 2 eae reir ete, A413.) .28.. do:>. Aoetiee eee. Southern dancesong(a)|----. (Ole SORE at eee eee AlAs) ee Ota oo. ack ees ee Southerndance song(b)}.---- (OO eS, Cae, ee Se eke ey ANS cee. = foyer ee eet ereawe &. | Wiarsongt iy -e.2...<- “ Sround he sky27_ 522 ¢-s6--25e5 ANG) ee GOS 2 cbse iat ace eee Go eee 9S CNG MWOrdB}® <7 5 <S=-.-ee ets oe 7G ah 5 ae GOs oc. oon a ee OT Fe BHR 2 eof acem GO! i, oa Acie oe eee ae AIS |. 6... Oz aici = s RE Ne GOH: SESE aes ccna Os aSttse casos es eee oe oes AIO CEL (6 fay ane he Ss ed) ee oe Go) hy 22S Tine aS amar OF eons eee ee A20)| Be (0 (0 eae lis dot pags feo 25 GNowords)®. so. s-c-8eee oe ee YANG as oe COs eSen asmocrs Dream song.....-.---- Song before a boy goes out to fast- - BOD es doled. etalal. Sere. Gots Aer oo cases- Song after a boy returns from fasting. A283) | 28. : QOss eas ee ase eae Wansonpe aise... “The sound comes pleasingly’’.. . A24Ah ee. (010 Nes a emer yer~ ee Se GORE CIE oe “The ravens are singing”. ....... DEE. ae 02... TA ber tess os? teh oe coe CNOWOLOR SS ea cieesnesceebereeee B26) \ ee DOsast cbse nse GOs Pe eee ed Lib olpred at oSts( Cv Hc ego eee eee 427 | Mec’kawiga’bau...---.- Moccasin game song...| (No words)........-.--.--------- HORM eR cee (0 Ko pee eet or Divorce song......--.-- Seek OO... Ben cncciswicwic ce sre eeeieues 499) | er 2 OWS. 20:5 3 SOI es Gores Sires. 1. sase5 do: 2 oF. 22. shspcoe eanecerene AZ0 |-eS. - doin. Sn seine Hovesone. Re. 3.022... “You desire vainly ??.. 29.4 sseal! ASI Bes Go. Sa2te cetake Tar sped be ore Atestes 665225 HOTS PONG. = mnes anne meee ree B32 ''| Ae e - do! Sree .eruses 1e2 Wid sone iets. sccm CCVioun sian. 2 ooo castes as eee 2385| cee dossier pets Dream song.-....---.-- Song of the deer dancing.......-.- 234)|_ oc. dos... Aus Riese cispudor So Mek eon a “My shining horns”, << 2. <-.<..s02 ABS || Boe GOs: sSoca5 See Song accompanying | (No words).......--.--------- ‘ae the gift of a pony. SSG e er. GO! 55. s25 Se Song of thanks forthe |..... (6 (RR: 3 SEE es gift of a pony. 437 | kb. do... 2 stat ta. bom Wear song e532"). ..<. =. Songof Butterfly: ...--------ce-re 438) -cas.. Gor eke eee Begging dance song...| ‘‘ Here I come again”’....-.--.--- 439 |...:. On. enn dosaece selene GO scp) edeaine ot eae “Maple sugar? ss < sec eeoeta ae 185 198 208 210 216 217 229 187 294 186 192 192 189 193 193 194 190 195 204 - 205 158 159 160 191 241 162 163 218 219 161 201 202 238 239 179 230 231 LIST OF SONGS Ld XIX Cata- Serial gee Name of singer Description of song Title of song No. |, Page 0. 440 | Mec’kawiga’bau....-..- Begging dance song -..| “My travels”’............-<5.---- 117 232 Mates. 8S (C0) Sy eee eee ees Gores Ped Seek RL Song of thanks for food........... 118 233 Aaazalnee. 2 GO4.# 44-3 ein be LOVeSONE 3.5 one =). 0! “Fam thinking of hen”. ..5-..--- 109 220 443 | Dji’sid’sino’kwe.....-.|--.--- do. steaa: cette): ““Weeping for my love”’........--. 110 220 él ais (Bh tiene 6 ets pee GOS oe ate aar cock SCOmoOniGmuUs Siig.) nc soc ee ces: 111 221 445 | Mrs. Gauthier........-|..--- do Ssss: LCINS.. Song of an ambitious mother. .... 112 222 446 | O'gabei’sino’kwe....-.|..--- COE 2 sears eons. oie WEOVOISON PSenn cscicnsticte siacin es eee 113 225 ry Gil ee 1G eet ate ee Hortheentertainment | Lullaby! 2.2.22. c2- 5222 2.2252 127 241 of children. } 448) John) Wa Carl’: 2.2... 5.2868 Moras 1D. 33: Song of the Game of Silence ....-. 179 302 440) Odji we e252 222s. -2|Ee abe EES Fa oes, a Song of the crawfish.............. 180 305 Sroux SONGS OF THE DRUM-PRESENTATION CEREMONY < lage Name of singer Title of song pei Page 0. S.1 | Mec’kawiga’bau...........-. SONCOUNAE PALEMIG es ac asses acini ee sew cine Sey wise 54 149 S60 paleo Gee eae eee ee aes BOHPIOU RUC CIHOl ere ae enn oe erott cree ne o uemenoeenas 55 150 Snare... (6 1E he eae, 2 ee ta a a NON MOLUNGISPOMKUN. cos oe caste cama ne Susann ant 56 151 Ghahiiery OM Mer os oe eed Songioltheowner of thedrumt<.- 5.5.2 sc.5502-6- 57 151 Seaneeee.s HOG See ene NOBMONGNE WATMOINSa: . 2x acd oecckccd weasel obese 58 152 Nagle s a5 OT AS se ee ae eee ar Song of giving away the drum......................- 59 152 | |e (7 Oe nts ee ok Oe Song of restoring the mourners...................--. 60 154 NeSalsseec (C\i ae AS See eee nes Songofipainting:tihe faces. so -- 2. oc. 6c. eccccloc eee 61 155 a ea CO te Pests csr eee NIGUTEGISASOM Esa: ciara ha sate ee einen ae ue seca 62 156 Baku ss'.: MOE cae seer Done Ohune pipes. s- eee eee et SSA ES! 69 169 SS iis ee Kine. nds PR Bee. F Sone olthe dni ace ts 2 soe aeons Sace eae eee eee 70 170 S12 Re Goes eet. ee ae ponmanune Closem@dOors< <2.) on sce ~ cen cuune cee wasn se 71 172 So 13s ew TD perso eet ee tee Mirst:songofthe dor feast= << =. 2. Sleds 5s ocak 72 173 cs ay i eas WG54 fesse Bes eee eees.. SeconG'song of theidop feast. (2. 2.2) ese scence 73 174 Si ORR eee eC ee Third song of the dog feast: 5.0.2.2. -22ce2cecccae cles 74 175 Set6.|b.<.28 Oi See ee oS A eee es Fourth'soug of the dopfeast..--......- 2 .-..--cecseee 75 176 Bala Wack te GOs see ee mance Hifi song of the dog feast. 2.22. 2-22.52 +h nnscostee 76 176 S| ees dows. 2.5 SBA As sheets es Sixthisong of the:dog feast-- 2-22-22... .-2-----2-c cence 77 177 Sot | (eee ets eo eae ee See Seventh song of the doe feast--..~. .o..--220.-020-2- 78 178 Se2O es oe (Ca ey einai Ste 8k oe ea WiEITIOTS SONS sons aaee eas aeeencne sean esse cee 79 178 SPECIAL Signs UsEep IN TRANSCRIPTIONS OF SONGS ["——— 1 placed above: the music indicates that the tones included within the bracket constitute a rhythmic unit. + placed above a note indicates that the tone is sung slightly less than a semitone higher than the proper pitch. — placed above a note indicates that the tone is sung slightly less than a semitone lower than the proper pitch. C placed above a note indicates that the note is prolonged slightly beyond its proper time. XX ' SPECIAL SIGNS -) placed above a note indicates that the note is given less than its proper time. * is used in songs transcribed in outline to indicate the pitch of a tone without reference to its duration. Meaningless syllables are italicized. Where no words are beneath the notes it is understood that mean- ingless syllables were used, except in songs whose words were sung too indistinctly for transcription, such instances being described in the analyses. NAMES OF SINGERS WHITE EARTH RESERVATION, MINNESOTA Numbers of songs eer EMR NEOUL % Venetians See ie wie ah leee i. SUE PSE. SS S--- 22+ +) 2 (iS O scBecn ede ee St Se ee ee eee 48 Na/waji’/bigo’kwe (‘‘woman dwelling in the midst of the rocks”’).............- 6 SSS IEE Wiel 70 1 ely) 4 12) ee a ae ee a a a ene eae ae 3 Penis Wanromeneatss 5 5.555. -2 stats ccs eles see escent ene ee See 2 esey Selkink 2 i.e... 02.5. HAMPERED EEE SUSE. JAEeL eee ABE Z Ween pe AL tree Pet Seine rat tete i hh aed bio e 5 ats ware Ae Mees ete CMe Sele siaenet 1 OS ea Se Re nen ee nee ee ee ee 1 WABA’CING VILLAGE, RED LAKE RESERVATION, MINNESOTA Rms eer SP Mller SECIS BUCY, 1) Gl 25.2 a a hp a Be alae dla Dn a ie Sos ye ne 8 REVIEW iy tice eRVEN eae see oan a oP a ae arian sin dish = ~inpm ee cam SES 18 He MAN ORt eae TAI CIOUG oo. 2 = ace en a se eae eee s 2 ema mncnne( “Rabbiie Meat i 7). 2222 Sissel bel wee ee eee eens dees eee 1 Aywunakdm’icickin’ (“‘for:covering the earth”): ..:.-..:.-.--2.5..ee eee eee ee 11 LAC DU FLAMBEAU RESERVATION, WISCONSIN Pc iice pe eatin Mieiene ploy”)... achat a -cjandespisl: +t ba ta gltteonice +? 1 outs co nurs iarther alone yt sic < «oe nen e oot oS Ecce «eet packs 33 Mec’kawiga’bau (‘‘stands firmly”).............------ Spe eee Sar a a 16 Pr enrans Kae | CECOlViI> WOMMAIL fo .o: on.5 oss eee ene ce sapeeeerewkee 2 O’gabei/sino’kwe (‘‘woman of the breeze that blows to the end”)..........--- 2 ewe miamcGrranaIereits. 22 cer 2 Pest ed) Sey es ee 1 as renga je ee sia 70 bees i” =. arse : on Bone <4 ; Sul toa dee nee Retr sah =) if ads es ae: ati**) ows Monks S : tt ids We Teme ere! aa Lon! oa J ; ultra adental ixz ~ e, 2 % ‘3 er A at e3 Z ‘ ’ Py , : ‘ oe . ‘< ’ CHIPPEWA MUSIC—II By Frances DENSMORE ANALYSIS OF CHIPPEWA MUSIC Three questions will be considered in the present section, namely: First, What do the Chippewa sing; Second, How do they sing; and, Third, Why do they sing? The material under analysis in Tables 1 to 22 (pp. 18-33) comprises 340 songs, recorded by the phonograph and transcribed in ordinary musical notation with the addition of a few special signs. The songs were collected on the principal Chip- pewa reservations in Minnesota and on the Lac du Flambeau Reser- vation in Wisconsin. All the leading classes of songs in use among the Chippewa are represented: The songs of the Mide’wiwin (Grand Medicine), dream songs, war songs, and love songs, songs of the moccasin game, songs of the woman’s dance, of the begging dance, and of the pipe dance, songs connected with gifts, songs for the enter- tainment of children, and a limited number not classified. This col- lection does not include all the available material, the purpose of the work being to preserve the oldest songs and those connected with tribal history, custom, and ceremony. ‘The songs included in Bulletin 45 of the Bureau of American Ethnology are classified according to geographic distribution, those from each reservation being considered as a group and subdivided according to use. In the present work the principal tabulated analysis is made on the basis of the class or use of the song, the material in Bulletin 45 having been rearranged and combined with material collected at later dates. . Before entering on the analysis of the songs, it is desirable to show that a Chippewa song has identity. This identity was established by the following tests: First, a song was recorded by the same singer at different times; second, a song was recorded by different singers on the same reservation; and, third, a song was recorded by different singers on widely separated reservations, only the titles of the songs being given when the duplications were obtained. These tests were repeated at various times and with a number of songs. In every test a comparison of the phonograms showed the identity of the song, though the renditions were not always uniform in every respect. The rhythm was repeated more exactly than the melody, the latter 67996°—Bull. 53—13——1 2 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 showing occasionally changes in unimportant progressions or in the number of phrases at the close. In the course of these comparisons it was shown that an.old man repeated with accuracy at intervals of ° several months a song of very irregular rhythm; it was shown also in one instance that a young man modified the rhythm of an old song, making it conform somewhat to the common rhythms of the white race. A number of Chippewa songs, as transcribed, have no words. Some . of these songs originally may have had words and in a limited number of the love songs the words partake so much of the nature of a solloquy that they can not conveniently be translated and given with the music. The words of most of the Chippewa songs are few in number and suggest rather than express the idea of the song. Only in the love songs and in a few of the Mide’ songs are the words continuous. In the latter the words may be altered slightly, provided the idea remains the same (see Bulletin 45, p. 14). A similar change of words in a war song is noted in the analysis of song No. 37 in the present work. A change of words in love songs is described in Bulletin 45 (p. 2). Although the Chippewa say that the words of a song may be changed, it is the experience of the writer that, with the exception of love songs, the words of a song seldom vary in renditions by different singers. The words of Chippewa songs are frequently changed to conform to the music, syllables being omitted or added, and meaningless syllables introduced between the syllables of a word. The accent of a word is frequently changed in accordance with the accent of the music, and a word is sometimes accented differently in the several parts of a song. These and other changes are permissible in fitting the words to the note-values of a song. A subordination of words to melody, and use of meaningless words and syllables has been noted by Doctor Myers in his study of primitive music.! WHAT DO THE CHIPPEWA SING? Some peculiarities of Chippewa music are indicated in 22 tables of analysis (pp. 18-33), 14 of which concern the melody and 8 the rhythm of voice and drum. This section is descriptive of the results of this tabulated analysis. The first broad division of the material is into songs of major and of minor tonality. (Table 1.) The term “key” can not properly be used in this work, as the complete tone-system implied by that term 1 Charles S. Myers, M. A., M. D., The Ethnological €tudy of Music (in Anthropological Essays Presented to Edward Burnett Tylor, ete., p. 236): ‘The words are commonly sacrificed to the tune. . . . Wefre- quently find that liberties are taken with words, or that meaningless words or syllables are introduced into primitive music. Yet another cause of the rresence of meaningless words lies in the antiquity of the music. The words become so archaic, or their sense was orizinally so involved or so symbolical that all meaning gradually disappears as the song is handed down from generation to generation.” DENSMORE] CHIPPEWA MUSIC—II 3 is not always present. Key is defined by Webster as “a system or family of tones based on their relation to a keynote,” also as “the total harmonic and melodic relation of such a family of tones,” implying an harmonic as well as a melodic test. In recorded Chip- pewa songs the relation of the tones to a keynote is usually evident, the tone-material of the key being present, and what might be termed the “melodic relation” being satisfactory, but the sequence of tones in many of the songs is such that the “harmonic relation”’ is extremely complicated, if, indeed (in some instances), it can be said to exist. Thus most of the songs close with a simple tonic chord, not with tones which can be harmonized by a cadence, and the opening phrases of many major songs are characterized by minor intervals and those of minor songs by major intervals. There are, however, in all the songs, the rudimentary elements of key. The persistence of the third and fifth above the keynote, the correct intonation of the octave, and the frequent occurrence of the tonic triad, may be noted. The term “tonality”? is employed therefore in this work, its use seemingly being warranted by the definition in the Standard Diction- ary (1910): ‘‘Tonality, the quality and peculiarity of a tonal system.” In determining the keynote of a song a test by the ear seems permissible and the tonality of the song is determined by the distance of the third and sixth above this keynote. The third occurs in about 97 per cent of the songs under analysis. A song is classified as major in tonality if the third is a major third (two whole tones) above the keynote, and as minor in tonality if the third is a minor third (a whole and a half tone) above the keynote. According to this basis of classi- fication 57 per cent of the songs are major in tonality and 42 per cent minor, while three songs show a change from major to minor or from minor to major by altering the pitch of the third, the keynote remaining the same. These songs are Nos. 189 and 192 in Bulletin 45, and No. 6 of the present work. The sixth occurs in 81 per cent of the songs, and is found to be a minor interval in songs that contain a minor third between the tonic and mediant, and a major interval in songs having a major third between these tones. In contrast with the frequent occurrence of the third and sixth it is found that the seventh occurs in only about 9 per cent of the minor songs. In one-third of these the seventh is a semitone below the tonic, as in modern musical usage (No. 79 of Bulletin 45, and Nos. 36, 100, and 119 of the present work), while in the remainder the seventh is a whole tone below the tonic—the interval which occurs in most of the ecclesiastical modes and in scales formed by the addition of two tetrachords (Nos. 19, 126, and 150, Bulletin 45; Nos. 9, 50, 85, 100, 119, and 124 of the present work). Having determined the probable keynote of the song, this keynote is used as a basis for further examination, noting in Table 2 the relation of 4 BUREAU OF AMERICAN ETHNOLOGY [BULL 52 the initial tone to the keynote. Fifty-four per cent of the songs begin on the dominant, indicated as the twelfth in songs having a compass of 12 tones, and as the fifth in songs of smaller range. Next in number are the songs beginning on the octave, which comprise 15 per cent of the entire number. Table 3 shows the tones on which the songs end. Sixty-seven per cent end on the tonic, and in 90 per cent (indicated in Table 4) the final tone is the lowest tone occurring in the melody. From these characteristics it is not surprising to find, in Table 5, that the largest proportion of songs has a compass of 12 tones and that the next smaller group has a range of an octave. Thus it will be seen that the melodic boundary of a majority of Chippewa songs corres- ponds to a fundamental tone and its principal harmonic upper partial tones, commonly called overtones.!. It has been stated already (Bul- letin 45, p. 5) that ‘‘ the phonograph record shows the octave, fifth, and twelfth sung accurately by men who give the other intervals with uncertain pitch,’ and further observation has confirmed this state- ment. Having observed the outlines of the melodies, the tone-material comprised in them may be noted. Table 6 shows that 131 songs, or about 39 per cent of the entire number, contain the tones of the pentatonic, or five-toned, scales, according to the five varieties of the pentatonic scales described by Helmholtz.? The tones are the same in all these scales, the difference being in the keynote. The intervals between the tones which comprise the five-toned scales are the same as the intervals between the black keys on the piano. Supposing these tones to constitute the material under consideration, we should have the first five-toned scale according to Helmholtz by using C sharp as the tonic, or keynote; the second five-toned scale by using D sharp; the third by using G sharp; the fourth by using F sharp; and the fifth by usmg A sharp. ‘This series contains 88 songs on the fourth five-toned scale, more commonly known as the ‘‘major pentatonic,” or ‘‘Seotch scale,’ and 40 songs on the second five-toned scale, more commonly known as the ‘‘minor pentatonic,” while two songs (Nos. 51, 2) are on the fifth five-toned scale, and one (No. 116) is on the first five-toned scale. As the fourth five- toned scale occurs in the largest number of songs, we seek to know what groups of tones may have led up to it or in what incomplete form it may be found. It is interesting to note that the next smaller group (the major triad and sixth) comprises 12 per cent of the entire number and contains the tones of the fourth five-toned scale lacking the second. These tones are used in two different ways: (1) The 1 «The ear when its attention has been properly directed to the effect of the vibrations which strikeit . .. becomes aware of a whole series of higher musical tones, which we will call the harmonic upper partial tones.”,—HELMHOLTz, The Sensations of Tone, translated by Ellis, London, 1888, p. 22, 2Tbid., pp. 260, 261, DENSMORE] CHIPPEWA MUSIC—II 5 sixth is used as a passing tone between the tonic and dominant in descending progression (see No. 176), the tonic chord being emphasized ; (2) the sixth is combined with the tonic triad above it, forming a minor triad and seventh, which changes to the tonic major triad by the descent of the sixth to the dominant, the song closing with the tonic chord (see No. 147). We next observe the tone-material of Chippewa songs in its relation to the tones of the diatonic octave and find the seven tones of the diatonic octave in only 6 per cent of the songs. The fifth is present in 338 songs, the only songs in which it does not occur being the two songs (Nos. 51, 52) on the fifth five-toned scale. A similar persist- ence of the fifth is noted by Doctor Baker in his analysis of 31 Indian songs, the fifth being present in 30 of the songs under his observa- tion. The relative persistence of the fifth and fourth in the songs of the Murray Islanders has been exhaustively studied by Dr. C.S. Myers, who states:? ‘‘There is good reason to believe that in Murray Island the use of the fourth preceded that of the fifth, but that with the development of the tonic, the note which is a fifth above it is more often used than that which isafourth above it.’ The next interval in point of persistence is the third, which occurs in 329 songs, or about 97 per cent of the entirenumber. The character of the songs from which the third is absent is considered in the analysis of song No. 53. <A similar frequency of the third was noted by Doctor Baker, who found the third in 25 per cent of the 31 songs analyzed by him. The presence of the sixth is noted in 276, or about 81 per cent of the Chippewa songs; that of the second in 210, or about 62 per cent; of the fourth in 135, or about 40 per cent; and of the seventh in only 110, or about 32 per cent of the songs. Doctor Baker noted also the seventh as being found in only 8, or 26 per cent, of the songs under his analysis, this being the interval which occurred with least fre- quency. Thus is noted some similarity between the result of Doctor Baker’s analysis of the songs of several Indian tribes and the result of the analysis of Chippewa songs, in which the persistence (or frequency of occurrence) of the tones of the diatonic octave are in the following order: Fifth, third, sixth, second, fourth, seventh. An interesting group of songs is that classified as ‘‘octave complete except seventh and fourth.’ The omitted tones are the same as those lacking from the fourth five-toned scale, but in this group of songs the third and sixth are minor intervals, making the songs minor in tonality, while in the fourth five-toned scale these intervals are major intervals and the songs therefore major in tonality (see No. 83). 1 Theodor Baker, Uber die Musik der nordamerikanischen Wilden, Leipzig, 1882; “Tabellen der Intervalle und des Tacts,’’ p. 82. - 8In Reports of the Cambridge Anthropological Expedition to Torres Straits, vol. 1v, Cambridge, 1912, p. 260. 6 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53 The tone-material of most of these songs is diatonic, Table 7 showing that 85 per cent contain no accidentals. In songs contain- ing accidentals the tone most frequently affected is the sixth, this interval being either raised or lowered a semitone in 27, or 8 per cent, of such songs. Accidentals occur more frequently in the love songs than in any other group. There are next observed the accented tones in their relation to one another, in order to determine whether the songs are harmonic or melodic in structure (Table 8). In making this analysis songs were classified as harmonic in structure if contiguous accented tones bore a simple chord-relation to each other, and as purely melodic if no such relation appeared to exist. According to this basis 83 songs, or 24 per cent, are harmonic in structure (see No. 144), and 222 songs, or 66 per cent of the number, are melodic in structure (see No. 165). Having identified these groups of songs, it was found that certain songs remained which did not properly belong in either group. Thus there are many Chippewa songs which would be classified as harmonic except for one tone, or in some instances two tones; a third group was made therefore to include these songs, which may be termed ‘“‘intermediate” in structure. Such songs are classified as ‘‘melodic with harmonic framework.” This group comprises 35 songs, or 10 per cent of the entire number, an example being No. 30, in which the only accented tone not having a chord- relation to a contiguous accented tone is B flat in the fourth measure from the close of the song. _ It has been noted that the boundaries of the melodies suggest a chord-relation to the keynote and that the persistence of the third and fifth suggests a chord; it is therefore surprising to note the small percentage of songs which are harmonic in structure. The next inquiry concerns the progressions in the melody—their direction and the nature of the intervals. Table 9 shows that in 70 per cent of the songs the first progression is downward, and Table 10 that 65 per cent of the entire number of progressions in the songs are downward.:' It has been noted that in 90 per cent of the songs the last tone is the lowest tone in the song (see Table 4); thus these three tables combine to demonstrate the downward trend of Chip- pewa melodies. The nature of the intervals now claims attention in Tables 11 and 12. The interval which occurs most frequently is the second; but this is not of great significance, as the second is often a passing tone or a tone of approach. Next in frequency is the interval of the minor third, comprising 34 per cent of the downward, and 29 per cent of the upward, progressions. This interval has been mentioned 1 The proportion of downward and upward intervals is more uniform in the various classes of songs than any other peculiarity considered in the analysis. pENsMore] CHIPPEWA MUSIC—II 7 as characterizing the music of other uncultured peoples. Concerning the songs of the Asaba (Niger) people, Charles R. Day states:1 ‘‘A preference for the minor third is rather noticeable, especially at the conclusions.” Rev. G. W. Torrance, writing of the Australian aborigines, says:? ‘‘The songs in compass rarely exceed the distance of a third, and minor intervals predominate.’’ Concerning the Sumatrans William Marsden states:* ‘‘The Sumatran tunes very much resemble to my ear those of the native Irish and have usually, like them, a flat third; the same has been observed of the music of Bengal.” In this connection, it is interesting to note that William Gardiner‘ gives in musical notation the note of the plover and the call, with its answer, of a small beetle, the former being represented by the descending minor third F—D, and the latter | y the descending minor third B flat-G. In these observations it can not be assumed that the intervals heard by the travelers were accurate minor thirds, but that, to the ear accustomed to the musical standards of civiliza- tion, the interval of the third was clearly a non-major interval. In the Chippewa songs it is noted that the percentage of minor thirds, in both ascending and descending progression, is more than twice that of major thirds, a reversal of the statement of tonality, Table 1 showing the songs of major tonality to be about a third more in number than those of minor tonality. This suggests that the relation of the tones in these songs is an interval-relation, not what might be termed a ‘‘key-relation,”’ also that the interval is the melodic nucleus of Chippewa song. The minor third is frequently prominent in songs which are major in tonality (see Nos. 140, 141, 151, 163). The major third constitutes a large proportion of the intervals in some songs which are minor in tonality (see Nos. 29, 83, 99). A strong feeling for the interval in melody structure is shown in No. 86, the framework of which consists of two intervals of the fifth, and in No. 82, the framework of which consists of two descending fourths. In order to determine the feeling for the interval in melody-for- mation, a test was made which included the 40 songs recorded at Waba’cifig,® the 50 war songs of Odjib’we (pl. 1) recorded at White Harth, and 14 songs recorded by E/niwtb’e at LacduFlambeau. The songs of Odjib’we did not show asingle instance of “ interval-forma- tion,” but it was found to characterize 4 (10 per cent) of the Waba’cinig songs (Nos. 136, 144, 148, 161), and 3 (21 per cent) of the Lac du Flambeau songs, under observation. From the character of the 1 Up the Niger, by Mockler-Ferryman, with chapter on musical instruments of the natives by Charles R. Day, London, 1892, p. 272. 2 Music of the Australian Aborigines, in Journal of the Anthropological Institute of Great Britain and Ire- land, London, 1887, p. 336. 3 History of Sumatra, London, 1811, p. 196. 4 The Music of Nature, Boston, 1838, pp. 232, 246. 5 The combination fig is pronounced as in the word “‘finger,’’not as in “singer.” 8 BUREAU OF AMERICAN ETHNOLOGY (BULL. 53 songs and the singers at Waba’cing and Lac du Flambeau the material collected there would seem to represent an older culture than the war songs of Odjib’we, a factor which adds interest to the result of the test. Having shown, by analysis, the prominence of the minor third in Chippewa music, and having indicated by reference to authorities its prominence in the music of other uncultured races, it is shown also to be approximately the average interval in Chippewa songs (Table 14). In making this analysis all the intervals were expressed in terms of a semitone and the average interval of progression was found to be 3.1 semitones, or one-tenth of a semitone more than a minor third (Table 13). | In melodic analysis there remains the test to determine the pitch, or musical key, of the songs, which depends for its accuracy on the method of phonographic recording. As the phonograph best adapted to field work at the present time is a machine operated by a spring motor, it is impossible to obtain absolute uniformity of speed, but the following method is used by the writer and gives results of reasonable accuracy. The speed of the phonograph is adjusted to 160 revolu- tions a minute, and the tone C, sounded by a pitch-pipe of known vibration, is recorded on the blank cylinder, immediately preceding the record of the song. When the transcription of the song is made, the speed of the phonograph is adjusted so that the tone C on the record corresponds with the tone as given by the pitch-pipe. As the last tone is usually the lowest tone and also the tonic, and as 95 per cent of the songs were recorded by men, this table may be regarded as indicating the range of voice among the Chippewa men. Most of the songs are in the major keys of F, G flat, and G. An examination of the songs as transcribed will show that many, perhaps a majority, of the songs end on these tones, in the bass clef. In considering the rhythm of Chippewa music the instrumental as well as the vocal expression should be observed, most of the songs having been recorded with accompaniment of the drum. Attention is first directed, however, to the rhythm, of the song, and the portion of the measure on which the song begins. This indicates whether the ‘‘attack” is direct and with emphasis or by a preparatory tone (Table 15). Forty-two of the songs are transcribed in outline, indicating the trend of the melody but not the length of the tones. Sixty-three per cent of the remaining songs begin on the accented part of the measure. This directness in beginning a song is shown also by the fact that in most of the songs the rhythmic unit occurs in the first measure and that the first tone is usually a high tone. The interest of a Chippewa song frequently diminishes as the song proceeds, and in some instances the closing measures contain char- acterless phrases, repeated indefinitely. DENSMORE]| CHIPPEWA MUSIC—II 9 The next feature to be observed is the number of counts in the first measure (Table 16). Deducting the number of songs transcribed in outline, it is to be noted that 50 per cent of the remainder begin in double time and 40 per cent in triple time. In songs indicated as having more than two or three counts in the first measure, there is no secondary accent; thus a measure transcribed with 5 or 7 counts is clearly a unit and could not properly be indicated by a triple measure followed by a double or a quadruple measure. Similar instances of measures containing 5 counts have been recorded by other students of primitive music,’ and in the music of the Omaha there occur also songs with 7 counts in a measure. Table 17 shows, however, that the rhythm of the first measure is rarely continued throughout the song. Forty-two songs were tran- scribed in outline, without time-indication, but in 77 per cent of the remainder the rhythm (or number of counts) in the first measure does not continue throughout the song. The transcriptions show in many instances a change of time with almost every measure. In No. 121 the measures in double and triple time alternate throughout the song. No. 39 contains double, triple, and quadruple time. In No. 81 the double rhythm is interrupted by only one triple measure, which gives character and a certain ‘“‘swing”’ to the rhythm of the song as a whole. This wide variation in measure-lengths might suggest improvisation, but these measure-lengths were determined by accents that were unmistakable and that showed no change in the several renditions of the song, even when slight changes were made in the melody. A single exception occurs in a song recorded at White Earth (No. 144), which so closely resembles one recorded at Waba’cifig (No. 176) that it may be inferred they are different versions of the same song, though one is in double and the other in triple time. Turning to the rhythm of the drum (Table 18), the accented double rhythm is found not so prominent as in the vocal expression. One hundred and sixteen of the songs were recorded without the drum. Deducting this number, 43 per cent of the remainder are found to have a triple rhythm. This characterizes a. large majority of the dream songs and the songs of various dances and is closely allied to the drum-rhythm of the moccasin game song. The songs showing a triple drum-rhythm are songs which aroused little mental or physical 1 Among the Omaha: A Study of Omaha Indian Music, by Alice C. Fletcher, aided by Francis La Flesche. With a Report on the Structural Peculiarities of the Music by John Comfort Fillmore, A. M.; Archxological and Ethnological Papers of the Peabody Museum, Harvard University, Cambridge, Mass., 1893, vol. 1, No. 5; songs Nos. 6, 111, 137, 140. Among the Kwakiutl: Franz Boaz in Journal of American Folk-lore, vol. I, 1888, pp. 51, 59. Among the Hopi: Benjamin Ives Gilman, Hopi Songs, Boston, 1908, p. 117. Among the Creek and Yuchi: Frank G. Speck, Ceremonial Songs of the Creek and Yuchi Indians, in Anthropological Publications of the Museum of the University of Pennsylvania, Philadelphia, 1911, vol. 1 No. 2, pp. 169, 170, 178, 226. Aliso among the Sudanese: Heinrich Zdllner, Einiges iiber sudanesische Musik, Musikalisches W ochen- blatt, Leipzig, 1885, p. 446. 10 BUREAU OF AMERICAN ETHNOLOGY {BULL. 53 excitement. The dream songs were undoubtedly composed under abnormal conditions, but no drum was used in their composition and the present study concerns only the manner of their rendition. In this connection it is interesting to note that, according to Beau (1835) and to Barth and Roger (1841),1 the rhythm “‘of the adult heart, beating 60 to 80 and acting normally” is a triple rhythm. The exact rhythm described by these authors is found in two of the Chippewa songs— the song of the war messenger and that of his return (Nos. 11, 12). The writer has frequently heard this rhythm, when the drummers began their performance (see Bulletin 45, p. 6); gradually they changed to that most often recorded on the phonograph, in which the unaccented stroke precedes, instead of follows, the accented stroke. In all the Mide’ songs and in 53 per cent of the war songs there is a drum-rhythm of rapid unaccented strokes, two of which are approxi- ately equal to one metric unit of the melody. Itis stated that under certain conditions, ‘‘especially a moral emotion or violent physical exertion,” the triple rhythm of the heart becomes “allied to a double measure.”? The collection of additional data may throw more light on a possible connection between the action of the physical organism and the form assumed by primitive musical expression. — The next observation concerns the rhythmic unit, or motif (Table 19), which appears to constitute the rhythmic nucleus of the song, as the interval forms its melodic nucleus. As a basis for this classifi- cation, a rhythmic unit was defined as ‘‘a group of tones of various lengths, comprising more than one count of a measure, occurring at least twice in a song and having an evident influence on the rhythm of the entire song.” According to this basis of classification it was found that 62 per cent of the songs contain a rhythmie unit, while in many other instances the song itself possesses a rhythmic completeness which constitutes it a unit. One hundred and ninety- one songs contain a rhythmic unit, and in 132 songs (69 per cent) the unit occurs in the first measure, showing, as in Table 15, a direct~ ness of ‘‘attack.”’ There are four ways in which a rhythmic unit is used to form a Chippewa song: First, it is continuously and exactly repeated throughout the song (see No. 26); second, it is repeated continuously except for a measure or two having a different rhythm, thus breaking the monotony and giving character to the rhythm of the song as a 1 Dictionnaire de Physiologie, Richet, Ch., editor, Paris, Tomerv, 1900, p.74. ‘‘ Beau compara un bettement de cceur & une mesure & trois temps, dans laquelle le premier temps serait occupé par le premier bruit, le deuxiéme par le deuxiéme bruit, le troisiéme par le grand silence. .. . D’aprés Barth et Roger le rhythme représente une sorte de mesure & trois temps, dans laquelle le premier bruit occupe le tiers environ; le petit silence, & peu prés un sixiéme; le deuxiéme bruit, un sixiéme; et le grand silence, le dernier tiers.” __ 2Ibid., p. 75 (signed by Lahousse). ‘‘Si, au contraire, les battements du cceur sont accélérés, le silence diminue et l’on n’a plus qu’une mesure qui se rapproche de la mesure & deux temps. . . . C’est surtout quand une émotion morale, ou violent exercice physique agissent sur le coeur de l’homme, ou quand il est le siége de certains états pathologiques.” DENSMORE] CHIPPEWA MUSIC—II 11 whole (see No. 132); third, it is repeated continuously except for a middle section, which contains the words and is in a different rhythm (see No. 1); and, fourth, the repetitions of the rhythmic unit are freely interspersed with measures having no rhythmic interest (see No. 118). There are also five songs in which the rhythmic unit is continuously repeated except at the close of the song (see No. 4). In addition to the use of the rhythmic unit in repetition, there is an equally important use of it as a basis for the rhythm, the unit appearing either in separated phrases or with a change of accent (see No. 90). This change of accent or other modification sometimes produces a second or (in one instance, No. 157) a third rhythmic unit which is repeated several times. Songs numbered 17, 47, 121, and 123 contain two rhythmic units, the second being formed from the first and constituting an answering phrase. A similar structural peculiarity was noted by Fillmore, who states: ‘‘Having invented his original motive, which is commonly striking in its rhythmic form and highly characteristic, the Indian composer proceeds to build his song out of modified repetitions of this motive.” Among the 191 Chippewa songs containing a rhythmic unit there is only one duplication, Nos. 192 and 195 in Bulletin 45 containing the same unit. In the 20 Sioux songs of the Drum-presentation Ceremony the percentage is much larger, as the second rhythmic unit in song No. 73 of the present series is similar to the unit occur- ring inNo.77. There is, however, a division of acount f J g which occurs in Chippewa songs recorded on a reservation showing Sioux influence, and which is found also in Sioux songs. This division of the count occurs in 15 per cent of the songs recorded at Waba/cifig (Nos. 131, 153, 157, 159, 161, 163), and is found in only five other songs of the entire collection. The same phrase is found in 10 per cent of the Sioux songs of the Drum-presentation Ceremony (Nos. 54, 62), and also in about 10 per cent of the Sun-dance songs of the Teton Sioux recorded by the writer at Standing Rock, North Dakota, in 1911. The Chippewa at Waba’cifig are in frequent communication with the Sioux of North Dakota, parties from these tribes visiting each other at their various festivals. The Chippewa at Waba’cifig are also composing music at the present time to a greater extent than those on other reservations. It is interesting to note that the correspondence between the music of the Chippewa and the Sioux, which may be attributed to contact of the two tribes, is rhythmic, not melodic. Further evidence of the rhythmic unit as a nucleus of Chippewe song is found in the fact that some songs were repeated in sections, 1John Comfort Fillmore, Primitive Scales and Rhythms, in Memoirs of the International Congress G* Anthropology, Chicago, 1894, p. 175. 12 BUREAU OF AMERICAN ETHNOLOGY [BULL 53 the singer using the phrases in varying order, apparently as his fancy prompted him. This is noted in the analysis of No. 105, and was observed especially in the love songs. No. 100 affords an example of a song the entire rhythm of which constitutes a unit that is com- plete in itself and can not be divided. Such a song would become, in its repetitions, the rhythmic unit of an extended musical perform- ance. Finally, there is observed the speed of voice and drum, as indicated by a Maelzel metronome, the number representing the number of beats per minute. The method of adjusting the phono- eraph to secure uniform speed in recording and in playing a song has been already described. Table 20 shows the metric unit of the voice, the indication being usually for the time of a quarter- note, though in some instances a half-note, or even an entire measure- length, was the only unit by which the tone-values could be deter- mined. It will be noted that the largest percentages of speed occur on the numbers 96 to 104 M. M., this group being a somewhat clearer indication of the natural tempo of Chippewa song than the average speed of the entire collection (107 M. M.), as the latter is slightly affected by songs whose peculiar structure necessitates a very large or a very small unit of measurement. The metric unit is particularly slow in songs of controlled excitement (see No. 30). Table 21 shows the metric unit of the drum, the highest percentages being between 104 and 112 and the average speed 109. Both these tests show the speed of the drum to be greater than the speed of the voice, though a proportion between the two is not evident. The comparative speed of voice and drum is further shown in Table 22, the songs in which the drum is slower than the voice being about half the number of those in which the metric unit is the same, and less than half the number of those in which the drum is faster than the voice. The independence of the vocal and instrumental expressions is further shown by the fact that the tempo of the voice may change but the tempo of the drum remains the same, a peculiarity which is noted in the analysis of No. 168. There may be instances in which the metric units of voice and drum are in the ratio of two to three, but the writer does not recall an instance in Chippewa music in which drum and voice coincided on the first count of the measure, one showing two and the other three pulses, or metric units, during the measure, although this ‘‘two-against-three rhythm” has been found in the music of other Indian tribes and among many other primitive peoples. Fillmore gives an instance of a Bala Bala (Bellabella) Indian song containing a 2-4 rhythm in the voice and a 5-8 rhythm in the drum, the two coinciding on the first of each measure.t. In Chippewa music, 1 John Comfort Fillmore, Primitive Scales and Rhythms, p. 173. DENSMOR& | y CHIPPEWA MUSIC—II 13 however, the two expressions seem to be entirely distinct. Even when voice and drum have to the ear the same metric unit, the drum slightly precedes, or in some instances follows, the voice. Bulletin 45 (p. 6) contains a description of a phonograph record in which the metric units of voice and drum are so nearly alike that the same metronome indication was used for each. At the beginning of the record the drumbeat was slightly behind the voice, but it gained gradually until for one or two measures drum and voice were together; the drum continued to gain until at the close of the record it was slightly in advance of the voice. An independence of rhythm of voice and drum was noted by Doctor von Hornbostel,! and also by Doctor Myers.’ Further consideration is given the rhythm of Chippewa songs in Bulletin 45 (p. 18). How bo THE CHIPPEWA SING? The manner of Chippewa singing varies with the nature of the song and the skill of the singer. A nasal drawling is always used in the love songs, but in no other songs. This is not a loud tone, and it remotely suggests the call of an animal. The songs of the Mide’wiwin (Grand Medicine) contain meaningless syllables, which are distinctly pronounced and in most instances are given similarly in the various renditions of a song. These syllables are frequently interpolated between parts of a word and sometimes bear resemblance to syllables of the words. In these songs the words are mispronounced more often than in others, being changed to fit the music, which is the essential element of the song (see Bulletin 45, p. 14). In other classes of songs the vocables are throaty sounds, which differentiate the tones but can not be expressed in letters. It is said that ‘‘one must have an Indian throat to sing the songs properly.’”’ A Chippewa does not move the lips in giving these vocables, but seems to produce them by a contraction of the glottis; the tone lengths are, however, entirely distinct and rarely vary in the repetitions of the song. In addition to these styles of singing, which are universal, there is a vibrato, or wavering tone, which is cultivated among the younger singers and is considered an evidence of musical skill (see Bulletin 45, p.4). A similar phase of musical culture was noted by the writer among the Sioux of North Dakota. 1 Erich M. von Hornbostel, Uber die Musik der Kubu (aus dem Phonogramm-archiv des psychologischen Instituts der Universitat Berlin, Frankfurt am Main, 1908, phonogramme 152). 2 Charles S. Myers, M. A., M. D., The Ethnological Study of Music (in Anthropological Essays Presented to Edward Burnett Tylor, etc.), p. 237: ‘‘ Not infrequently the accents or measures in the melody are opposed to those in the accompaniment.’ P. 238: [In polyphonic music of primitive peoples] ‘‘ different simul- taneous rhythms are allowed full scope for independent development. . . . Such ‘heterophonic’ music surely demands of the native audience the same oscillations of attention as occur in us when we listen to two persons talking simultaneously,” 14 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Concerning accuracy of intonation according to the piano scale, there is wide variance among singers, as well as in some instances, among the several intervals sung by the same person. The tran- scriptions of these songs should be understood as indicating the tones produced by the singers as nearly as it is possible to indicate them in a notation which is familiar by usage and therefore convenient for observation.!. A few additional signs are used and the peculiar- ities which can not be expressed graphically are noted in the descrip- tive analyses of the songs. Where a variation from the piano scale was marked and was repeated in the several renditions of a song, it is indicated by the sign + or — above the note, showing the tone to have been persistently sung less than a semitone above or below the note transcribed. In five records a faulty intonation at the beginning of a song was corrected in the latter part (see Nos. 54, 129, 133, 146, 164). In the rendition of Indian music the writer finds tones which correspond to intervals of the piano scale and occasionally, in the same song, other tones whose pitch varies so constantly and by such minute gradations that they have no equivalent in that scale. Tones of the former class are capable of transcription in ordinary musical notation; those of the latter can adequately be shown only by a sound-wave chart, but, in the present work, are transcribed by the notes they most nearly approximate in pitch. Minute gradation of tone in Indian song has given rise to the statement that Indians habitually use intervals of eighths or quarter tones. Intervals smaller than a semitone are familiar to every student of Indian music, but before it can safely be assumed that they form a fixed part of a musical system it should be proved by mechanical tests that they can be accurately repeated. Such proof is believed to be lacking at the present time. It is the opinion of the writer that these minutely graded tones are survivals of a less differentiated vocal expression. In the present analysis of Indian music we observe the tones on which a purely natural vocal expression crystallizes and first coincides with that system of tones which has gradually devel- oped in the musical history of the white race. . Tn the early part of the investigations a few phonograph records were made which were found to be ‘‘ musically incoherent,’’ the tones having no clear relation to one another or to a keynote. On inquiry it was always found that the men who sang these songs were not considered good singers by the members of the tribe. In a repetition of the song by a “good singer’’ the trend of the melody was the same, and the intervals were such that the melody ‘‘made musical sense,’ con- 1Helmnoltz, The Sensations of Tone, translated by A.J. Ellis, London, 1885, pt.3, p. 260. Translator’s footnote: ‘All these [scales] are merely the best representatives in European notation of the sensations produced by the scales on European listeners.”’ DENSMORE] CHIPPEWA MUSIC—II 15 tained a keynote, and could be expressed with reasonable accuracy in musical notation. In recording several hundred songs there have been a few instances in which singers have tried to improvise parts of songs which they could not remember and have even “made up songs as they went along.” These attempts were readily discovered and the records discarded, together with the efforts of those who, like some members of the white race, ‘‘could not carry a tune.’”’? Indi- ans distinguish clearly between competent and incompetent singers, and when the purpose of the writer’s work was fully understood they recommended only such of their number as were good singers. The management of the breath by a Chippewa singer is radically different from that of a member of the white race. This is indicated by the fact that rests occur in only 13 (4 per cent) of the songs, about half of these being songs of the Mide’ ceremonies, which are charac- terized by forcible ejaculations. The Chippewa sing almost con- tinuously for several hours at a time, each song being repeated an indefinite number of times. In some instances the measure which connects the song and its repetition is a complete measure and is so indicated in the transcription, but in many others the song is com- pleted as transcribed and the singer at once begins the repetition, disregarding uniformity of measure-lengths. The accents are clearly given and never vary in the repetitions of the song. By these accents the measure-lengths of the transcription are determined. In many instances it was necessary to reduce the speed of the phonograph greatly in order to discern a metric unit or any note-value on which a transcription could be based, but when this metric unit was discovered it could easily be traced throughout the song and its repetitions, and could be heard clearly when the original speed of the phonograph was restored. In the writer’s experience the metric unit and the measure-length are practically without variation in the repetitions of Chippewa songs, and the note- values are changed only when words are introduced, or occasionally in the closing phrases of a song, which are often without special interest or importance. The songs are usually accompanied by the drum, though the rattle is frequently used with Mide’ songs and the songs connected with the use of medicine. The musical instruments of the Chippewa are described in Bulletin 45 (p. 11), and will be considered also in the group analyses of the songs in the present volume. Wuy po THE CHIPPEWA SING? Investigation of the origin and use of Chippewa songs leads to the conclusion that most of them are connectel, either directly or indirectly, with the idea of reliance on supernatural help. This idea rarely assumes the form of direct address, though one song 16 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53 (No. 156) contains the words “Be kindly, my manido’,” and in some of the Mide’ songs a manido’ (spirit) animal or bird is represented as speaking—“TI am a spirit to be able to become visible, I that am a male beaver” (Bulletin 45, No. 34), and “‘I am about to alight that you may see me”’ (ibid., No. 41). It is said that in the old days all the important songs were ‘‘com- posed in dreams,” and it is readily understood that the man who sought a dream desired power superior to that he possessed. A song usually came to a man in his “dream”; he sang this song in the time of danger or necessity in the belief that by so domg he made more potent the supernatural aid vouchsafed to him in the dream. Songs composed, or received, in this manner were used on the warpath, in the practice of medicine,' and in any serious undertaking of life. Thus there are many dream songs among the songs of war, of the Mide’, and of the moccasin game, in addition to the group of dream songs in the classified analysis. An imstance of a warrior’s success connected with the singing of a dream song is shown in No. 42, and of a warrior’s defeat attributed to the failure of supernatural help, in No. 8. i In addition to songs connected with dreams and with. triumphs gained by supernatural aid, there are love songs, and songs of physical activity (as the social dances) and of the home life (as the songs for the entertainment of children). Almost without exception the love songs are songs of disappointment and longing, though a few love- charm songs are included among those of the Mide’ (Bulletin 45, Nos. 71-76). The words of 248 songs are transcribed; one-third of this number contain mention of some manifestation of nature, the number and percentages of this group being as follows: Number Percentage Songs concerning animals. ........---------------+---+- 30 36 Sones CONCORMIND DITA. enn on heed al neo ee ing 17 21 Soles Concert tbe BEY... -+- cc. oe tn ee es 17 21 Songs concerning water.....---- WT earth Ue Ae Lee eee 11 13 Songs concerning clouds......-...-.-.:-+-+--++--025%S2 4 4.5 Songs concerning the wind ..........---.--+--04-2-+- esse: 4 4.5 Noting the large number of songs containing mention of animals, it is interesting to consider whether animals may have seemed to the Indian better fitted than himself to cope with natural conditions. The animals mentioned in the songs are the otter, beaver, weasel, marten, crawfish, rattlesnake, large bear, fox, deer, and dog; there is also (on a reservation showing Sioux influence) one reference to the horse and the buffalo. The birds mentioned are the crow, loon, owl, 1 Compare Ale§ Hrdliéka, Physiological and Medical Observations Among the Indians of Southwestern United States and Northern Mexico, Bulletin 34 of the Bureau of American Ethnology, Washington, 1908, pp. 222-227, 243, 244, - DENSMORE] CHIPPEWA MUSIC—II 7 raven, plover, eagle, ‘‘ thunderbird,” and ‘‘water-birds.’’ Reference to water occurs principally m songs of the Mide’wiwin, the emblem of that organization bemg a shell, and all its traditions beg asso- ciated with water and with aquatic animals. A spontaneous outburst of melody, givmg expression to either joy or sorrow, does not characterize Chippewa songs; indeed, the nature of the songs is more frequeutly objective than subjective, more often connected with accomplishment than with self-expression. A comparison between the content and the tonality of the songs may now be undertaken. As we are accustomed to connect a minor key with the idea of sadness, it is interesting to mquire whether the same mode of expressing sadness obtains in Chippewa songs. First, it is observed that, apart from the love songs, there are few songs ef sorrow. The series of 340 songs contains 142 in minor tonality, of which ouly 20 (14 per cent) are songs of sadness, comprising practically all the songs of this character. Among the 85 Mide’ songs there are only two songs of sadness (Nos. 174, 175); these are burial songs. Many Mide’ songs mention sickness, but always with an affirmation that it will be cured by supernatural means. Six of the 88 war songs contain the idea of distress (Bulletin 45, Nos. 120, - 150; present collection, Nos. 10, 17, 34,36). It will be noted that two of these refer to the grief of the enemy (Nos. 10, 34), and in one a condition of distress is relieved by the use of medicine; the three which may be considered songs of unlightened sadness are the songs of the departure of warriors (No. 150, Bulletin 45; No. 17 of the present work) and the song of the warrior left to die on the battlefield (Bulletin 45, No. 120). In a similar instance (No. 33) the song of the wounded man left to die is distinctly major in tonality. Among the 30 love songs 11, or more than 33 per cent, are songs of sadness and minor in tonality. Of the unclassified songs only one contaims the idea of distress, with a minor tonality—this is the song of the little boy who was afraid of the owl (Bulletin 45, No. 121). Two-thirds of the moccasin game songs are minor in tonality; in this connection it may be noted that the result of the moccasin game was always a matter of uncertainty. Most of the Chippewa songs are major in tonality, and most of the old songs were “‘dream songs’’ used in the Mide’, the practice of medicine, and the pursuit of war, the essential nature of a ‘‘dream”’ bemg associated with the idea of reliance on supernatural help. In contrast with the large proportion of major songs, and of dream songs of various classes, it is found that a minor tonality is used, practically without exception, in songs directly expressing sadness, distress, or uncertainty. 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BUREAU OF AMERICAN ETHNOLOGY 32 *qUe0 Jag ---| y I soda Auch | sages Boe |aeeeanaes : z peteiaae Maisie bonis cies 5) all ereraiet sais Jaquinn erp $yIs jo JUew | YIM pa -UTB4.10} 09 IOJ ssul0g peg -ISsepoug, T2101 s3u0s aourp odig s3u0s aouep BursZ0q | 8,UeVU0 AA | UlsBoo0yy s3u0s aouep ‘W ‘W601 ‘s8u0s $7z Ul WINAp Jo 4ruMN dLIjeUl asRIBAWY— "ALON : 5 ; ; 4 : f : fi : ' : : H 5 ‘ : a ssu0s Seen s3u0s meal WOUd AO LINN OlLULAN— Ise ATAVL penulju0o—SISATYNV OINHLAHY s3u0s eulouolje PIN si 338 ‘CHIPPEWA MUSIC—II DENSMORE] ‘adejuedled Zutyndu10d Ul papnyax yg 1 ms al eg I a a 951 ee maa Se a A cai) | cy yell a-ha a 7 2a aa aaah 2 is BUTE Bet |e iene eel Oe Se ele | te ter te OT Seeginee foes) Oe ies emer s) Erste ae” Bes se “Na “ES * op MAN OMT AC PepLOoGay 8I 1 ae RA WR li ah a i Ba 1 Mee a S| May ae) | ia ll a a UF a) RCE VO ROR” “Ee ms oe dd10A UL} JOMOTS MANIC, A €or | 9 Re ie ae ae Og Bi Fe ae lh SF |) 87 | P| Beale. "oss TPN EE WCC anne: OT oS ee ie mee dd1OA UBY} Josey WINIC BET Se 8S SDE Oe mo | OF. SG | 8) sh 8 | oe 1G | Breage [sales Oo 198 98 | ST er ak: ae oUNes 84} WINIP Puv edI0A Jo WUT OOH “yU90 | . {M190 |. “7U90 |. *jU90 |. *yU90 |. *jU90 |. “jU90 |. “ya90 |, *jU99 |. *}M190 |. “1190 |, *yU90 |. RCH oN oq oN ag oN Ig oN Jog oN AGP oN 10g oN Iag oN 19g oN 10g oN 19g oN J8q oN wept jo Syis YyIM | ssuos s3u0s s3u0s s3u0s 1®10OL, eee jUeuUTUTe} | pe}osuU0D) ~=s0uep 9ouep aouep oures re pete she pan : rede ey} | ssuog edt gq Sulsseq | S,uBUIO AA | UIseOD0;T ; ‘ Joy ssu0g ee NE A LD aie YE a a | a POR SL: CE a ey vet WOUd GNV WOIOA FO LIND OIULAW JO NOSIUVAWOO—Z FIAVL 3 67996°—Bull. 583—13 34 BUREAU OF AMERICAN ETHNOLOGY [BULL, 52 Group ANALYSIS OF 340 Sones One purpose of the following analysis is to determine whether there is any evidence of connection between the motive which prompts the singing of a song and the form assumed by the song. For this test the origin and use of the song will be considered. The songs most nearly related in origin are the Mide’, the dream, and the war songs, as many songs said to have been ‘‘ composed in dreams”’ were used in the ceremonies and practices of the Mide’ and also on the warpath. The songs classified as ‘dream songs” were given as such by the singers. No special use was assigned them, and they were probably used by individuals in dances until they gradually became general throughout the tribe, usually after the death of the composers. Fic. 1. Mide’ rattle. GRAND MEDICINE SONGS (MIDE’ NA’GUMOWI’NUN) This group comprises Nos. 1-90 in Bulletin 45, and Nos. 154, 155, 156, 174, 175, of the present work. The Mide’wiwin (Grand Medicine) was the embodiment of the native religion of the Chippewa and has many adherents at the present time (1912), new members being admitted and others advanced to higher degrees in the order. Many characteristics of the Mide’ songs are given in Bulletin 45 (pp. 14-20). The musical instruments accompanying the songs are described on pages 11-12, and illustrated in plates 1 and 2, of that work. The Mide’ rattles shown in Bulletin 45 are of wood, with sewed covers of “untanned hide. In figure 1 above is shown a similar rattle, but made entirely of wood, which formerly belonged to a prominent member of the Mide’wiwin at Waba’cifig (see p. 251). The principal classes of the Mide’ songs are those of the initiation ceremony and those con- DENSMORE] CHIPPEWA MUSIC—II aD nected with special ‘‘medicines.”’ The latter are sung by members of the Mide’wiwin in connection with the use of medicines for the curing of the sick or the working of charms, and also in the dances which follow the meetings of members, either for a feast or an initia- tion. Throughout these songs the element of affirmation is very strong; indeed, many have a triumphant tone. The idea underlying them all is the securing of a definite result through supernatural power, the music being an indispensable factor. In the initiation the desired end was the transference of ‘spirit power” to the candidate by the men and women who were initiating him, also the renewal of the same power in the members of the order who witnessed the ceremony, and the prolonging of their lives to old age. In the songs connected with special “medicines” the purpose to be accomplished was the healing of the sick and the producing of a certain effect on one or more per- sons, as in the use of various ‘charms.’ Thus it is seen that this purpose was usually objective, the effect on the singer being only secondary, that the means of securing benefit was supernatural, and that the singer had full confidence in its bestowal as well as in its efficacy. In the first table of analysis it is noted that 72 per cent of the Mide’ songs are major in tonality, this proportion being the same as in the songs of the begging dance, and exceeded only by the group of dream songs, which contains 76 per cent of major songs. The propor- tion of songs beginning on the dominant (either the twelfth or the- fifth) is 70 per cent, the largest of any except the begging dance songs, which contain 71 per cent, the dream, the love, and the moccasin game songs ranging from 52 to 56 per cent. Of songs beginning on the octave, however, the Mide’ songs contain only 12 per cent, which is less than the proportion of most groups, and about half that of the dream and the war songs. Sixty-three per cent end on the tonic, six groups showing a larger proportion. The feeling for the dominant is again made evident in the compass of the songs, 50 per cent having a range of either 12 or 5 tones, which is much larger than in any other group. In songs having a range of an octave, however, the Mide’ songs show only 22 per cent, while the love songs contain 37 per cent and the pipe dance songs 67 per cent In tone material the Mide’ songs are below most other groups in the number of songs on the five-toned scales, showing only 33 per cent, while other groups range from 39 to 51 per cent. The Mide’ songs show the largest percentage, with one exception, in the songs having the octave complete except the seventh, namely, 14 per cent of the number, the allied groups being the war songs with 13 per cent, and the begging dance songs, which show 28 per cent. In purely melodic structure this group contains 77 per cent, a larger percentage than any 36 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 other except the love songs, woman’s dance songs, and songs for the entertainment of children. The proportion of songs having the first progression a downward interval is 88 per cent, which is much larger than in any other group. The percentage of downward progression in the entire group of songs is the same as in the begging dance songs and larger than in any other group. In the number of descending minor thirds this group 1s exceeded only by the dream songs, and in the ascending minor thirds by the dream and the war songs. The average interval is the same as in the begging dance songs, being 2.9 semitones, the average of the entire series being 3.1 semitones, or a tenth of a semitone more than a minor third. This group is lowest of all in songs beginning on the accented part of the measure, and lower than most groups in songs beginning in 2-4 or 3-4 time. The drum-rhythm of all these songs is a rapid, unaccented beat which occurs in no other group except the war songs. The proportion of songs containing a rhythmic unit is larger in this than in any other group. Table 22 shows the percentage of songs in which the drum is faster than the voice to be larger in this than in any other group except the dream and the moccasin game songs, the former being 1 per cent and the latter 31 per cent greater. Here, then, is a group of songs known to be used as a means for accomplishing a purpose, namely, the securing of a definite effect, usually on a person other than the singer, by supernatural power; and the characteristics of this group are found to resemble the beg- ging dance songs more frequently than they do any other group. A prevailing major tonality is noted, and the feeling for the dominant is more marked than for the tonic; the songs open with less directness of ‘‘attack” than others, but contain a rhythmic unit more frequently than other groups. The expression is freely melodic, downward in trend, and is characterized by the interval of the minor third. A drumbeat faster than the metric unit of the voice is noted in songs of controlled excitement, and 51 per cent of these songs show this peculiarity. This is evident also in the moccasin game songs, and is found in war song No. 30. In the Mide’ songs are found peculiarities which may be connected with the motive and the mental state of the singer: (1) The rhythmic unit suggesting a definite, crystalized idea; (2) the major tonality, a confidence in securing the desired end; (3) a preference for the dominant, the unaccented initial tone, and the freely melodic form, all suggesting an indirect approach; and (4) the rapid drumbeat which is, in many instances, associated with controlled excitement. For the rhythmic units of the Mide’ songs see pages 309-313. DENSMORE] CHIPPEWA MUSIC—I. 37 DREAM SONGS (INA/BUNDJIGAN’ NA’/GUMOWI’NON)! This group comprises Nos. 108-121 of Bulletin 45 and Nos. 94-104 and 128-153 of the present work. The songs in this group are not composed (in the usual sense of the term) but are said to have ‘‘come to the mind of the Indian when he was in a dream.”’ We can not fully understand this dream or trance of the Indian; we can only accept his statement that by isolation and fasting he was able to induce a certain condition in which he ‘“‘saw a vision” and ‘‘ composed asong.”’ In the belief of the Indian fasting is a condition essential to certain classes of musical composition. It is a well-known fact that in a condition of inanition the brain enters on a phase of abnormal activity akin to that produced by narcotic stimulants. The com- position of songs during or immediately following an abnormal mental state has been noted among other Indian tribes. Thus, for instance, Mr. James Mooney states that ‘‘persons taking part in the ghost dance voluntarily sought the trance condition, and on emerging from that condition frequently embodied the story of their vision in a song.”’ In some instances the Chippewa stated that they sang songs heard in their dreams; thus in the description of No. 112, Bulletin 45, the man said that he ‘‘sang a song which he heard the trees singing,’ and in No. 119, in the same bulletin, he ‘“‘repeated the song which the crows sang.’”’ Nos. 94-99 of the present work are supposed to be the ‘‘songs”’ of the thunderbird, the deer, and the buffalo, which the man saw in his dream. Nos. 1, 102, 103, and 104 of the present work are said to have been learned from manido’, which appeared in human form to the dreamer. Mention of the manifestations of nature occur in many dream songs; these are considered on page 16. It is noted that 16 per cent of the dream songs relate to flight through the air. The sensation of aviation in dreams, due to some disturbance of the nervous equilibrium, is not an uncommon phe- nomenon. In the circumstances attending both the composition and the use of the dream songs the underlying idea was that of expectancy and acquirement. To the Indian a ‘‘vision” was more to be desired than any material thing. Through the vision he was assured of supernatural aid which would enable him to succeed in life, and the song was one of the means by which he summoned that aid in his hour of need. Considering this idea of acquirement, so closely associated with the dream songs, it is not surprising to find them, in analysis, allied to the woman’s dance songs and the songs con- 'The writer gratefully acknowledges the assistance of Dr. AleS’ Hrdli¢ka, curator of physical anthro- pology, United States National Museum, and of Mr. James Mooney of the Bureau of American Eth- nology, in studying the relation between physiological conditions and musical expression. 38 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 nected with gifts. One of the principal features of the woman’s dance is the presenting of gifts, an invitation to dance being accom- panied by a gift. Frequently these gifts are valuable articles, as ponies, rifles, and beaded garments, and the dancers wait with pleas- urable expectancy to know what presents will be bestowed on them. At this dance the writer has often observed the interest with which the Indians watch a man who rises and walks across the dancing circle with an attractive gift in his hand. The feeling is expressed in song No. 177, Bulletin 45, which contains the words, ‘‘I have been waiting a long time for you to come over.’”’ There is some similarity between this and the mental state of the man who patiently awaits the coming of a supernatural visitant. The songs connected with gifts are sung at the social dances and are frequently interspersed with woman’s dance songs. If the ‘gift is so large as to require special celebration these gift songs are used. Some of them accompany the giving and some the receiving of the gift, but all concern an actual event and have not the element of expectancy associated with many of the woman’s dance songs. Among the dream songs the proportion in major tonality is 4 per cent larger than in any other group, comprising 76 per cent, the songs of the Mide’ and of the begging dance each showing 72 per cent. This group is largest also in songs beginning on the twelfth, the group of love songs ranking next in this respect. The Mide’, however, contains the highest percentage of songs beginning on the dominant, comprising a large number of songs beginning on that interval but having a compass of less than 12 tones. The number of dream songs beginning on the octave is 1 per cent greater than in the Mide’ but less than half the proportion shown by the war songs. Further resemblance to the Mide’ is shown in the ending of the songs, 63 per cent ending on the tonic, as in the Mide’, though seven other groups show a larger percentage. Thirty-seven per cent of the songs have a compass of 12 tones, as in the Mide’, the highest proportion except in the woman’s dance songs, 40 per cent of which have this compass. In tone material this group shows a difference from the Mide’ and a similarity to certain other groups, 51 per cent of the songs being based on the five-toned scales while the Mide’ shows only 33 per cent based on these scales; the allied groups are the woman’s dance songs, the songs connected with gifts, and the songs for the enter- tainment of children, 50 per cent of each being on the five-toned scales. The proportion of songs containing only the tones of the major triad and: sixth is the largest except in the pipe dance, consti- tuting 26 per cent of the number. The proportion of songs con- taining the octave complete except the seventh is only 2 per cent, in contrast with 14 per cent in the Mide’. The dream songs differ DENSMORE] CHIPPEWA MUSIC—II 39 widely in structure from the Mide’ songs, 49 per cent bemg harmonic and 16 per cent melodic with harmonic framework (a class in which many songs are harmonic except for one measure); thus, 65 per cent of the dream songs are harmonic in feeling, compared with 23 per cent in the Mide’ and 44 per cent in the war songs. In the proportion of songs beginning with a downward progression this group is next to the Mide’, 77 per cent beginning thus. In total number of down- ward progressions this group shows 66 per cent, the same as the woman’s dance songs and the songs connected with gifts. The pro- portion of minor thirds in both ascending and descending progression is much larger in this than in any other group. The average interval is the same as in the woman’s dance—3.1 semitones, this being also the average interval of the entire series. The beginnings of these songs are more direct than in the Mide’, 74 per cent beginning on the accented part of the measure, contrasted with 47 per cent in the Mide’, while the proportion of songs beginning in double time is larger than in either the Mide’ or the war songs, comprising 55 per cent of the number. The time is more variable in this than in any other group except the unclassified songs, 94 per cent of the songs containing a change of time. A triple drum-rhythm is found in 62 per cent, the same percentage as in the songs connected with gifts. A rhythmic unit occurs in a majority of the songs. Both voice and drum have in general a rapid metric unit; in 52 per cent the drum is faster than the voice, a larger proportion than in any except the moccasin game songs. The structure of the dream songs is more centralized than that of the Mide’ songs, the harmonic form and the large percentage of songs on the five-toned scales referring the tones distinctly to a keynote. In a general sense it may be said that the Mide’ songs were used for the purpose of affecting persons other than the singers, while in the dream songs constituting this group (with the exception of the ‘“‘doctor’s songs”) the purpose was to secure an advantage more or less personal. The analysis shows that in some respects this group resembles the Mide’ songs and in other respects shows similarity to the songs of the woman’s dance and the songs connected with gifts. The dream songs are even more strongly marked by major tonality than are those of the Mide’, which ‘they resemble in the prominence of the dominant, but they are different from the Mide’ and allied to the songs of the woman’s dance and the songs connected with gifts, in the harmonic form, the proportion of songs on the five-toned scales, the proportion of upward and downward progressions, the average interval, the accented beginning, and the triple drum-rhythm. The rhythmic units occurring in the dream songs are given on pages 514-317. , 40 BUREAU OF AMERICAN ETHNOLOGY [punn, 53 WAR SONGS (MIGA’/DIWIN’ NA’GUMOWI’/NUN) This group comprises Nos. 122-132 and 154-172 in Bulletin 45, and Nos. 1-50, 63-66, and 80-93 of the present work. On the war- path these songs were accompanied by a small drum (see pl. 7). At the dances in the viliage, preceding the departure and after the return of a war party, a large drum was used and the drummers were seated around it. In recent years the war songs are sung at the social dances of the tribe, accompanied by a drum similar to that used in the Drum-presentation Ceremony (see pl. 18), but, according to the writer’s observation, less elaborately decorated. The war songs are of four kinds—-the dream songs of individual warriors, the songs concerning war charms and medicines (these two having a connection with the supernatural element), the songs of the conduct of the war expedition, and those which commemorated its success (the last having no supernatural element). It is said that “‘in the old days no warrior would have dared sing a war song that was not composed in a dream,” referring of course to the first two classes of . war songs. The third class includes the songs of the war messenger, the dog feast, and the departure of the war party, and the fourth class includes the songs which were composed by a returning war party or in the victory dances which followed a successful expedition. The boundaries between these classes of songs are not strongly marked, and this division should be understood therefore as general in character. Fifty per cent of the war songs are major in tonality, the same proportion as in the songs for the entertammment of children. The proportion of war songs beginning on the octave is 27 per cent, the largest of any except the love songs. Seventy per cent of the songs end on the tonic, the same proportion as in the woman’s dance, but larger than in the Mide’ or in the dream songs. Seventy-six per cent of the songs have a compass of ten or more tones, being exceeded only by the dream and the moccasin game songs, which contain 77 per cent having that range. The percentage of songs on the five-toned scales is less than that of five other groups, but the proportion of songs containing the octave complete except the seventh is larger than in any other group except the Mide’ and the begging dance. The sixth lowered a semitone occurs more frequently in this than in any other group. The purely melodic songs comprise 56 per cent, and the allied class of melodic songs with harmonic framework comprise 25 per cent, showing the war songs to be largely melodic in structure, the proportion being exceeded only in the love songs, woman’s dance songs, and songs for the entertainment of children. In 66 per cent of the songs the first progression is downward. The number of intervals of a second is much above the average, showing freedom of melodic DENSMORE] CHIPPEWA MUSIC—II Al movement. The average interval is one-tenth of a semitone below the average interval of the entire series of songs. Fifty-one per cent of the songs begin in double time, but this is not steadily maintained, 66 per cent of the songs containing a change of time. The triple rhythm is said to be the drum-rhythm of the victory dance, com- monly known as the scalp dance; but this is found in only 35 per cent of the war songs, 42 per cent showing the even beats which characterize the Mide’ (see footnote, p. 10). Seventy-one per cent contain a rhythmic unit, the largest proportion except in the Mide’. The metric unit of the voice is rapid, and that of the drum is of medium rapidity; the drum is faster than the voice in only 44 per cent of the songs, the same proportion as in the begging dance and the woman’s dance, and much less than in the Mide’ and the dream songs. The group of war songs is probably less homogeneous than any other, and its correspondences to other groups are diverse. The relation to the Mide’ songs seems stronger than any other, being both melodic and rhythmic; there is also a melodic correspondence with the dream songs, the relation to these two groups being attributable to the common element of communication with the supernatural. Both the Mide’ and war songs are principally melodic in structure, but the feeling is for the dominant in the former and for the tonic and its octave in the latter. Definiteness of idea and assurance of success are suggested by the prominence of the rhythmic unit and the major tonality. The correspondence with the woman’s dance may come from the fact that this dance was a favorite one during the periods of peace between the Chippewa and the Sioux. It was said to have been given to the Chippewa by the Sioux. The begging dance also was received from the Sioux, and with that group the war songs show both melodic and rhythmic correspondence. The relation to the moccasin game songs is only in the compass, which may be attributed to the element of excitement in both groups; this element does not affect, however, the tempo of the war songs or the relative speed of voice and drum, as it appears to do in the moccasin game songs. Regarded as a whole, the characteristics of the war songs are control, definiteness, and a strong centralization, the melody tones being referable to a keynote in a greater degree than in many other groups of songs. The rhythmic units occurring in the war songs will be found on pages 318-325. LOVE SONGS (SA’GIi/DIWIN’ NA’GbMOow!’NUN) This group comprises Nos. 133-141 and 163-167 of Bulletin 45 and Nos. 105-1138, 157-160, 170, 177, and 178 of the present work, the “Jove-charm songs” of the Mide’ not being included. The love songs were unaccompanied by any instrument, but lovers frequently played 49 BUREAU OF AMERICAN ETHNOLOGY [BULL 53 on a musical instrument commonly called a flute, but similar in construction to a flageolet, being blown at the end instead of at the side! The instrument is called bibi’gwan. (See pl. 2.) This instru- ment was procured at Lac du Flambeau, from a middle-aged woman, who said it had belonged to her grandfather. It is 214 inches long and 14 inches in diameter. A test of the instrument shows its lowest tone to be about a quarter tone above G, second line, treble clef; in the octave above this the tones are clear, but in the second octave the instrument does not respond. It is worthy of note that the fourth produced by this instrument was less accurate than other intervals and that the seventh was very faulty and not a clear tone. Uncer- tain intonation on the fourth and seventh is noted in Bulletin 45, pages 4-5. The following melody, played on this instrument, was furnished by Rev. C. H. Beaulieu; it is said to be very old. Fo aot ear roe Attention is directed to the prominence of the subdominant, which has been found to characterize 11 per cent of the love songs (see No. 106). The love songs of the Chippewa are plaintive in character, usually expressing sadness and disappomtment. Thirty of these songs have been recorded and only one of this number is inspired by happiness (No. 177). The words of seven are not transcribed. In most in- . stances the words, which are continuous throughout the melody, were not accurately repeated in the repetitions of the songs, but it has usually been possible to give a free translation indicating the char- acter of the words. Only one love song expresses a promise and one a request, six concern the departure of a lover, and five concern loss and longing. Two express jealousy and offense, two fickleness, and two relate to an attempt to drown disappointment in drink. It has been already stated that the words of the love songs are some- times impromptu, and that new words are sometimes fitted to old tunes, the general idea remaining the same. Expression by means of a combination of words and music is much more free in the love songs than in any other group, and they may be said to constitute a distinct phase of musical culture and practice. Although these songs are indicative of an unhappy state of mind, 40 per cent of them are major in tonality. In this group the per- centage of songs beginning on the octave is larger than in-any other except the war songs. Eighty-six per cent begin on either the tonic, octave, or dominant, nearest to this being the songs of the begging dance, which show 85 per cent, and of the moccasin game, 84 per cent. 1Contributions to the History of Musical eats by Charles Kasson Wead, in Report U. S. National Museum, 1900, p. 426, Washington, 1902. (4LN14 S:YSAO1) LE1IO3SDVI4 @ 3LV1d €S NILSTING ASOIONHL]A NVOIYAWYV JO NVAYNG DENSMORE] CHIPPEWA MUSIC—ItI 48 The proportion of songs ending on either the tonic or dominant is 93 per cent, larger than in any other group except the pipe dance songs and the songs for the entertainment of children. Ninety-seven per cent of the love songs have a compass of an octave or more, and four songs have a range of 14 tones. The love songs have the highest percentage among songs contain- ing all the tones of the octave, the begging dance songs ranking next; the omitted seventh, which characterizes the war songs, does not appear in this group, and the octave complete except the second occurs in 17 per cent of the number. The five-toned scales appear less fre- quently in this than in any other group. In accidentals the sixth is sharped more often than in any other group; the flat third, which we are accustomed to connect with the idea of sadness, does not appear, and the flatted sixth occurs only twice. Two songs have the third omitted, a peculiarity found to exist in several songs concerning women (see analysis of No. 53). Ninety-three per cent of the songs are purely melodic in structure, a proportion much higher than in any group except the woman’s dance (100 per cent), the group nearest it being the songs for the entertainment of children, which contains 87 per cent of melodic songs. Half the love songs begin with an upward and half with a downward progression, the proportion being the same in the woman’s dance, the gift songs, and the songs for the entertainment of children. The love songs, so eminently songs of sadness, contain a smaller percentage of minor thirds (in both ascend- ing and descending progression) than any other group. The pro- portion of ascending fifths is much larger than in any other group, and seven ascending intervals of a twelfth are found, showing, as in the preceding Tables, a strong feeling for the dominant. The aver- age interval is 3.4 semitones, the highest except in the moccasin game and the pipe dance songs, two classes comprising songs of a high degree of excitement, in which the average interval is 3.5. In contrast to this the metric unit of the voice is slow. The proportion of songs containing a change of time is much above the average, and most of the songs do not contain a rhythmic unit. The interval of the twelfth is prominent, showing a feeling for the second overtone as in the Mide’; it will be recalled that the war songs show the first overtone, which is the octave. Completeness and free- dom of expression are suggested by the melodic form, the large com- pass, and the use of all the tones of the octave; an element of excite- ment by the largeness of the average interval, and an element of control by the slow metric unit, while a lack of definitely formed thought is suggested by the small percentage containing a rhythmic unit. For the rhythmic units occurring in the love songs see pages 3259-327, 44 BUREAU OF AMERICAN ETHNOLOGY [puny 53 MOCCASIN GAME SONGS (MAKIZIN’ATA’DIWIN’ NA’GUMOWI’NUON) This group comprises Nos. 142-145 and 168-176 of Bulletin 45, and Nos. 125, 126, 161-163, and 176 of the present work. It is said that in the old days most of the moccasin game songs were ‘‘com- posed in dreams” but only a few such are included in this series. The instrument used to accompany these songs is a drum, speci- mens of which vary but little in size, provided usually with deerskin heads (see pl. 3).1. With this drum is used an ordinary short drum- stick the end of which is wound with cloth. Small pieces of tin are sometimes set in the frame of the moccasin game drum, to add a jingling effect. In the analysis of these songs may be noted a large proportion in minor tonality, exceeded only by the songs of the woman’s dance and the songs connected with gifts. Eighty-four per cent begin on, and all end on, either the tonic or dominant. None of the songs have a compass of less than an octave, resembling in this respect the woman’s dance and the pipe dance songs. One-third of the songs are on the second five-toned scale, this being the largest proportion in the entire collection, the closest approximation being the woman’s dance songs. The several five-toned scales comprise 43 per cent of the entire num- ber, and apart from these the group presents a wide range of tone material. Only one song contains an accidental—the flat sixth. Forty-two per cent of the songs are harmonic in structure, the group beg exceeded in this respect only by the dream songs. The per- centage of descending minor thirds is below the average, notwith- standing so large a proportion of the songs is minor in tonality, this group resembling the love songs in this respect. The average interval, which is the same as in the pipe dance (3.5 semitones), is the largest in the entire series. Eighty-nine per cent of the moccasin game songs begin on the accented part of the measure, being exceeded in this respect only by the woman’s dance songs with 90 per cent, and by the pipe dance songs with 100 per cent. With the exception of the woman’s dance and the gift songs this group maintains the time throughout the song more steadily than any other group, a feature which is surprising in view of the excitement of the game. Thirty- three per cent of the songs contain a rhythmic unit, the percentage of songs in the entire series containing such unit being 62. In this the moccasin game songs are seen to be below the average, songs for 1 The instrument here illustrated was obtained at White Earth; it is said to be very old. The cover has been renewed from time to time, the design being duplicated on the new cover, as in the instance of Odjib’we’s war drum (p.62). The diameter of the drum shown in plate 3 is 183} inches, the thickness 2} inches. A single piece of deerskin forms both heads; this is sewed with strips of hide on which some of the hairremains. Inside the drum are three tightly stretched cords, each provided with small pegs tied atequal distances. At the writer’s request the former owner of the drum fastened a cord across an ordi- nary hoop (pl. 3) in the same manner as the cords are fastened inside the drum. The pegs are tied to the cord and before the cover of the drum is putin place the cord is twisted to increase the tension, permitting the pegs to vibrate against the deerskin, BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATES MOCCASIN. GAME DRUM The upper figure shows the arrangement of one of the three cords inside the drum together with the pegs fastened thercto. DENSMORE] CHIPPEWA MUSIC—II 45 the entertainment of children (38 per cent having a rhythmic unit) ranking next. The rhythmic unit appears to represent a definitely formed thought and conveys that impression to the hearer. In this connection it will be noted that the chief concern of the moccasin game player is to give no clue to his thought, thus mentally eluding his opponents. A wide range is shown in the speed of both voice and drum, and in comparing the metric units of the two it is found that the drum is faster than the voice in 82 per cent of the songs, the per- centage for the entire series being only 46. Thus the moccasin game songs constitute a group which in some phases of analysis shows itself allied to the groups of dance songs (the woman’s dance, the pipe dance, and the begging dance), though its songs were never used in dances. This resemblance is in the form of the song, not in the rhythm of the drum, which is peculiar to the moccasin game. It will be recalled that many dream songs and war songs were used in dances and that the phonograph records of those songs show a drum-rhythm similar to that of these three groups of dance songs, but many of the war songs and all the dream songs were essentially personal in character. The social element was strong in the moccasin game and in these three kinds of dances. The woman’s dance and the begging dance were open to all the men and women, and the pipe dance is said to have been ‘the principal good-time dance” of the old Chippewa. In similar if not greater degree a moccasin game was a center of interest in the camp; it is said that “the whole tribe” always gathered around the players, watching the game and betting on the result. Thus the social element may be said to be the point of contact between the moccasin game and the dance eroups. A resemblance to the love songs may be noted in the seeming discrepancy between the tonality and the character of the intervals. Perhaps it may be said that these two groups have in common a certain elusiveness and whimsical changeableness. Direct- ness is shown in the accented beginnings of the songs and their endings on the tonic, but this is contradicted by the small percentage of songs containing a rhythmic unit. The rhythm of the drum is the usual moccasin game rhythm (see No. 125). The rhythmic units occurring in the moccasin game songs are given on pages 327-328. WOMAN’S DANCE SONGS (IKWE’NIMIWIN’ NA’GUMOWI'NUN) This group comprises Nos. 177-185 of Bulletin 45 and No. 164 of the present work. The woman's dance is a social dance in which an invitation is usually accompanied by a gift. This dance is described in Bulletin 45 (p. 192) and is illustrated in plate 45 of the present work. The dance is said to have been acquired long ago from the Sioux, but the 46 BUREAU OF AMERICAN ETHNOLOGY [BULL 53 songs in this collection are supposed to have been composed by Chippewa. The drum used to accompany the woman’s dance is the large drum similar to that used in the Drum-presentation Ceremony but less elaborately decorated. Seventy per cent of the woman’s songs are minor in tonality, this being the largest proportion of any group except the gift songs, which show 75 per cent. Half the songs begin on the dominant and one-fifth begin on the octave above the tonic. The proportion end- ing on the tonic exceeds the average of the series. Forty per cent have a range of an octave, and 40 per cent a range of a twelfth, this being the highest percentage in the group. Half the songs are on the five-toned scales, this proportion being the same as in the gift songs and in the songs for the entertainment of children. Only one song contains an accidental, and all the songs are purely melodic in structure, the love songs (93 per cent) being the nearest rivals in this respect. The upward and downward progressions are evenly divided, as in the love songs and in those for the entertainment of children. One-fourth of the intervals, in both ascending and descending pro-. gression, are minor thirds. It will be recalled that the moccasin game songs, with almost the same proportion of minor tonality, do not show so great prominence of minor thirds. The average interval is the same as the average for the entire series-—3.1 semitones, the same interval being shown by the dream songs. In definiteness of beginning these songs exceed all except the songs of the pipe dance, 90 per cent beginning on the accented part of the measure. Conti- nuity of measure-lengths is greater in this group than in any other, 40 per cent of the songs showing no change of time. The triple drum-rhythm occurs with all the songs. Considering the definiteness of beginning, the large proportion of songs ending on the tonic, and the steadily maintained length of the measures, it is surprising to’ find that the proportion of songs containing a rhythmic unit is the smallest except in songs of the moccasin game and for entertainment of children. The proportion of songs having the same metric unit of voice and drum is largest except in the pipe dance. The rhythm of the woman’s dance songs is particularly “catchy” and pleasing, but the element of what might be termed intellectu- ality does not enter into this merrymaking, and perhaps this lack is one of the factors essential to the development of a song from a small group of tones. In tonality we note a correspondence with the gift songs and recall that gifts were an important feature of the woman’s dance. Simple pleasure allied this group to that of the pipe dance songs and the songs for the entertainment of children, and some cor- responding characteristics are shown by the analysis. The rhythmic units occurring in the woman’s dance songs will be found on page 328, pENSMoRE] CHIPPEWA MUSIC—II 47 BEGGING DANCE SONGS (BAGOSAN’NINGE’NIMIWIN’ NA’GUMOWiI'NUN) This group comprises Nos. 187 and 188 of Bulletin 45. and Nos. 114-118 of the present work. The begging dance, like the woman’s dance, is said to have been derived from the Sioux. In the writer’s observation of this dance among both Chippewa and Sioux the large drum is used; this is carried by two or three men as the begging party goes from tent to tent. This dance is described in Bulletin 45 (p. 171) and its tradi- tional origin is given on page 228 of the present work. The percentage of these songs in major tonality is 72, the same as in the Mide’ and 4 per cent less than in the dream songs. Seventy- one per cent begin on the dominant, resembling the Mide’ songs, in which 70 per cent begin on the dominant. Fourteen per cent only begin on the tonic. The proportion of songs ending on the tonic is 24 per cent below the average (see Tables 2 and 3), indicating a slight feeling for the keynote. The percentage of songs beginning on the ninth is almost double that in any other group. The ninth is usually a tone of approach to the octave. The number of songs on the five-toned scales and the number with the octave complete except the seventh are equal. Only one song contains an accidental, and 72 per cent are purely melodic in structure, this being 6 per cent above the average. The percentage of downward progression is 67, the same as in the Mide’, and the largest in the entire series. The percentage of ascending fourths is the largest in the series except in the pipe dance. This interval has been found to characterize songs concerning motion; it is considered in the analysis of song No. 22. The average interval of this group is the same as in the Mide’, and is the smallest in the entire series except in the songs connected with gifts. The percentage of songs beginning in double time is the largest except in the pipe dance and the songs for the entertainment of chil- dren, and the time is more steadily maintained than in any except these groups and the unclassified songs. A small proportion of these songs contains a rhythmic unit, the related groups being the woman’s dance and the songs for the entertainment of children. The num- ber of songs having the same metric unit of voice and drum ‘is the same as the number in which the drum is faster than the voice. In the analysis of the Mide’ songs a similarity between that group and the songs of the begging dance was noted and some corre- spondence of motive was traced. In the analysis of the begging dance songs are found similarities to the songs of the pipe dance and the woman’s dance, the songs for the entertainment of children, and the songs connected with gifts; and some similarity of motive also can be traced between these groups. The purpose of the begging dance was, of course, the securing of gifts, Underlying the other 48 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 three classes of songs is a strong element of pleasure and simple amusement. The woman’s dance, with its exchange of gifts, is greatly enjoyed by the Chippewa, much interest surrounding the ‘‘return present,” as everyone who is given a present is expected to return one of equal value. The pipe dance is a ludicrous pantomime, and the songs for the entertainment of children usually end in laughter. The element of pleasure is equally strong in the begging dance. The writer has seen a merry party going from tent to tent, singing the begging dance songs. This dance forms the great recrea- tion in a camp. There is the discomfiture of the people who are not prepared with proper gifts of food (the recollection comes to the writer of a woman running after a begging dance party with a pail of maple sugar which she could not find when they were at her tent), and there is the pleasure of forcing people to give who are not disposed to be generous. Added to these factors is the delightful uncertainty as to the nature of the food to. be bestowed and the pleasant anticipa- tion of the varied feast to follow. No one acquainted with a Chippewa or a Sioux camp would be surprised at the resemblances shown in this analysis. The rhythmic units of the begging dance songs are given on page 329. PIPE DANCE SONGS (OPWA’GUNINI’MININ NA’GUMOWI’NUN) This group comprises Nos. 171, 172, and 173 of the present work. The pipe dance was performed solely for the merriment of the tribe. Tn its original form it passed out of existence long ago and only a few of its songs remain. ‘The number of songs in this group is so small that the percentages are less significant than in other groups, but some general characteristics of the songs are shown by their analysis. Most of the songs are major in tonality and begin on the third, but all end on the tonic. One song has a range of but four tones, the only one having a similar range being a dream song. The major triad forms the framework of two-thirds of the songs, none contain an accidental, two-thirds are purely melodic, and the downward progressions are much greater in number than the upward. The average interval is the same as in the moccasin game songs and the element of excitement was probably almost as great in one as in the other. All the songs begin on the accented part of the measure, all begin in double time, and all show a change of time. Two-thirds of the songs contain a rhythmic unit. Considering the element of excitement in the dance, it is surprising to find the metric unit of - voice and drum the same in all the songs, none of the other groups showing a percentage of more than 56. This can scarcely be regarded as an original feature of the pipe dance music, but may suggest the mental attitude of the Indian at the present time. For the rhythmic units occurring in these songs see page 329. DENSMORE] CHIPPEWA MUSIC—II 49 SONGS CONNECTED WITH GIFTS (mI’/GINE, MA/MOYA’NE, NA/GUMOWI'NUN) This group comprises Nos. 151-153 and 189-191 in Bulletin 45, and Nos. 123, 124 of the present work. These are the songs which accompany gifts, usually the gift of a pony, and are sung by the recipient or giver, together with the singers at the drum. The songs are used in the social dances. Three-fourths of the songs are minor in tonality, and one begins in major tonality but changes to minor by lowering the third and sixth a semitone, the keynote remaining the same. Half of these songs begin on the keynote, and half end on the tonic. Eighty-eight per cent of them have a compass of an octave or more, the allied groups being the moccasin game, woman’s dance, and begging dance. Half the songs are on the five-toned scales, as in the woman’s dance and the songs for the entertainment of children, and all contain the tonic triad. Only one song contains an accidental and in this the second is lowered a semitone. Sixty-two per’cent of the songs are purely melodic in structure. Half begin with a down- ward progression, the same proportion occurring in the songs of the woman’s dance and the songs for the entertainment of children. The minor third constitutes more than one-fourth of the intervals in both ascending and descending progression. The average interval is the smallest in the entire series, being only 2.2 semitones. Eighty-seven per cent of the songs begin on the accented part of the measure, a proportion exceeded only by the songs of the moccasin game, the woman’s dance, and the pipe dance. Sixty-three per cent begin in 2—4 time and contain a change of time. The drum-rhythm is that of the social dance. . The percentage of songs containing a rhythmic unit is the same as that of the entire series. In half the songs the metric unit of voice and drum is the same, and in half the voice is faster than the drum. The rhythmic units occurring in these songs are given on pages 329-330. : SONGS FOR THE ENTERTAINMENT OF CHILDREN (A’DIZO/KE NA’GUMOWL NUN) This group comprises Nos. 149 and 197 in Bulletin 45 and Nos. 51-53, 127, 179, and 180 of the present work. Nos. 149 of Bulletin 45 and No. 127 in this volume represent different versions of the same song, recorded on widely separated reservations, which present some differences on analysis. It will be noted that, with the excep- tion of the lullaby, all these songs are characterized by a marked sense of humor and usually mimic the interests and occupations of the tribe. Half these songs are major and half are minor in tonality; half begin on the tonic and three-fourths end on the tonic. Two songs 67996°—Bull. 53—13——4 50 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 are on the fifth five-toned scale and two on the fourth five-toned scale, these comprising half the group. From two of the songs the third is omitted (see analysis of No. 53). None of these songs con- tain an accidental and 87 per cent are purely melodic in structure, Half begin with a downward and half with an upward progression. The minor third is especially prominent in the descending intervals. The average interval is the same as in the war songs, and we note that three of these songs are concerned with a child’s game of war and one with war between animals. Half the songs begin on the accented and half on the unaccented part of the measure. Three- fourths begin in 2-4 time and the percentage of songs marked by a change of time is the largest except in the dream songs, the pipe dance songs, and the unclassified songs. Sixty-two per cent contam no rhythmic unit, this proportion being exceeded only in the moc- casin game songs. In the rendering of these songs, as well as in those of the moccasin game, a high degree of excitement prevails. Most of the songs were recorded without the drum; in one song drum and voice show the same metric unit, while in another the drum is slower than the voice. The rhythmic units occurring in these songs will be found on page 330. UNCLASSIFIED SONGS This group comprises the following songs: Nos. 146, 147, 148, 150, 186, and 192-196 in Bulletin 45, and Nos. 67, 68, 119-122, 165-169 of the present work. These songs present a wide variety of inter- est, including songs of the ca’wtino’ga (southern) dance, the divorce ceremony, the friendly visit of one band to another, and a ‘song concerning an historical incident. As the topics of the songs are so diverse it does not seem expedient to consider the group as a unit. The rhythmic units found in the songs are, however, of interest (see pp. 330-332). ' MELODIC AND RHYTHMIC RESEMBLANCES BETWEEN SONG GROUPS (BASED ON TABLES 1-22) The preceding analysis suggests connection between the idea of the song and its musical form, and also indicates resemblance between groups of songs containing asomewhat similaridea. Tables (pp. 51-58) have been prepared in order that these resemblances may be more con- veniently observed. For instance, it will be noted that the Mide’ songs resemble the begging dance songs, the idea common to both bemg desire for acquirement, in the former for the acquirement of super- natural power and in the latter for gifts of food. Turning to the analysis of the begging dance songs, they are found to be allied to the three groups of songs in which the element of pleasure is strongest— the songs of the woman’s dance, the pipe dance, and those for the DENSMORE] CHIPPEWA MUSIC—II 51 entertainment of children, the begging dance combining the idea of acquirement with that of pleasure. It may be noted also that the begging dance and the pipe dance songs have in common a large proportion of intervals of the ascending fourth, which have been found to characterize songs concerning motion (see No. 22), and it is recalled that the persons engaged in the begging dance made the circuit of the entire camp and that the pipe dance was a contortion dance. Turning to the analysis of the songs for the entertainment of children, we find that group allied to the pleasure songs and also to the war songs, and recall that one-half the songs of this group relate to mimic warfare or warfare between animals. From further study of structural resemblances between groups of Indian songs it may be possible to ascertain whether a rhythmic unit is usually found in songs of definitely formed thought, whether a feeling for the tonic and its octave is strongest in subjective songs, and to throw light on other peculiarities suggested as subjects of more extended investigation by this comparative analysis of the content and form of Chippewa songs. TABULATED ANALYSIS OF RESEMBLANCES 1. MIDE’ SONGS General motive of songs: The securing of a definite result through supernatural power, the person affected being usually some one other than the singer. Melodic resemblances of Mide’ songs to— Dream Songs a, In major tonality b, In proportion of songs beginning on octave c, In proportion of songs ending en tonic d, In compass of twelfth e, In first progression downward Love Songs In purely melodic structure Woman’s Dance Songs In purely melodic structure Begging Dance Songs a, In major tonality b, In proportion of songs beginning on dominant c, In proportion of songs containing octave complete except seventh d, In proportion of downward progressions e, In average interval Songs for the Entertainment of Children In purely melodic structure ot ~] 52 BUREAU OF AMERICAN ETHNOLOGY [BULL. 5¢ Rhythmic resemblances of Mide’ songs to— Dream Songs In proportion of songs in which drum is faster than voice Certain kinds of War Songs In double drum-rhythm Moccasin Game Songs In proportion of songs in which drum is faster than voice 2. DREAM SONGS General motive of songs: The securing of supernatural aid in per- | sonal undertakings. Melodic resemblances of dream songs to— Mide’ Songs a, In major tonality b, In proportion of songs beginning on octave c, In proportion of songs ending on tonic d, In compass of twelfth e, In first progression downward Love Songs In proportion beginning on twelfth Moccasin Game Songs In harmonic structure Woman’s Dance Songs a, In five-toned scales b, In compass of twelfth c, In proportion of downward progressions d, In average interval Begging Dance Songs In major tonality Pipe Dance Songs a, In proportion containing major triad and sixth b, In songs having compass of four tones Songs Connected with Gifts In five-toned scales Songs for the Entertainment of Children a, In five-toned scales b, In proportion of downward progressions Rhythmic resemblances of dream songs to—- Mide’ Songs In proportion of songs in which drum is faster than voice Songs Connected with Gifts In triple drum-rhythm DENSMORB] CHIPPEWA MUSIC—II 53 3. WAR SONGS General character of songs: (1) Dream songs of individual warriors; (2) Songs concerning war medicines; (3) Songs incidental to a war expedition; (4) Songs concerning success on the warpath. Melodic resemblances of war songs to— Mide’ Songs In proportion of songs containing octave complete except seventh Dream Songs In compass Love Songs a, In proportion of songs beginning on octave b, In melodic structure Moccasin Game Songs In compass Woman’s Dance Songs a, In proportion of songs ending on tonic b, In melodic structure Songs for the Entertainment of Children a, In equal major and minor tonality b, In melodic structure Rhythmic resemblances of war songs to— Mide’ Songs In double drum-rhythm (of certain classes of war songs) Begging Dance Songs In proportion having drum faster than voice 4. LOVE SONGS General character of songs: The expression of disappointment, loneli- ness, and sadness. Melodic resemblances of love songs to— Mide’ Songs In melodic structure Dream Songs In proportion of songs beginning on twelfth War Songs a, In proportion of songs beginning on octave b, In melodie structure Moccasin Game Songs a, In proportion of songs beginning on tonic, octave, or dominant b, In average interval 54 BUREAU OF AMERICAN ETHNOLOGY [BULL 53 Melodic resemblances of love songs to— Woman’s Dance Songs a, In relative proportion of downward and upward pro- eressions b, In melodic structure Begging Dance Songs a, In proportion of songs beginning on tonic, octave, or dominant b, In compass of an octave Pipe Dance Songs a, In proportion of songs ending on tonic or dominant b, In average interval Songs Connected with Gifts In relative number of downward and upward progressions Songs for the Entertainment of Children a, In proportion of songs ending on tonic or dominant b, In relative proportion of downward and upward progres- sions Rhythmic resemblances of love songs to— Begging Dance Songs In change of time Songs for the Entertainment of Children In change of time 5. MOCCASIN GAME SONGS Elements in moccasin game: Controlled excitement, desire for suc- cess and gain, pleasure, and confidence in supernatural aid. Melodic resemblances of moccasin game songs to— Dream Songs In harmonic structure Love Songs In number of songs beginning on tonic, octave, or dominant Woman’s Dance Songs ~ a, In minor tonality b, In second five-toned scale c, In compass Pipe Dance Songs In average interval Songs Connected with Gifts In minor tonality DENSMoRE] CHIPPEWA MUSIC—II 55 Rhythmic resemblances of moccasin game songs to— Mide’ Songs In proportion of songs in which drum is faster than voice Woman’s Dance Songs a, In proportion of songs beginning on accented part of measure b, In time steadily maintainéd Pipe Dance Songs In number of songs beginning on accented part of measure Songs Connected with Gifts In time steadily maintained Songs for the Entertainment of Children In rhythmic unit * 6. WOMAN’S DANCE SONGS Elements in the dance: Pleasure and securing the gifts offered with the invitation to dance. Melodic resemblances of woman’s dance songs to— Mide’ Songs In melodic structure Dream Songs a, In five-toned scales b, In compass of twelfth ¢, In proportion of downward progressions d, In average interval Love Songs a, In melodic structure b, In proportion of downward and upward progressions Songs Connected with Gifts a, In minor tonality b, In five-toned scales c, Inrelative number of downward and upward progressions Songs for the Entertainment of Children a, In five-toned scales b, In proportion of downward and upward progressions Rhythmic resemblances of woman’s dance songs to— Moccasin Game Songs In time steadily maintained Pipe Dance Songs . In number of songs beginning on accented part of measure Songs Connected with Gifts In time steadily maintained Songs for the Entertainment of Children In rhythmic unit ot co 56 BUREAU OF AMERICAN ETHNOLOGY [BULL A 7. BEGGING DANCE SONGS _ Elements in the dance: Pleasure and acquirement. Melodic resemblances of begging dance songs to— Mide’ Songs a, In major tonality 6, In proportion of songs beginning on dominant c, In proportion of songs containing octave complete except seventh d, In proportion of downward progressions e, In average interval Dream Songs In major tonality Love Songs In proportion of songs beginning on tonic, octave, or dominant Pipe Dance Songs In number of ascending fourths Rhythmic resemblances of begging dance songs to— Woman’s Dance Songs In rhythmic unit Songs for the Entertainment of Children a, In proportion of songs beginning in double time b, Inrhythmic unit 8. PIPE DANCE SONGS Elements wn the dance: Ludicrous pantomime and contortion. Melodic resemblances of pipe dance songs to— Dream Songs a, In proportion of songs containing major triad and sixth b, In songs having compass of four tones Love Songs a, In proportion of songs ending on tonic or dominant b, In average interval Moccasin Game Songs In average interval Rhythmic resemblances of pipe dance songs to— Moccasin Game Songs In proportion of songs beginning on accented part of measure Woman’s Dance Songs In proportion of songs beginning on accented part of measure . DENSMORE] CHIPPEWA MUSsIC—II 57 9. SONGS CONNECTED WITH GIFTS Comprising songs which are sung when a gift of considerable value is given or received at a social dance. Melodic resemblances of songs connected with gifts to— Dream Songs In five-toned scales Love Songs In proportion of downward and upward progressions Moccasin Game Songs In minor tonality Woman’s Dance Songs a, In minor tonality b, In five-toned scales c, In proportion of downward and upward progressions Rhythmic resemblances of songs connected with gifts to— Dream Songs In triple drum-rhythm Moccasin Game Songs In time steadily maintained Woman’s Dance Songs In time steadily maintained 10. SONGS FOR THE ENTERTAINMENT OF CHILDREN Comprising songs of mimic warfare and of warfare between ani- mals—two songs intended only for amusement, and one lullaby. Melodic resemblances of songs for the entertainment of children to— Mide’ Songs In melodic structure Dream Songs a, In five-toned scales b, In proportion of downward progressions War Songs a, In equal major and minor tonality b, In melodic structure Love Songs a, In proportion of songs ending on tonic or dominant b, In melodic structure c, In proportion of downward and upward progressions Woman’s Dance Songs a, In five-toned scales 6, In proportion of downward and upward progressions 58 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53 Rhythmic resemblances of songs for the entertainment of children to— Love Songs In change of time Moccasin Game Songs In rhythmic unit Woman’s Dance Songs In rhythmic unit Begging Dance Songs a, In proportion of songs beginning in double time 6, In rhythmic unit —_— oo WAR SONGS OF THE MISSISSIPPI BAND OF CHIPPEWA Odjib’we (pl. 1),' the last great warrior of the Mississippi Band of Chippewa in Minnesota, sang the songs which were associated with his own expeditions, related the story of his war parties, and described the war customs of his people, so that the white man might know about them when the last warrior of the Chippewa should have been forgotten. These songs and narratives constitute the greater part of the following chapter. At the age of 89 Odjib’we still possessed a voice of unusual strength and sweetness. The first phonographic records of his songs were made in August, 1909. A second set of records was made two weeks later for purposes of comparison, the songs being accurately repeated. At the expiration of several months the entire material was translated into Chippewa for revision by Odjib’we, some new songs were added, and many were sung or recorded a third time. In these repetitions it was noted that certain tones which were shortened or prolonged in the original rendition were similarly shortened or prolonged; also, that a slight sharping or flatting of certain tones was repeated. The records occasionally vary in unimportant melody progressions or in note-values which do not affect the length of the measure, and a few songs show changes in words, Odjib’we stating that it is permissible to alter the words, but that the ‘‘tune”’ and the meaning of the words must not be changed.* The original record of a song was not played when securing a repetition, hence the identity of the renditions shows how clearly the melody was retained in the mind of the singer. 1 The name of this warrior is identical with the name of the tribe, the word being applied also to a member of the tribe (singular Odjib’we, plural Odjib’weg). The corrupted form ‘‘Chippewa,’’ the only form which seems to have been used in Government publications, has never been adopted by the Indians. Many variants of this name were used by early writers, among those cited being, Achipoés (Perrot, 1671), Ochipoy (York, 1700), Chepeways (Croghan, 1760), Tschipeway (Wrangell, 1839), and Otchipwe (Baraga, 1878). (See Handbook of American Indians, Bull. 30, B.A. E., pt. 1, pp. 280-281.) In the first volume of treaties published by the Government the form “‘Chippewa”’ appears. (See Indian Treaties and Laws and Regulations relating to Indian affairs, compiled and published under orders of the Department of War, Washington City, 1826.) The meaning of the word Odjib’we (pronounced Ojib’way) has been a subject of much discussion. (See William H. Keating, in Narrative of an Expedition to the Source of St. Peter’s River, vol. 2, p. 151, Phila- delphia, 1824; Gov. Alexander Ramsey, in Report of Commissioner of Indian Affairs, Washington, 1850, p. 83; and William W. Warren, in History of the Ojibways, St. Paul, Minn., 1885, p. 36.) The derivation of the word from a root meaning “‘to pucker”’ is established, but the connection of the idea is a matter of dispute. The form of moccasin to which some have attributed the name is shown in plate 36. It is possible that the word Ojibway may have been derived from a place name in the country from which the tribe came many generations ago. 2 See description of song No. 37, p. 119. 59 60 BUREAU OF AMERICAN ETHNOLOGY [BULL 53 Truly Odjib’we was a musician as well as a warrior. More than 70 of his songs were recorded, and these were only part of the melodies at his command. In the long years of his blindness, passed in the Old People’s Home at White Earth Agency, Minnesota, he loved to sing. Several of his comrades were there also, and they loved to recall the days when the sweep of the prairie, from horizon to horizon, belonged to the Indian. Niski’gwfn (‘‘ruffled feathers”),' who fought beside him in the great struggle at Ca’gobéns’ village, was also there, and how good it was to talk over the old times! And Maif’gans (‘‘little wolf’), plate 9, was there, too. Although Maifi’- gans came from Mille Lac, he had lived at White Earth for almost a generation. He, too, loved the old ways and the old songs. Maifi’gans is a cripple, his feet having been frozen when he was a boy, yet he is remarkably active. He attributes his rugged strength to the constant use of a native remedy called the bi’jtkiwtick’ (‘‘cattle herb medicine’). This is a kind of medicine used by warriors in the old days, and Main’gans, as his contribution to the war chapter of Chippewa music, described this medicine for the writer, secured specimens of the herb, and sang the songs connected with its origin and use. On one occasion Niski’gwtiin was present when Odjib’we was recording songs and added to the collection his own dream song and one or two others. The songs of the mi’nistno’wick (‘island herb medicine”) were sung by Na’waji’bigo’kwe (‘‘ woman dwelling in the midst of the rocks’’), who well remembers when the herbs were dug to make this medicine for the departing warriors. Few persons on the White Earth Reservation are more skilled than she in the lore of native medicines. Personal reminiscences were given also by Meja’kigi’jig (see footnote, p. 83), Ma’djigi’jig (“moving sky”), and A’kiwén’zi (‘old man”’), all of whom took part in the wars against the Sioux, the two last named fighting under Odjib’we’s leadership. These persons furnished the material in this section. Odjib’we died in April, 1911. Many of the songs herein preserved were known only to him. He stood alone, his preeminence unques- tioned by his tribe throughout northern Minnesota. His hand was never lifted against the white man, but when war was glory he led his people to victory over the Sioux. May he rest in peace. The final battles in the hereditary warfare between the Chippewa and the Sioux were fought in central Minnesota. This warfare, which began before the tribes became known to the whites, had its origin at the time of the westward migration of the Chippewa (Ojibwa), who found their progress barred by the Dakota, a Siouan tribe. The conflict continued with intervals of peace until brought to an end by the removal of the Minnesota Sioux by the United States Government. 1 See pp. 77-79. ort ey ie ar _ 7 ah {- ow 2) ae BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 4 HOLE-IN-THE-DAY DENSMORE] CHIPPEWA MUSIC—II 61 On August 19, 1825, a treaty was negotiated at Prairie du Chien, Michigan Territory,t in which the Chippewa and the Sioux agreed on a line of demarkation between their territories. This line (sur- veyed in 1835) extended diagonally across what is now the State of Minnesota from near the site of the present town of Moorhead to a point on the Saint Croix River a few miles above Stillwater? In spite of the agreement, however, the war parties of both tribes continued to range freely across the boundary line. The last great fight took place in the Minnesota Valley, May 27, 1858, near the site of the present town of Shakopee (see p. 76), but minor encounters between warriors of the two tribes are said to have occurred for some years afterward. Brower makes the following statement: * The last formidable Sioux war party, precipitated against the Ojibway nation of Indians, of which there is definite knowledge, proceeded from the Valley of Minnesota River to the Valley of Crow Wing River via Long Prairie, Minn., in June, 1860. There were about 150 painted, bedecked, and ornamented Indians in the party. War between Indian tribes was an occupation rather than a calamity. It can not be said to have been strictly tribal in character, according to our understanding of the term, since any prominent warrior might persuade his comrades to jom him and organize an expedition. There were periods of peace, but as the maintenance of peace depended largely on the self-control of the individual warrior, outbreaks were of frequent occurrence. Often one fight ended an, expedition, the warriors returning satisfied if they had taken even one or two scalps. The motive for organizing a war party was usually revenge for a kinsman’s death. This motive is inadequately expressed by the word “revenge,” for it involved the idea that the death of a Sioux “restored” the man who had been killed by a Sioux. Underneath all other motives lay tribal pride. War was a game whose terrible tally must be kept in favor of the Chippewa. To this end war parties were planned and for this purpose they went forth to strike the quick blow, departing as stealthily as they had come. Odjib’we was leader of the Chippewa warriors during the time of Bt’gonegi’jig (Hole-in-the-day), plate 4, the last great chief of the tribe, who was assassinated in 1868. The two men were cousins and theirs was an alliance of the second generation, as the father of Odjib’we was brother of the first BQ’gonegi’jig and led his warriors against the Sioux. Bows and arrows were used in Odjib’we’s earlier battles and neither Sioux nor Chippewa rode upon horses. 1 Statutes at Large, vol. 7, p. 272. 2 Eighteenth Ann. Rep. Bur. Amer. Ethn., part 2, map 33. 3J. V. Brower and D. I. Bushnell, jr., Mille Lac, St. Paul, Minn., 1900, p. 97. 4 From picture (numbered 67) in collection of photographs of North American Indians, in Descriptive Catalogue of the Photographs of the United States Geological Survey of the Territories for tre years 1869 to 1873, inclusive, by W.H. Jackson, Washington, 1874, 62 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53 In generalship Odjib’we was distinguished for sound judgment and steadiness of purpose rather than for reckless daring. His war expe- ditions were successful and he boasted that he was never wounded by the Sioux. Odjib’we’s prowess won for him the right to wear 11 war-honor feathers, each indicating that he had taken a Sioux scalp; these were eagle feathers and were worn upright in a band around the head (pl. 5). The writer saw Odjib’we wearing this decoration in a dance several years before his songs were recorded. Three of the feathers are notched, and the right to wear these was acquired by killing and scalping Sioux; the unnotched feathers indicated that he had scalped Sioux who had been killed by other warriors. The dots of rabbit skin on the feathers indicate the number of bullets in his gun at the time of securing the scalp.t. Bits of once bright ribbon are at the tip of each feather. Odjib’we stated that ‘‘four feathers could be counted for the death of each Sioux; one was worn by the man who killed him, one by the man who scalped him, and the others by men who assisted in the scalping.” Odjib’we was entitled to wear also a skunk skin badge (pl. 6) on his right arm. This signified that he once caught a wounded Sioux by the arm, the incident being related in connection with song No. 3. His war club (pl. 7), of birch, has a knot for the head. According to Odjib’we, he had despatched two Sioux with this club. After the wars were over he allowed ‘his friends to blacken it and to decorate it with brass nails. The Chippewa war drum was called ogi’tcida dewe'rgin (“drum of the braves”). The frame of Odjib’we’s drum is 174 inches in diameter; it is made of wood with metal rim. The frame is apparently not of native manufacture, but Odjib’we said it was the original. He said that in time of war it frequently became necessary to renew the cover on the drum, but the design was always duplicated on the new cover. The cover shown in the illustration is comparatively recent. The design on Odjib’we’s war drum (pl. 7) was explained as follows in the language of the interpreter: There was a man who invented the use of the drum among the Indians. The lightning is a picture of his dream, and the sound of his drum was like the rumble of the thunder. When We’nabo’jo was wandering around he always sent Mici’kén (“‘large turtle”) on his errands; so the large turtle came to be considered a greai war- rior. When Mici’kén went to war he had Miskwa/des (‘‘small snapping turtle”’) as his oc’kabe’wis (messenger). That is why the picture of the lightning and the turtle is on the war drum. The Indians fought with bows and arrows, so a picture of a bow and arrow is also on the drum. Odjib’we’s war shirt was of scarlet flannel (pl. 8). After the wars with the Sioux were ended Odjib’we kept it in a bag woven of cedar 1 All the war paraphernalia of Odjib’we, including these feathers, are now in the National Museum at Washington, a BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 5 ODJIB’WE’S WAR-HONOR FEATHERS BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 6 FRONT BACK ODJIB’WE’S WAR-HONOR BADGE BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 7 ODJIB’WE’S WAR CLUB AND WAR DRUM LYIHS YVM SidM.81rdoO 8 3LV1d eS NiLATING ADONTONHL]S NVOIYSWV SO NVAYNE SNVO.NIVA 6 31V1d €S NIL37INg ASOIONHL]A NVOINSWY JO NvaHNn| DENSMoRE] CHIPPEWA MUSIC—II 63 bark, a method of storage generally used among the Chippewa. Several years before his songs were recorded the writer saw the old warrior wearing this shirt in a dance. The decoration is of narrow strips of weasel skin, forming a fringe. The weasel is a hunter, a wanderer, and a warrior. A well-known authority states,! “I can not learn of any other creature that is more thoroughly possessed of the lust for blood than are these slim-bodied little creatures.” The principal kinds of ‘‘medicine” carried by the Chippewa war- riors were bi’jikuwitck’* (“cattle herb medicine’), mi/nisino’wick (“island herb medicine’), and wa’bino’wick (‘eastern herb medi- cine’’). These medicines were secured by the warriors from the old men of the tribe, usually members of the Mide’wiwin (Grand Medi- cine Society), who made a special study of the compounding of herbs. They were used both externally and internally and were supposed to have efficacy as charms, their mere presence serving as a protection. They were believed also to ‘counteract the effect of bad medicine carried by the enemy.’’’ Bi'jikiwick’, a medicine which derives its name from the principal ingredient, is commonly used among the Chippewa at the present time. It is said to be taken internally as a stimulant and as a cure for fits. It is used also externally as a stimulant and to check the flow of blood from wounds. According to Maifi’gans* (pl. 9), the origin of this medicine is as follows: There was once a Mide’wini/ni [male member of the Mide’wiwin] who dreamed that he saw horned animals resembling cattle, under the water. They came up from the water and talked with him, telling him how to prepare this wonderful medicine. In order to persuade them to return he composed and sang a song (No. 22). He was a young man at the time, but he sang this song until he was old. He sang it when- ever he dug the roots or prepared the bi’jikiwtck’. Others learned it from him and now it is always sung when this medicine is prepared. It w= astomary for the old men when preparing this medicine to “make n« ses like cattle’’; this was done also when the bi’jikiwitck’ songs were sung in war dances (see No. 23). Maifi’gans used four ingredients in compounding bi’jikiwick’. The number of ingredients was said to vary from two to eight, according to the judgment of the man preparing the medicine, but the prin- cipal herb, that from which the medicine took its nam2, was always present. 1 Witmer Stone and William Gram, American Animals, New York, 1902, p. 237. 2 From bi’jiki and wick; the former was originally applied to the buffalo (see No. 99), but at the present time signifies “cattle,’’ while the latter means ‘‘medicine.’’ 3 Cf. J. N. B. Hewitt, ‘‘Orenda and a Definition of Religion,’ in American Anthropologist, N. 8., IV, no. 1, pp. 40, 41, 1902. 4 Main’gans and Odjib’we, treating the sick, are shown in pl. 10, Bulletin 45, 64 BUREAU OF AMERICAN ETHNOLOGY [BULr. 53 Specimens of the four herbs used by Maif’gans were secured and were identified by Dr. J. N. Rose, Division of Plants, United States National Museum. These herbs are as follows: (1) Bi'jtkiwtck’ (“cattle herb’’), the a from iach the medi- cine took its name. This was said to be ‘‘a plant a few inches high which grows on the prairie toward the west and is sometimes found in sandy soil. The blossoms appear before the leaves, which are not notched but are round in shape; the root is white when dried, and is the only part used in making the medicine.” The writer asked for a plant in blossom but was given a piece of dried root to which several downy white feathers were fastened (fig. 2). Maifi’gans said that he was unable to secure a plant in bloom, and that “‘the cluster of white feathers was the best he could do, they having the same appearance as the blossoms, only not so white.” The report of Doctor Rose is as follows: The root is that of Polygala senega L., Seneca snake-root. ‘‘ The bark of the root is the most important part of the plant; the ligneous por- tion is comparatively inert. The root possesses various medicinal vir- tues. Itisa stimulant, diuretic, ex- pectorant, purgative, emetic, anda sudorific. For many years it was used by the Indians of our country as an antidote against the bite of the rattlesnake. According to their practice, it was applied externally Fig. 2. Dried root of bi’jikiwick’ with feathers attached. and internally, either chewed and applied to the wound or in the form of a cataplasm. The Indians also use a decoction of this root in syphilis and in malignant sore throat. A decoction of the root has been used with marked success in cases of hydrophobia, with a view to its specific or remarkable operation on the apparent seat of this malady, the lungs, trachea, and larynx.”’ (2) Bi'jikiwin’gick, a plant closely allied to the common sagebrush and identified as ‘ Artemisia frigida Willd.” (3) Bi’jikiwi’bigesa’nig (“cattle plum”), identified as “ Astragalus crassicarpus Nutt., or Ground Plum.” (4) Bi’jikiwi’ginig’ (‘cattle berry’’), identified as “ Rosa arkansana Porter, or Arkansas Rose.” ' The roots only are used in preparing the medicine; these are washed, scraped, and dried, and then pounded to a powder 1 in which small shreds still remain. The principal ingredient is prepared and kept separate; the other three herbs are pounded together, equal parts of each being used. Maifi’gans showed ths writer his bi’jikiwack’ medicine pouch (pl. 10) which he always carries with him. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 10 (Slightly reduced) (Actual size) POUCH AND MEASURE FOR BI’JIKIWUCK’ DENSMORE] CHIPPEWA MUSIC—II 65 This contained a mixture of the three ingredients and a very small tin spoon, such as is used with a child’s toy tea set. Held in place by the flap of the pouch was a small tied packet of the principal ingredient. Maifi’gans said that he frequently took a little spoonful of the powder from the pouch, and, suiting the action to the word, he took a dose of the medicine to show that it could easily be swallowed without water. On the following day, in the writer’s presence, he prepared the medi- cine in liquid form. Taking a pail containing about a quart of hot water, he placed a little spoonful of the three mixed ingredients on the surface of the water at the eastern side of the pail, saying Wa'bainong (“atthe east’’), then at the southern side, saying Ca’winong (“at the south’”’), then at the western and northern sides, saying Ningabi’anong (‘at the west”’),sand Kiwe'dinong (at the north”’). These words were merely explanatory of his action. The surface of the water was thus dotted with four small patches of powder. He then opened the tied packet of the principal ingredient, took out one scanty spoonful of the contents, and divided it equally among the patches of powder, placing it carefully in the middle of each, beginning with the east as before but not repeating the names of the cardinal points. The ingredients soon dissolved in the hot water. According to Maifi’gans the medicine was then ready for use, though some preferred to secure a stronger flavor by boiling it. He said that the taste was agreeable and that the medicine should be taken four times a day, the dose to be small at first and then increased, the full dose being taken in a measure (pl. 10) which he gave to the writer. This is made of birch bark and contains about a tablespoonful. The drawings on the inside are said to represent animals and to indicate that the measure was to be used for this particular medicine. Main’gans swallowed a portion of the liquid after offering it to the writer. Mi’nisino’wick (“island herb medicine’’) also takes its name from that of its principal ingredient, which was formerly found only at a certain place on Lake Superior, but was discovered thirty years ago at Mille Lac, where it grows in fine, light sand along the shore. The medicine contains eight ingredients, said to be herbs of about the same sort. An herb called ‘‘the last ingredient” is found growing in the woods at White Earth. Na’waji’bigo’kwe said that many years ago the Sioux were ‘‘get- ting too powerful for the Chippewa,” and that about that time a man ‘‘dreamed of a thunderbird, who told him how to prepare and use this medicine.”” She related the two following incidents of her personal experience with mi’nisino’wick: In the autumn of 1909 a member of her family was involved in serious and complicated difficulties. She resolved to help’ him by means of mi/nisino’waick. 67996°—Bull. 53—13——5 66 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 After searching many weeks in the woods she found at last one little root, not the principal ingredient but all she could find. She took this home, ‘‘sang and talked and prayed over it,’’ wrapped it in fresh birch bark and put it into the coat pocket of the man who was to be benefited by it, telling him that it would help him out of his troubles. To the writer’s personal knowledge the man was entirely freed from his difficulties a few weeks later. Na’waji’bigo’kwe said also that two years before a man while in a ’ drunken rage had killed his wife. His relatives hastened to Na/waji’- bigo’kwe and asked whether she had any mi’nisino’wick. She gave them a small piece of the root, which the man carried in his pocket, The writer is reliably informed that the man is alive and free to-day, although it is well known that he killed his wife. Aside from its virtue as a charm, mi’nisino’wick is said to be a powerful curative agent. It has the effect of checking the flow of blood from wounds, and is also used internally in many forms of sudden illness. It is a “life medicine,” used for good purposes only. Four songs connected with this medicine are contained in this section (Nos. 24, 25, 26, 27). Wa’bino’waick (“eastern herb medicine’’) is entirely different in both nature and use from either bi’jikiwack’ or mi’nisino’waick. It is said to have had originally some good offices but to have had also evil uses, and as time passed the latter prevailed. Na’waji’bigo’kwe gave the following story of its origin: There was once a young man who was very anxious to join the Mide’wiwin so that he could gain power as a hunter. His father opposed this, saying, ‘‘ You are too trifling to appreciate so solemn a thing as the Mide’.”” The youth was very sad because of his father’s opposition. He went away and fasted many days. At last a manido’ from the east came to him and told him about this medicine, saying that it had both good and bad properties. The youth at once gathered a number of men around him and they formed a kind of alliance; these men were known as Wa'binog’.1 | They held dances and were unscrupulous in their use of the medicine. Eight men were destroyed at the first dance, given by a man who knew the secret of this medicine. This tradition was related to Na/waji’bigo’kwe by her grandfather. The medicine “would either kill or cure those who took it’’; it had power also as an evil charm and the property of being able to ‘‘make things go through the air.”’ There were said to be many songs connected with this medicine, but none have been recorded by the writer. It was said to have passed out of use among the Minnesota Chippewa except at Vermillion Lake. | 1 Compare Hoffman, The Midé’wiwin or ‘‘Grand Medicine Society ”’ of the Ojibway, in Seventh Ann. Rep. Bur. Ethn., pp. 156, 157. , DENSMORE] CHIPPEWA MUSIC—II 67 The three medicines above described, imparting power of healing, success, and revenge, respectively, were well adapted to the use of men on the warpath. Sones CONNECTED WITH OpsiB’wWer’s PERSONAL EXPERIENCE ! When Odjib’we was a boy his paternal grandfather, two of the latter’s brothers and two of his own brothers, one older and one younger than himself, were killed by the Sioux. Hatred filled his heart and he determined to hunt and kill the Sioux. Thus at an early age he chose the career of a warrior. | In preparation for this vocation he frequently fasted for several days at a time, remaining alone in the woods and hoping for a dream or vision. At length a dream came to him after a fast of four days. In this dream he saw a woman carrying several guns made of rushes. A party of Sioux approached and the woman gave a gun to each of the Sioux, telling them to shoot at him. The Sioux took the guns made of rushes and shot at him. Out of the guns came horseflies, which lit on him but could not harm him. Then the woman told him that he would be a great warrior and would always be protected. Odjib’we said that what the woman told him came true, for he was never wounded by the Sioux. The woman also sang a song which became his “dream song.’’ Odjib’we stated that he “could never really sing the song until just before his first fight with the Sioux; then the dream returned to him very clearly and the song came to his ips so that he could sing it.’’ After that he sang it freely. He placed his faith in it and often sang it before, or in the midst of, a. fight. After the recording of this song on the phonograph the aged warrior bowed his head and said tremulously that he feared he would not live long, as he had given away his most sacred possession. No. 1. Odjib’we’s Dream Song (Catalogue No. 392) Sung by Opsis’we Voice g—88 Recorded without drum ogg SE thet ef tty =f esaeuiaeaatee: Saar ee na-wa-wan i - ni -ni-wa-win 1 See also Nos. 32, 33, 34, 35, 39, 40, 41, which are included in a subsequent chapter to illustrate certain events of a typical war expedition. 68 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 WORDS obic’ kona’ wawan’...8¢ oos50 4 ae when they shot, they missed UY Wi ©. soso. 5. St eee re the man Analysis.—This song contains nine measures and is divided into four parts, the first, second, and last containing the rhythmic unit, and the third containing the words. This form suggests a definite phase of musical expression. No words occur in the rhythmic unit, the mind of the singer being concentrated on the musical idea. In the part of the song containing words the interest centers on them and the musical idea is secondary. Comparison with other songs having the same form will show in many instances a less definite rhythm in the part containing the words (see Nos. 8, 12, 13, 30, 39, 40, 81, 105). The tonality of this song is minor, but the opening interval of the first two phrases is a major third (see analysis of No. 9, also of Nos. 34, 83, 94, 120). The melody tones are those of the second five-toned scale. Two renditions of the song were recorded; these show no variation in either rhythm or melody. In early youth Odjib’we took part in a dog feast. It was the custom of the tribe to hold feasts of this kind occasionally in order that the young men who aspired to become warriors might show their courage to the assembled people. An old warrior was selected to announce the feast. Walking through the village, he made the announcement in a loud voice. The next day there was a large gathering, especially of the young men. After much singing and _dancing, and many speeches, the youths whose courage was to be tested were seated on the ground in a circle, in the center of which a dog was killed. The liver was then removed and cut into small pieces, one of which was given each young man on a long stick. If he chewed and swallowed the morsel without flinching, he was con- sidered brave enough for the warpath, but if he shuddered or drew back he was deemed faint-hearted and was greeted with jeers by the assembly. Odjib’we said that he endured this test “without the slightest change of expression,” but that for many days afterward he was unable to bear the thought of what he had done, although he never admitted this to any one. When Odjib’we reached the age of 20 he felt that it was time to begin his chosen career. Accordingly he consulted his cousin Ne’biinee’kfin (“he who walks by one side of the thing’’), a young man about his own age, and they decided to go on the warpath together. They told no one of their intentions, but pretended that they were going on a hunting expedition. With heavy hearts they left the village. They thought of the friends whose deaths they were 1JIn order to make this word conform to the music a meaningless syllable (wa) is inserted. The Chippewa custom of changing the words of a song to fit the music is considered in Bulletin 45, p. 14. DENSMORE] CHIPPEWA MUSIC—II 69 to avenge, and there was probably in their minds uncertainty regard- ing their own fate. Odjib’we said that they sang the following song every one of the four nights they camped. The words imply that there were more than two in the party, but, on being questioned concerning this seeming discrepancy, Odjib’we insisted that this was the song he and his cousin sang. No. 2. Odjib’we’s First War Song (Catalogue No. 371) Sung by Opsis’we VOICE ie 192 Drum i= 108 ( Drum in unaccented eighth notes*) epee ogemenig g = Be -ba-ni - 0 - ne-yan nin-do - na-gi-mi-gog ni-ni-wfg e = e2 ine ered pat tf pee Seay sa aa Tel toe nese a oe ow ee. be -ba-ni-o - ne - yan ans ai - mi-gog ni-ni-wig e [ee ea 2 rtp yas a ie ppp ree ETT Paes eis be-ba-ni-o-ne - yan e nin-do-na -gi-mi-gog ni-ni-wag e * Drum-rhythm ee ete WORDS beba/nio’neyan.............-.- on the fourth day nindo’nagi’migog’...........- I am chosen by MHI S54) SS. the men Analysis.—Four renditions of this song were recorded in August, 1909, and it was sung also on two occasions by Odjib’we in March, 1910, all the renditions being identical. The intonation was good throughout the renditions. The metric unit of the song is very rapid, but steadily maintained. The accents were clearly given and the transcription is divided into measures according to the accented 1This word, literally translated ‘‘ men,” is commonly applied to warriors (see p. 187). 70 BUREAU OF AMERICAN ETHNOLOGY [BULL 53 tones. The rhythmic unit varies somewhat in its repetitions, but begins uniformly with a 5-8 measure. In the measure marked 3-4 the metric unit (+192) is continued, but the rhythm is triple, necessitating a 3-4 instead of a 6-8 time indication. The intonation was good throughout the renditions. Odjib’we’s expedition was successful. On the fourth morning the party saw one Sioux and killed him. Taking his scalp, they returned to the village, where a great feast and dance were held in their honor. Odjib’we sang the song of that dance, but the record was not transcribed. The words, however, are of interest as showing the arrogance of the youthful warrior after his first victory. WORDS ninese*sima wa’. a2. ess sce I make him bite the dust Wape’tawani (Sioux word)! ... the Wapeton Sioux WANA NOY = Se Sey ee cio & when I see him Odjib’we stated that he did not smg his dream song on the expedi- tion which has just been described, nor until first he was frightened by the Sioux, under the following circumstances: There was a Chippewa camp near the site of the present town of Little Falls, Minnesota. One day two men and their wives started from this village on a hunting expedition. While the men were away from their camp the women saw two Sioux scouts, and on their husbands’ return so reported to them. All started at once to return to the main camp, arriving that evening. One of the hunters told Odjib’we that the women had seen the Sioux, but Odjib’we thought little about the matter, saying the women were probably mistaken. As Odjib’we was eating his break- fast the next morning a man said to him, “Let us go and see if there are really any Sioux around.” Odjib’we consented to go, but had so little confidence in the truth of the report that he put on his brightest finery, making himself a shining mark. Odjib’we and his friend left the’ village quietly and started on a run toward the place where the women said they had seen the Sioux, the former carrying his gun on his right arm. Two Sioux were on the watch, and when they saw Odjib’we and his companion approaching, they hid in bushes beside the road; one car- ried a spear, the other a club. Without warning they attacked the two Chippewa. The main body of Sioux warriors then appeared, some 1“The Dakota call themselves Otceti cakowin (O¢eti Sakowin), The Seven Fireplaces or Council-fires. This designation refers to their original gentes, the Mdewaka»to»wa» (Mdewakay-tonwan), Waqpekute (Walipe-kute), Waqpe-to»wa» (Walipetonwan), Sisitenwan (Sisitopwan), Ihaik-toowa» (Ihanktonwan), Thafik-to»wa»na (Ihanktonwanna), and Titonwa» (Titonwayn). . . . The Waqpe-to»wa» or Wahpe- ton [:] The name of this people signifies Village-among-the-leaves (of deciduous trees), the gens being known to the whites as Leaf Village or Wahpeton.”—JAMES OWEN Dorsey, Siouan Sociology,in Fifteenth Ann. Rep. Bur. Amer. Ethn., pp. 215, 216. DENSMoRP] CHIPPEWA MUSIC—II TT armed with spears and some with clubs. Odjib’we’s companion was killed, but he himself escaped, running a long distance before he realized that he had a gun. Suddenly a Sioux attacked him with a club. Odjib’we shot the Sioux and then hid behind a great oak tree. According to their custom, whenever a Sioux was killed the other Sioux suddenly disappeared. From behind the oak Odjib’we could not see a single Sioux. He did not stop to scalp the man he had killed but started for the village. On the way he met some Chippewa and they all went back to look for the Sioux. They could not find any living enemies, but they scalped the dead man. It was during this skirmish that Odjib’we first sang his dream song (No. 1). The following song (No. 3) was composed by Odjib’we after killing a Sioux and was sung by him when carrying the scalp in the victory dance. A small war party was organized by Bf’gonegi’jig (Hole-in-the- day), Odjib’we being one of the number. They went to a point on the Minnesota River near the site of the present city of St. Paul and took their position near the road which the Sioux would travel in going from their village to the white settlement. Hole-in-the-day told his men to lie in a row behind a fallen tree and gave strict orders that they should await his signal for firing, that only one man should fire, and that no one should shoot a woman. In silence the Chippewa lay behind the log, waiting for an unwary Sioux to pass that way. Soon a company of men and women came down the path, talking and laugh- ing merrily. The warriors watched their leader but he gave no signal and the Sioux passed on. Later a man came alone. Hole-in-the- day gave the signal to Odjib’we, who fired. The Sioux staggered and fell on his side. Odjib’we rushed forward and dragged the man toward a clump of bushes, but his victim died on the way. Because he caught the wounded Sioux by the arm Odjfb’we was entitled to wear thereafter a skunk-skin badge on his right arm (see pl. 6; also p- 62). Hole-in-the-day gave the order, ‘‘Cut his throat at once.” This was done, and Odjib’we himself took the man’s scalp. The Chippewa then ran down to the river and, entering a canoe, started for the opposite shore. Meantime the sound of the firing had attracted the attention of the Sioux, who hastened from their village, but were unable to overtake the Chippewa. Helpless the Sioux stood on the bank and saw the Chippewa dancing on the opposite shore, waving the fresh scalp, and taunting them. Odjib’we sang the following song, which he composed at that time. After this dance the Chippewa returned to their home, Odjib’we saying that they ‘just killed that man to let the Sioux know they had been around.” 72 BUREAU OF AMERICAN ETHNOLOGY [BULL 53 No. 3. “An Eagle Feather I See’’ (Catalogue No. 346) Sung by Opsis’ we VOICE a 100 Drum e = 104 ( Drum in accented eighth notes*) Gi-ni-wi-gwfin ni-wa - ba-ma we o -gi-tci-danin-de - bi - binan Be Foeaees gad | Sead creed Prorat eareice| * (Drum-rhythm ) SS oe a a a) = = = a WORDS UTTEE WIE WE a on ch a ee an eagle feather ! COME ig SN TS Rm 2 ay eee = eta I see OE UG rs te tee ke eee seer eee a brave minde/bibimia‘lt) Sue Th. et T have caught Analysis.—Triple and double measures alternate throughout this song. The first and second measures constitute a rhythmic unit, the tones being those of the major triad of A. In the third and fourth measures this unit is repeated on the minor triad of F sharp. (Com- pare repetitions of the rhythmic unit in No. 5.) The remainder of the song consists of three phrases, each comprising a triple and a double measure; these, however, are not repetitions of the rhythmic unit. The manner in which the rhythm of the rhythmic unit influ- ences the rhythm of other parts of the song is worthy of observa- tion. Four renditions of this song were recorded, the rhythm being accurately repeated. The following song commemorates an incident unique in the annals of Indian warfare, relating to a scalp which was mislaid. Odjib’we was leader of a small war party which went against the Sioux. The Chippewa were hiding in a ravine, when they saw a Sioux coming over the bluff with a gun. He did not come directly toward them, but turned toward a little lake, evidently intending to shoot ducks. He disappeared in the reeds beside the lake, and Odjib’we sent two men to reconnoiter, saying, ‘‘ Do not kill the Sioux 1 This refers to the feather worn by a warrior who took an enemy’s scalp. (See p. 62.) 2 From Sioux aki’¢ita. Cf. pp. 76, 88, 108, 186, 190, 230. DENSMORE] CHIPPEWA MUSIC—II 73 until after he has shot the ducks.”’ Odjib’we and the rest of his war party remained in concealment. Soon they heard the report of a gun, indicating that the Sioux had shot the ducks. Then they heard two shots and knew that their men had fired on the Sioux. Their aim was faulty, and the Sioux soon appeared, running toward Odjib’we and his warriors. Odjib’we stepped from his hiding place. The Sioux cried, ‘‘You can not hit me. I am a brave man.’ Odjib’we replied, ‘“‘I too am brave,” and struck at the Sioux with his gun. The latter dodged and attempted to strike back with his own empty ceun. Finally the Sioux started to run away, and Odjib’we shot him in the back. Odjib’we allowed Mo’kadjiwéns’ (‘little hill rismg up to view’’) to remove the scalp, and the war party started for home. The scalp was in charge of the man who removed it; when the party stopped for their noon lunch he either laid the scalp beside him or hung it on a bush and forgot it. The scalp was not missed until the party went into camp at night, many miles from the halting place at noon. It was out of the question to return and find the scalp, so they com- posed this song, which they sang at home in the victory dance. Mo’kadjiwéns’ was given credit for taking the scalp, but mingled with the honor was open ridicule for having left it ‘hanging in some marsh.” No. 4. Song of a Mislaid Scalp (Catalogue No. 387) Sung by OpJis’weE VOICE ioe 108 Recorded without drum Sg re See aaeae Mo - ka-dji-wéns ga - sq Gy mi - jfifi bwan-o - sti - gwfn gi - a- SSeS SSS eee eS. go -de ma-na-ki - kif WORDS Mo‘kadjiweus’ .. ..... wtyas Mo’kadjiwéns’ (man’s name) Saran mye. oe ea took Wal OSUP WUE. 2-2-2220... 2 a Sioux scalp pMapodeQ IG, B2NOIA Nis which is hanging ma ralsiils. apd). -34- dcx in a marsh Analysis.—This is a particularly lively and attractive melody. It is one of the comparatively few Chippewa songs in which there is no change of time, the triple measure being steadily maintained. It 74 BUREAU OF AMERICAN ETHNOLOGY [BULt. 53 contains eight measures and is divided into four parts, the first three consisting of a rhythmic unit (see Nos. 5, 19, 33, 34). In the last part it is to be noted that the dotted eighth note occurs on the second instead of on the third count of the measure. The song is harmonic in structure and minor in tonality. Six renditions were recorded; these show no variation in either rhythm or melody. The next song concerns a war expedition which was organized by Ge’miwtinae’ (‘bird flying low through the rain”’),! a member of the Pillager Band of Chippewa (Odjib’we was a member of the Mississippi Band). The Mississippi were not thinking of going to war, but a party of 20 Pillagers came to the village and wanted them to join the party. Ten Mississippi decided to go, as did seven of the Mille Lac Band. All started from Crow Wing in canoes. A few miles down the Mississippi River they made their first camp, and had their first war dance. Odjib’we sang the song of that dance, which, he said, was sung every evening the party was away, but the warrior was feeble that day and the record is not sufficiently clear for transcription. He told of the scene: Some of the men danced around the fire while others sat still; all sang before they went to bed. Early the next morning they broke camp and took their journey through the woods, traveling rapidly all day. When they reached the prairie, they rested in concealment by day and traveled by night. On approaching the Sioux country, they sent two scouts ahead with instructions to return at once and report if they saw signs of the enemy. At this point in his narrative Odjib’we assumed the attitude of a scout, one hand shading his eyes and the other signaling to those supposed to be following (see plate 11, in which his costume, as shown, is not that of the warpath).? These men started about dark and traveled rapidly while the others followed slowly. In a short time the scouts came running back. ‘‘What did you see?” asked the warriors. ‘‘A wide path,” replied the scout. ‘‘It is anew trail. The Sioux must have passed to-day.’”’ One scout said, ‘‘ There must have been a hundred;” the other was more conservative, esti- mating the number at forty. It was decided to remain in a little grove until morning and then follow the Sioux trail. In the gray dawn, after cleaning and loading their guns, the Chippewa set out. Soon they came to four lodges made of green boughs where the Sioux had spent the night. Near by they saw the place where the Sioux had been dancing and where a council had been held. Forty-two stones placed in a circle indicated the number of warriors present at this council. While 1 See i 9 of Bulletin 45 5 and pp. 51, 95, 114, 115 of the same Bulletin. 2 Cf. pl. 14. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 11 ODJIB’WE IN POSTURE OF SCOUT DENSMORE] CHIPPEWA MUSIC—II gi looking over the camp, they heard in the distance the guns of the Sioux, who were evidently killing game on the way, and the Chippewa again sent out two scouts, with orders to go along the wooded shore of a long lake near at hand and ascertain whether the Sioux were in the open country on the opposite shore. The main body of the Chippewa followed in the same general direction. Soon they met the scouts coming back with the report that two Sioux were sitting on the other shore of the lake. When the Chippewa reached the place, the Sioux had gone. The Chippewa then very stealthily ascended a hill from which they could see the entire Sioux camp. They decided not to make an attack at that time because, owing to the distance, the Sioux could see them too soon, but to wait until night. The Sioux did not suspect the presence of Chippewa in the vicinity. From their hiding place the Chippewa watched the Sioux cook a meal and later prepare for a night march. Being reluctant to let the enemy escape, the Chippewa sent three of their number to see whether a successful attack on the camp could be made, but the Sioux had gone before they reached the camp. Odjib’we was one of these three. He told his two companions to stay, saying that he would creep ahead (see pl. 14). After crawling some distance, he got behind brush where he could walk upright. Later he heard the enemy. He kept very still. The Sioux were evidently making another camp in the middle of the night, for he heard them chopping wood. He ran back and found all the Chippewa at the old Sioux camp. “Why did you not come?” he cried. ‘‘ We could have killed all the Sioux.” ‘‘We were waiting for you to come back and report,’’ was the reply. Then all the Chippewa went forward and sat near the enemy’s new camp. They could hear the Sioux singing and dancing. The Chippewa did not sleep, watching and waiting for the dawn. In the first light they saw the Sioux astir. Four Chippewa went ahead to watch at a spot where the Sioux would pass, and when the latter came up, shot one man. That was the beginning of a hot fight, which lasted all day and until after nightfall; it was fought in the open with no protection except the high grass. No bows and arrows were used, both Chippewa and Sioux being armed with shot- guns. The fighting was particularly fierce on both sides. Odjib’we said that he was obliged to “dodge and look out all the time,” and that in the confusion it was impossible to tell who killed each man. Toward evening No’din (‘‘wind”’), the Milie Lac chief, was killed, and the Chippewa could not recover his body. Three Sioux scalps were secured by the Chippewa. After the fight they did not follow the Sioux, but returned home with these trophies. 76 BUREAU OF AMERICAN ETHNOLOGY [ BULL, 53 This victory was celebrated by great dances at which the following song was sung, the words indicating that the singer would soon go on the warpath again. No. 5. Song of an Unsatisfied Warrior (Catalogue No. 391) Sung by OpJip’we VoIcE = 88 Drum = 88 (Drum- echva similar to No. ye aE —, Snape edhe eee oy ae eee SSS ee Mi- si- wa-bfifi-ji - bo-zi-yan e a - sa-kfim -ig - dji - ghee ele bares saneet eee eee Ove et fila =— tee na-di-yan e WORDS mi’siwabitinjibo’ziyan’............. to-morrow I shall start in my canoe asa’kimig’djima/diyan’............ although I have one already Analysis.—This song comprises four parts, the first three of which contain a rhythmic unit (see Nos. 4, 19, 33, 34). It is interesting to note that the repetitions of this unit begin on the descending tones of the minor triad. Double and triple measures alternate throughout this song, the rhythmic unit consisting of a double followed by a triple measure. Reference to No. 3 will show an alternation in reverse order, the unit consisting of a triple followed by a double measure. Four renditions of this song were recorded, which are uniform in every respect. The following five songs are connected with the last notable fight between the Sioux and the Chippewa, which occurred May 27, 1858, in the valley of the Minnesota River at the village of a Sioux chief called by the Chippewa Ca’gobéns (Little Six). The Sioux name of this chief was Ca’kpe! (Six) and as his father bore the same name, the son was commonly known among both Sioux and Chippewa as Little Six. The Chippewa changed the pronunciation slightly and added the Chippewa diminutive termination éns,? so that the name became Ca’gobéns.* The white men pronounced the name Shakopee, and a town of that name is now located where the Sioux village once stood. Little Six was a leading warrior and chief of a band among the Mdewakanton Sioux (see p. 70), and the writer has heard of his fame from Sioux living at Sisseton, South Dakota, and at Devils Lake, North Dakota. Both Odjib’we and his friend Niski’gwtin took 1 Pronounced Sha/kpay. 2 See pp. 186, 190, 230. 3 Pronounced Sha/gobéns. Py DENSMoRB] CHIPPEWA MUSIC—II 17 part in the fight and together they related its story, Niski’gwfin also singing two of the songs. Regarding this fight Folwell gives the following information:! The lower Sioux, who late in 1853 reluctantly retired to their reservations on the upper Minnesota, were wont to return in summer weather in straggling companies to their old homes. . . . Shakopee and his band of 150 had early in the summer of 1858 come down and gone into camp near the town which bears his name. One of his braves, fishing in the river (the Minnesota) at an early hour, was fired upon. Shako- pee’s men instantly recognized the sound as coming from a Chippeway gun. They gathered at Murphy’s Ferry and, presuming that the hostile shot came from one of some very small party, they let their women put 30 or 40 of them across. They did not suspect that back of the timbered bluff a mile distant there lay in hiding 150 or more Chippeway warriors. . . . They were wary, however, and placed themselves in ambush in a narrow space between two lakelets. The Chippeways . . . charged down from the bluff twice or more, without dislodging the Sioux. The day was not old when they gave up the effort and departed in haste for their homes, carrying their wounded and perhaps some dead. Four of their corpses were left to the cruel mercies of the Sioux. . . . Such was the so-called ‘‘ Battle of Shakopee,’’ May 27, 1858. An account of the fight from the standpoint of the native his- torian is given by Warren.? Odjib’we’s narrative is given below in connection with song No. 8, which concerns the death of a warrior in the engagement. The first song of the group has reference to the war charm worn by the warrior, the song being sung shortly before a fight to make the charm more effective.* Niski’gwitin said that he sang this song before the battle at Ca’gobéns’ village. The last two words were sung with the repetition of the song, the melody remaining the same. The word ““Dalls”’ was said to refer to the heads of the enemy, which the warrior would cut off and toss about. Reference is made to No. 35, in which war is compared to a game, the bodies of the dead being its score. The charm usually worn by the Chippewa warrior consisted of the skin of a bird, dried and filled with a medicine known only to the wearer, probably an herb or other substance suggested to him in a dream. (See No. 28.) Thischarm was hung around the neck of the war- rior, who believed in its power to protect him. It was said that if, by any chance, a bullet struck this charm it would kill the man. Accord- ing to Ma’djigi’jig (see p. 84), who made a duplicate of the old war charm (pl. 12), the bird used in preparing this charm was “the smallest of a kind of bird that flies at evening;”’ it was identified by Mr. Henry Oldys, of the Biological Survey, as the kingbird, or bee mar- tin (Tyrannus tyrannus). The characteristics of this bird may explain its use by Indian warriors in preparing a charm. ‘Nothing can be more striking than the intrepidity with which one of these birds will pounce upon and harass birds vastly larger and more powerful than iW. W. Folwell, Minnesota, the North Star State, Boston, 1908, pp. 157-158. 2 History of the Ojibway, in Colls. Minn. Hist. Soc., vol. v, 1885, pp. 502, 503. 8 Other songs connected with the use of “medicine” are Nos. 21, 22, 23, 24, 25, 26, 27, 28, 32, 36, 141, 142, 148. 78 BUREAU OF AMERICAN ETHNOLOGY [BULL 538 itself. The kingbird is always prompt to perceive the approach of one of these enemies and always rushes out to meet it.”’! It does not fear to attack even hawks, owls, and eagles. The warrior’s use of the skin of the weasel, the most ferocious of small animals, as a decoration has been already noted (p. 68). If a birdskin were not available, a charm in the form of a bird (pl. 12) was made of cloth and the medicine placed between the two layers of the material. No. 6. War Medicine Song (Catalogue No. 384) Sung by Nisxr’ewtn VOICE — 138 Drum a= 108 ( Drum-rhythm similar to No. 2) SS SS See oe -o- -s Ga-um - ba-ci-wad e nim-bi- né - si-wa - yan ga - um - Se LUMA MAA ne oe prpsios 392 32 eee Ze ae see see Sete 4 = -@ ba-ci-wad =e nim-bi-né - si-wa - yan ga-um - ba-ci-wad- e . a Dit eRe a eee eee pereees | ere Fae Ea guia nim-bi- né - sl-wa - yan ga-um - ba -ci- wad nim- bi - né WORDS (First rendition) pa*ambar ci wad) 22 oft)! i SI it is wafted upward nim’biné’siwayan’...............-- my bird-plumage (Second rendition) pa*tmiba’sm’” [2 tales Pee they will be flying nim’bika’kwadon’..........-...---- my balls Analysis.—Four renditions of this song were recorded. In two of these the close of the song was as transcribed; the other renditions were interrupted several measures earlier by shrill war cries. Indif- ference concerning the completion of a song has been noted in a few other instances, the singer seeming satisfied without hearing the final tone. This suggests that the relation of the tones to a keynote is not clearly felt. A strong rhythmic sense is shown by the accuracy with which the rhythmic unit is repeated. The melody tones are those of the fourth five-toned scale. Niski’gwin stated that before the battle he sang his dream song. This song came to him when he was a young man, after he had . F. Baird, T. M. peda wma R. nace North Arearicas Birds, ny 1874, p. 318. SWYVHO YVM H1LO19 NIMS-ulg ZL ALWid €S NiLaqng ADSOTIONHL]A NVOIYAWY JO Nvayna DENSMORE] CHIPPEWA MUSIC—1II 79 endured a vigil of 10 days, during which time he took only enough food to sustain life. The words are obscure, a feature characteristic of dream songs, the purpose being to conceal the exact nature of the dream. No. 7. Niski’gwiin’s Dream Song (Catalogue No. 386) Sung by Niski’Gwtn VOICE fe 88 Drum ¢g— 100 (Drum-rhythm similar to No. 2) be. é , a ee 1 -s pe SS Ee peor HF Git Gi - jig ni-wi- dji-wi- go pots a rapes i ape Sea | WORDS PRINS oat fan Oana emnee ee lean Ses ee the heavens HU WAG WIEO ne aah sae ck sae Sone go with me Analysis.—This song was recorded three times; the transcription was made from the first rendition. In general character the song pre- sents a contrast to the songs recorded by Odjib’we. Therhythm is less clearly marked. In it we find neither rhythmic unit nor repeated phrase; the succession of triple and double measures is irregular, and although the rhythm of the song as a whole has a certain indi- viduality it can scarcely be said to be complete and satisfactory. The melody is based on a major triad and would be classified as harmonic except for the E flat in the first measure. This tone was sung firmly and accurately. The sixth lowered a semitone is the accidental occurring most frequently in Chippewa songs (see Table 7). This accidental is found in the following songs of the present volume: Nos. 7, 8, 19, 22, 41, 101, 156, 160. The story of the fight at Ca’gobéns’ camp, as related by Odjib’we, is here given. A war party of more than a hundred Chippewa determined to attack the encampment of Ca’gobéns, on the southern shore of the Minnesota River. The Chippewa approached the river from the north and remained behind a bluff, from the summit of which they could see the Sioux tipis on the opposite shore. At daybreak a band of about 25 Chippewa warriors descended the bluff and hid in the bushes beside the water; among the number were Odjib’we and 80 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Ga’witayac’ (‘whirling wind”), a very brave and handsome young man from Red Lake. Soon they saw a Sioux coming down to the shore. A woman sat on the high bank and watched him. With no suspicion of danger the Sioux entered a canoe and started to cross the river. As he neared the shore the Chippewa shot at him. In an instant the screams of the woman gave the alarm and the Sioux rushed with guns in their hands to the river and crossed in canoes, Before Odjib’we and his party could return to the Chippewa camp the fight began beside the river. Odjib’we and Ga’witayac’, who had used all their ammunition, were trying to catch a Sioux, their intention being to kill him with a war club. The man made his escape, and one of the Sioux in the river shot Ga’witayac’, who fell mortally wounded. Odjib’we signaled to those who cared for the wounded and they carried Ga’witayac’ back to the camp. The Sioux then forced the Chippewa out of the bushes and under cover of their shelter they fired on them in the open. The Chippewa returned to their camp and prepared for the homeward journey. The wounded were laid upon litters of poles, each carried on the shoulders of four men. On such a litter Ga’witayac’ was borne, his friends standing around him as he sang his death song. Slowly his voice faded away and in a few hours he died while he was still sing- ing. The large bear was his ‘manido’ animal,’ in whose guidance he had trusted. No. 8. Death Song of Ga’witayac’ (Catalogue No. 338) Sung by Opsis’ we VoIcE 2 92 Drum J= 100 (Drum-rhythm similar to No. 3) Eo ee ee ies Se ea aes esis Fn pa eae ae -9- -0- -0- -9- -9- be t Tie eae ee . =: ef | Jae tas oo 2 ae 5 = —— Sapa i ee Ki-tci-mak-wa ni- a 3 = Poke Seta Se e+ 2 2: 2 |! ee ee ts Sa === ee aes 3-0 Se DENSMORE ] 8 1 WORDS emit Wants 3: -.---S- - large bear ni’waye’jimig’'.............. deceives me Analysis.—The rhythmic unit of this song occurs eight times; it is somewhat modified in the last two measures, giving strength to the close of the’song. The first two measures constitute an introduction, after which the rhythmic unit is continuously repeated except in the middle part, which contains the words. (See Nos. 1, 12, 13, 30, 39, 40, 81, 105.) The song is major in tonality and contains the flatted sixth as an accidental. The chords of the tonic and submediant form the frame- work of this melody, but the accented A flat prevents the classifica- tion of the song as purely melodic in structure. It is classified there- fore as ‘‘melodic with harmonic framework.” Two songs were composed concerning this fight and were sung in the dances which followed the return of the warriors. One of these songs recalls the fight beside the river and is said to have been com- posed during the fight. The struggle continued until past noon. Five Chippewa were killed and 10 wounded, and many Sioux were killed. No. 9. “On the Bank of a Stream” (Catalogue No. 339) Sung by Opjip’ we VOICE e= 144 Drum a= 104 ( Drum- lar Onn lesa to ie 2 ‘al se A- ga - mi- zi - bi-wi- cén en -da-na - dji-mi-go - yan e- Epeoeks / St ag fai - jy —ts=——# eS SS aS Se oF Seas ae Saar eeie, “TR? WORDS aga’mizi’biwicén’...... steerer across the river en’dana’djimigoyan’.........- they speak of me as being Analysis —The ascending interval of an octave at the opening of this song was given accurately in the four renditions. This initial interval occurs in only five other songs of the series of 340 Chippewa songs (see Nos. 170, 174 in. Bulletin 45 and Nos. 31, 53, 125 in the 1 One syllable of this word was omitted by the singer. 67996°—Bull. 53—13——6 82 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 present volume). The two songs in Bulletin 45 and No. 125 in the present volume are songs of the moccasin game, No. 31 is a war song, and No. 53 the song before a boys’ fight. The character of these songs suggests a correspondence between the mental state of the singer and the initial intervals of the songs. The tonality of the present song is minor, but the tonic does not appear until the ninth measure, the opening being based on the major third, which consti- tutes the upper part of the tonic triad. This opening is noted in five other songs of the present series (Nos. 1, 34, 83, 94, 120). Four of these are songs of war or of dances connected with war and one concerns thunderbirds. In a less marked degree it occurs in the fol- lowing songs in Bulletin 45: Mide’ songs Nos. 51, 54, 59, 69, 79, and war song No. 130. At the close of this song we find the progression 8-7-8, which represents the descent of a whole tone to the seventh of a minor key and return to the tonic. This progression at the close of a song occurs in 9 other songs of various classes of the series of 340 (see Nos. 19, 126, 150 in Bulletin 45 and Nos. 50, 85, 100, 119, 124 of the present volume). This close of a song is frequently found in the ancient music of the white race, especially in old English Plain Song. This melody contains no rhythmic unit, but the phrase in the 8th measure reappears in the 14th and in part of the 15th measure with a change of accent, a variation which gives character to the rhythm of the song as a whole. The metric unit was maintained with less regularity in this than in the majority of the songs. The second song concerning this fierce fight calls to mind the grief of the Sioux. Odjib’we said he remembered the Sioux women fol- lowing them across the river, crying, and cursing the Chippewa. No. 10. “‘At Ca/gobéns’ Village’’ (Catalogue No. 337) Sung by OpJis’we Voice g— 100 Drum g— 108 (Drum-rhythm similar to No. 3) [ - + -9. -9- 3 ey Ee an eee ¢. ge Ph PP oni tena, = Ca- go-béns o-do - de-nafima-wi - wig e i - ni- ni - wig ) pS pei ee BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 13 (Copyright by Sweet Studio, Minneapolis, Minn.) MEJA’KIGI’JIG DENSMORE] CHIPPEWA MUSIC—II 83 WORDS (First rendition) Ca/gobéns ...........-.---..- at Ca’gobéns Re COWS ee eaiceil- ss 2 village ma/wiwig’..............-.--. (they) are weeping ee MIVA = il a. Lfaiy't > 22% the men (Second rendition) Ca’gobéns ............-...--. at Ca/gobéns eee ennn o.....-- tase eee village ma/wiwtg’...........-------- (they) are wailing Glewot we sigs LOLs LUN. the women Analysis.—This melody is characterized by opening measures minor in tonality and by the tonic appearing in the first measure. (See analysis of No. 9.) The first five measures have a rhythm which is complete in itself and is not repeated; the last six measures also have a rhythm of their own and may be said to constitute an answering phrase. Between these sections is the part of the song containing the words. This is not strongly accented, though the note- values are the same in all the renditions. The transcription contains the first half of the words, the remainder being given with a second rendition of the song. Eight months after this song was recorded on the phonograph it was sung again by the same singer and the renditions were found to be identical, even the slight deviations from exact time being repeated. 2 PERSONAL REMINISCENCES OF THREE WARRIORS THE CHILD’S DREAM OF WAR (By Mesa’xiarsic) Meja’kigi’jigt (pl. 13), chief of the White Earth Chippewa, fur- nished, in June, 1911, the following narrative of his childish dreams and their fulfillment. He stated at that time that he was the sole survivor of the representatives of the tribe who selected White Earth for the abode of the Chippewa under the terms of the treaty of 1867. He stated also that he was in several war parties led by Odjib/we, that he took part in ten campaigns against the Sioux, and was in four fights. The aged chief is honored and respected by all who know him, a man of wise counsels and kindly heart. Speaking through his favorite interpreter, Mr. John W. Carl (see pp. 130, 303), Meja’kigi’jig said that when he was a little boy his father was killed by the Sioux. He well remembered trying every night to dream of something which should enable him, a boy of 7 years, to 1 Rey. J. A. Gilfillan is authority for the statement that when he went to the reservation as a young man the name of the chief was explained to him by the old Indians as meaning “the sky over all the earth, coming down to the earth at the horizon.” 84 BUREAU OF AMERICAN ETHNOLOGY [BULL, 53 kill a Sioux. The older people told him to ‘‘go to sleep and be good,” but his young mind was filled with thoughts of war. He refused food, not going away from home to fast, after the custom of older boys, but remaining in the lodge. At length he dreamed that he shot a Sioux. Again he dreamed that his hair was gray and, pointing to his flowing locks, slightly streaked with gray, the old chief said that his dream had come true, for he was attaining the allotted age of man. Later, without leaving home, the boy fasted five days and five nights, hoping for further dreams, but none came. In the following spring he went away from home to fast. A few years had passed since the little boy could not ‘‘go to sleep and be good,” but the purpose of his life had not changed; it had deepened and grown more serious. The birds were just beginning to come when he took his way to the ‘‘wilderness.’”’ Selecting a large tree, he built in it a ‘‘nest’”’ for himself, in which he remained without food day after day. At last, on the fifth night of his fast, he dreamed that he held three scalps in his hand. Then he was sure of himself and of his career. With confidence he joined the warriors, and his faith in his dream remained unshaken and at last the day came when he held aloft three Sioux scalps. Thus the boy, grown to manhood, avenged his father’s death accord- ing to the custom of his people. THE TRAINING OF YOUNG WARRIORS (By Ma/psrersie) Ma/djigi’jig (‘great sky’’) was a young man when the war parties swept across the prairie. His personal reminiscences were not those of a leader, but he recalled with distinctness the trials which fell to the lot of a recruit. Later he served many times as a scout, and, as a warrior, secured three Sioux scalps. In plate 14 he is represented in the attitude of a scout on the prairie, holding a wisp of grass or bit of brush before his face, and also as telling the story of the three scalps. According to Ma’djigi’jig, ‘‘the old warriors treated the beginners as though they were nothing but animals.’”’ The young warriors camped a few rods in the rear of the rest of the war party, and united with the main camp only when near the enemy. The recruits slept in little shelters, or booths, which they made of boughs, two men in each. The older warriors had plenty of food and even were allowed to eat fat meat, while the recruits were given scanty rations of wild rice, either parched or only partially cooked, and seasoned slightly with maple sugar. Sometimes they were given dried fish or tough smoked meat and occasionally lean fresh meat hardly seared before the fire. at ———— BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 14 IN POSTURE OF LOOKING FOR THE ENEMY RECOUNTING THE TAKING OF THREE SCALPS MA’DJIGIJIG DENSMORE] CHIPPEWA MUSIC—II 85 When deer or other large game were killed by the warriors it was customary to hold a “breaking-bone contest”? in the camp of the recruits. This was conducted as follows: A marrow bone (usually the leg bone) was laid on the ground. The man who intended to test his skill took his place beside the bone and then walked eight paces away from it. He was then blindfolded and, hatchet in hand, walked toward the bone. _When he thought himself near it, he struck at it with his hatchet. Ma’djigi’jig illustrated this for the writer, but age had shortened his steps and, blindfolded, he did not measure the distance correctly. In the old days the man who cracked the bone with the first blow of his hatchet hastened to carry away the spoils; after being cooked the marrow was removed by means of a stick made for the purpose. This was the only way in which a young warrior on his first expedition could secure a taste of fat. He was not given the prize unless he succeeded in actually breaking the bone, and much merriment resulted from the misdirected efforts of many of the young men. On their first war party men were required to put mittens on both hands when they left the village and to wear them until they entered a fight with the Sioux. These mittens were tied securely at the wrist, from which a small stick was hung; this the recruit was ordered to use in scratching his head or body. Failing to do this, on reaching home he would “break out with boils on his whole body.’ Some recruits refused to wear mittens or to use the ‘‘seratch stick,” and Ma/djigi’jig recalled one instance in which a man became covered with sores to so great an extent that he could scarcely reach home. The old man gave as a reason for the regulation that the recruits ~ Jacked the protective medicines carried by the warriors. Many rules were strictly enforced in the recruits’ camp. Care was taken to avoid stepping over any article belonging to another. Thus if a man stepped across another’s gun he was chased and severely punished by the owner of the weapon, as such action was supposed to render it useless. It was considered a bad omen for a recruit to see a snake. Ma’djigi’jig related the story of an attack on a Sioux village, which took place during his first war expedition. At dusk the leader of the party sent several experienced men to reconnoiter. Under cover of night they approached the Sioux village, counted the tipis, and esti- mated the number of warriors. Soon after midnight they returned and made their report. Preparations for a march were begun at once and just before daybreak the Chippewa drew near the Sioux village. The leader then called for the wind and the wind came. The Sioux heard the wind singing through the tipi poles, and the flapping of the tipi canvas, but they did not hear the soft tread of the Chippewa as the latter entered the camp. The Chippewa lowered 86 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 their guns, aiming at the places where the Sioux lay asleep. When all was ready one of the warriors blew a quavering note on a tiny whistle, like the call of a waking bird. At this signal the Chippewa fired and then rushed at the tipis, tearing them down and killing as many of the wounded as possible. With a quick slash they severed the head of a Sioux from his body and ran away with it, removing the scalp afterward. Three or four scalps were sometimes cut from one head. The term ‘‘scalp lock,” however, was applied to the lock situated just back of the crown. As this is the only spot at which the scalp adheres closely to the skull, the scalp lock is especially diffi- cult to remove, but a skillful warrior could do so with one motion of his knife. He then slipped the end of the hair beneath the string which held his breechcloth, and the scalp dangled at the victor’s side. If a war party ran short of provisions the leader selected a place to camp, near a lake. He smoked his pipe, sang his dream song, and smoked again. At length he pointed in a certain direction and said, ‘‘A deer is coming there; it is sent to you.’ Thus the camp was supplied with meat. Ma/’djigi’jig said he had known this to occur many times. He stated also that, before attacking a Sioux village, the leader of a war party frequently ‘‘called on the thunderbird to send rain,’ in order that the Sioux would remain at home, not chang- ing their camp or wandering in the vicinity, where they might detect the approach of the Chippewa. THE WAR BADGE (By A’KIWEN’z1) A’kiwén’zi (‘old man’’) wore proudly the double insignia of his — success as a warrior—feathers in his headdress and skunk skins attached to his ankles (pl. 15). Even at his advanced age he was so lithe and agile in the dance that one could readily believe his state- ment that as a warrior he was distinguished for fleetness of foot. Two of his war-honor feathers were won at the memorable fight at Ca’gobéns’ village (see p. 79). After that fight there were many dead and wounded Sioux lying on the ground. He kicked one of the latter and thus won the right to wear a skunk skin at his ankle. Later, as a member of a war party which pushed far into the Sioux country, he killed a Sioux near the site of the present Sisseton, South Dakota, afterward kicking the body of the slain; thus he won the right to wear his third war-honor feather, and the other skunk skin at his ankle. In June, 1911, A’kiwén’zi was living on the White Earth Reservation. There he and his war comrades frequently joined in social dances with their old enemies, and again smoked the pipe of peace with the Sioux. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 15 A’KIWEN’ZI DESCRIPTION OF CHIPPEWA WAR EXPEDITION, WITH TYPICAL SONGS Every phase of a war expedition had its appropriate song, from the announcement of the leader’s plan to the close of the victory dances. Sonas CONNECTED WITH ORGANIZATION OF WAR PARTY The warrior who wished to lead a war party sent an oc’kabe’wis (messenger) with tobacco to ask the warriors to join his expedition. The messenger went to each village and requested the warriors to assemble; he then explained the purpose of the expedition, filled a pipe with apak’osigan’ (a mixture of tobacco and the inner bark of the red willow), and, holding the bowl of the pipe, offered the stem to one warrior after another. As he did this he sang the song which follows. All who were willing to join the expedition so signified by smoking the pipe. No. 11. Song of the War Messenger = (Catalogue No. 358) Sung by Onpsip’/ we Voice g—100 Drum e=92 (See drum-rhythm below ) Et: ee Pe | ee OS ee ee PE oo Sei eee eee b-p4——__|- ——_— Bi- da - ko-na-ma-wi - cin no - sis nin-do - pwagfin f . 5 * = o, Pa 3 pa a8 = 7 ae eae ee == e bi-da-ko-na-ma-wi - cin no - sis nin-do - pwa-gfn ; Ss 5 aan— Sas Das ST eg espe e bi- da - ko-na-ma-wi - cin no - sisnin-do - pwa -gfin 522 — os aaa ee ay ~b-b4 — = rm =e = Zi as SSS SS =} e - da- ko-na-ma-wi - cin no- sis nin-do att é Drum- ae 8 23 73 3 = i ain . Ah 8 =| a a = a 3 e 2 sie =— => = => 87, 88 BUREAU OF AMERICAN ETHNOLOGY [BULL 53 WORDS bidako’namawicin’.......... come and hold nih’ dopwa van; 102.2. : my pipe MOMS. <2. 275205 Ok MARS my grandchild Analysis.—The drum-rhythm of this song is unusual; it consists of an accented stroke followed by a short unaccented stroke correspond- ing to the second count of a triplet. The metric unit of the drum is shghtly slower than that of the voice. Four renditions of the song were secured, throughout which the rhythmic unit was maintained with great regularity, though the intonation varied perceptibly. The tones of the melody comprise only the minor third and fourth, the principal interval being the descending minor third. The song contains a rhythmic unit, which occurs four times, constituting the entire melody. After the smoking of the pipe the oc’kabe’wis returned to the man who wished to organize the expedition and reported his success in the following song. No. 12. Return of the War Messenger (Catalogue No, 359) Sung by Opsin’ wr VOICE — 192 Drum pS 100 ( Drum- ig similar to No. 11 ees OPES Es; MR, oe ales RATS a. ma.) se: C SSS as Delia o—e 2s eas eeee ae ae) 7 eel me = 7 ~ a oa a =e ma O - gi- tei - dafi i -ji- =: ~~ - zi - ‘wig be - zi- gwi eae apa ee Bel ee ieee ees djig = - ni - ni-wfg e WORDS opiitcldadi nic-edle. out ..--.- 42 like warriors LUN ONAL Were eee se eee they look be news Ge S53. ei who arise ini HiWOe* - 2222 cs PPM ees those men Analysis.—This song is divided into four parts, the first, second, and last of which contain the rhythmic unit, while the words occur in the third part, which has a different rhythm. (See Nos. 1, 8, 13, 30, 39, 40, 81, 105.) The drum-rhythm is the same as in the pre- DENSMORE] CHIPPEWA MUSIC—II ~ BS ceding song. The descending interval of the minor third occurs fre- quently, and the song is distinctly mwor in tonality. In a short time the warriors arrived and camped near the lodge of the leader. A feast was given by the leader, at which he explained more fully the proposed expedition, asking for a final pledge from the warriors. All who were satisfied with the plan responded with He he he, and the expedition was considered formally inaugurated. The leader then said, ‘‘ We will have the first dance to-night, and we will dance every night until we reach the enemy.” According to Odjib’we the following song was usually sung by the Mississippi Band of Chippewa at this initial dance (see also No. 81). No. 13. “I Feel no Fear’’ (Catalogue No. 328) Sung by Opjis’ we Voice os: 160 Drum — 104 ( Drum-rhythm similar to No. 3 ) eee ae 2. ‘Z -0- : a FR ee : ae oe ee eee ee =p ire E z : Ka-win nin-ca - gwe - ni-mu - si ka - win nin-ca - ee => #*_ »—_ 9 p+ o—_9——_9—_ eo e—_e Shea gwe-ni- mu- si ka-win nin-ca - gwe-ni-mu - si ki - tei - ~-* Ur See ees ~_ Sasa UF bbe LS ea zi - bi- wi-ni- ni ni-bo-in wa-ya - win-di-gin e ka - De 0 Dest p ties 9 Met ] pe ie ee ae win nin-ca - gwe-ni-mu - si ka-win nin-ca - gwe-ni-mu - si ka - eas a : 7 ed win nin-ca - gwe-ni-mu - si ka-win nin-ca-gwe - ni-mu - si 3 WORDS Kawa’ <a 5.2 eM Sets a oi aT nincagwe /nimusi’ CN tere tee me lee Katcin biwinini......2..--.. when the Great River man ! OCS eE oot ho Re ER Loe om eie death Wave WING? ooo) 522 ana Se speaks of 1 The “ Great River’’ was the Mississippi, and the term ‘“‘ Great River man”’ referred to a member of the Mississippi Band of Chippewa. 2 The last syllable is divided and also changed, to fit the music. 90 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Analysis.—This is the first song recorded by Odjib’we. Four ren- ditions were secured and found to be uniform. The first two were without the drum; these were followed by a pause, during which it was explamed to the singer that the drum was desired; he then resumed his singing with the accompaniment of that instrument. On com- parison it is found that the pitch and metric unit of the two parts of the record are identical. This ability to resume his song in the same tempo is the more interesting when we note the discrepancy between the metric units of voice and drum. The rhythmic unit occurs six times and is interrupted only by the change of words. (See Nos. 1, 8, 12, 30, 39, 40, 81, 105.) In this part of the song there is no decided accent and the enunciation of _the words resembles rapid speech. The excitement of the song centers in these words, given on a high tone, descending in the next phrase to the flatted sixth, the accidental most frequently found in Chippewa songs. The flatted seventh also occurs, which strengthens the phrase. The song is grim in its suggestion, yet it is major in tonality and cheerful in its rhythm. The following song was sung at the dances preceding a war expedi- tion. It contains the name of a man who once stayed at home, and was intended to shame all who, without proper excuse, failed to join the warriors. No. 14. “The Man who Stayed at Home” (Catalogue No. 388) Sung by OpJsis’wE VoIcr p = 152 Recorded without drum ry ees ecteaaeeia piece researr= Mi-nodj Jifi-gwa-be mi noi-ni - nifigime - ni-mude wi - pS ae pee ye SBS win go - cfi o-don-da - me-ni-man WORDS BOE AMO ls a ha crs See ee although SIBE WRG poe e noes oe. <p oe a Jifigwa’be (man’s name; meaning, ‘‘man of the spruce tree’’) TNA 8 ee eee ci en SN a man ine’ nimnd’s, 20° fe sir sas Ie considers himself Wi WOll sod: . oot ete Va eteesy his wife OCU! 0 Se ee es certainly odon’dame’niman’................. takes all his attention 1 The initial g of the fourth word in the music is carried over from the 7, the final letter of the pre- ceding word—an example of elision by Chippewa singers. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 16 [ ; CHIPPEWA WAR BANNER DENSMORE] CHIPPEWA MUSIC—II 91 Analysis.—Four renditions of this song were recorded with a short interval between the second and third. The rhythm was accurately repeated, even the slight variations in time being duplicated. It is a taunting, mocking melody, different from any other war song and admirably expressing the idea contained in the words. Compare No. 38, which is also a song of derision. The leader appointed four men to act as his aids during the entire expedition. These men, like the messenger sent with the tobacco, were called oc’kabe’wis. ‘They attended to all the preparations for the expedition and made the arrangements for the dances held before leaving the village. One of them carried the leader’s pipe and the other carried the drum when the war party was on the march. They also arranged for the camps on the expedition. A war party always carried a generous supply of ‘‘medicine,”’ also materials necessary for making and mending moccasins. Part of the equipment was provided by the leader, who also borrowed the ‘‘banner”’ or ‘‘ flag” borne by the war party. This was made of eagle feathers sewed on a strip of cloth about 4 feet long, which was fastened lengthwise to a pole. Odjib’we stated that in the old days he knew of only one such banner among the Mississippi Band of Chippewa, made by a man named Gaga’giwigwin’ (‘‘raven feather’) and loaned to the war parties. It was considered the common property of the warriors, but this man was its custodian in time of peace, and it was preserved in his family after hostilities ceased. At the present time (1912) there is one war flag preserved at White Earth, but this is believed not to be the one made by Gaga’giwigwin’. It was carried in the wars against the Sioux by Mi’gisins’ (Little Eagle), and is now in the possession of his daughter. In plate 16 this banner is shown, held by the daughter of Mi’gisins’, though a woman would not have carried such a banner in actual warfare. Mi’gisins’ was so distinguished a warrior that a song in his honor is still sung at White Earth (No. 126, Bulletin 45). A similar banner, used at Waba/cifig, is shown in plates 44 and 45. The final event before the departure of the war party from the village was the dog feast. The head alone was eaten and only the men who were going with the expedition partook of it. Participation in this feast was considered equivalent to a pledge that the warriors were prepared to meet the full fortune of war, whether death or worse, at the hands of the enemy. 99, BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 15. Pledge Song (Catalogue No. 360) Sung by Opsis’/we VoIcE veP 108 Drum ¢/— 108 ( See pei below mea PEN nt hots: : tere + TOON ee ren ed _s oy ye Bay! Paes 7 E ya nin-da- ca- mi-gog ya nin- da- ca- mi-gog , | aaa ae ae = Sarees eS hee e ya "ho e(inLaPae 1 DEBS + * pO ] oy thay SSS o - gi- tci-dag nin-da - ca - mi - gog ya Aca line es BE a = me ES =a Sra: ie re = =—4+ vig a nin- da - ca- mi-gog nin-da -ca-mi-gog ya Drum-rhythm baz CR SOA os 2 etc. ga o_o ae SS OSS OS FS a WORDS nen dacamipog’ si .0 1 eae they feed me O87 TRIG aO Owes eee is. the braves BEUY CSCS OR! en ods. te feed me Analysis ——The second and third measures of this song constitute the rhythmic unit. Five renditions of the song were recorded. The opening measure was uniformly given, but in two instances the last measure was omitted, the corresponding quarter notes an octave higher taking its place. The written music appears to consist of seven two-measure phrases with an introductory measure, but the Indian’s rendition divides the song into two parts, the first containing eight and the second seven measures, a strong accent being given the first note of the ninth measure. At the conclusion of the dog feast all the warriors danced, guns in hand, and sang the following song, which contains no words. All the final preparations had been made and they were ready to start on their journey. DENSMoRE] CHIPPEWA MUSIC—II 93 No. 16. Dance of the Dog Feast (Catalogue No. 361) Sung by Opsis’ we VoIcE os 92 Drum o= 92 (Drum-rhythm similar to No. 15) 2. -9- -# -9- -9--9--3-* + & -9- -#- -9- ppp tite ie CE etre —) a oe meee mare a feeees saaee a Analysis —This song contains a rhythmic unit which is slightly varied in repetition. No variation in either melody or rhythm appears in the four renditions of the song except that in the second of each group of two renditions the singer avoided the first high note and began with the last note of the second measure. The tempo is slow and the drum and voice are in consonance. In general char- acter the song is dignified, yet. vigorous, as befitted the song of those who were equipped and ready for the warpath. At the conclusion of the dog feast and dance the leader of the party began the ‘‘song of departure” and his warriors took up the melody. Dancing, not marching, they left the scene of the feast, and followed their leader toward the land of the enemy. Only one woman, usually the wife of the leader, was allowed to go with the war party. Four women escorted the warriors as they left the village, walking back and forth in front of them and joining in their song. These women had their faces whitened with clay. At last they divided, two standing on each side of the path, and the warriors passed between them. There were no farewells and the song did not cease. With eyes turned toward the enemy’s country the warriors went forth to meet their uncertain fate. 94 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 17. Song of Departure ! (Catalogue No. 362) ; Sung by Opis’ we VOICE J 108 Drum o- 108 (Drum-rhythm similar to No. 15) (1st ) (1st) ae ' Se a i (24) (2d) fe ; 5 oe at @ @ @ @ » 9 = eh ad e_@ [= —j—-f-3—4— Bi-ma-ci-wiig ni-mi-gwfin-fige bi-ma-ci-wfg ni-mi-gwfin-fg e he WORDS En CRW ce eee eee they are sailing on the breeze nimi/gwiiniig’. ...2..-2.-...-- my feathers Analysis.—The words of this song probably refer to the birdskin charm worn by the warrior (see pp. 77, 78). The song contains two rhythmic units, similar in the division of the last three counts but differing in the division of the first two. Each unit occurs twice, its repetition being followed by a triple measure. Thus the first unit followed by a triple measure constitutes the first part of the song, and the second unit, steadier and stronger in rhythm and followed by a triple measure, constitutes the second part. The melody is harmonic in structure and is based on the tonic chord. SONGS OF THE WARPATH At evening the oc’kabe’wis selected a suitable place for the camp. According to Odjib’we, every evening the warriors seated themselves in a row facing the enemy’s country; the four oc’kabe’wis sat in front of them, and in advance of all sat the leader with his drum. The leader sang alone, and the warriors did not respond with the shrill cries which punctuated many of the war songs. He placed two crotched sticks upright in the ground, with a crossbar between them, on which rested the stem of his hghted pipe, with the bowl on the ground. As he sang the leader shook his rattle of deer hoofs or laid it beside the pipe and looked away toward the enemy’s country, while his silent warriors waited on his divination.?. 1See No. 150, Bulletin 45. 2Cf. George Earl Church, Aborigines of South America, London, 1912, p. 284: [Among the Pampas Indians the wizards] ‘‘ used the maracd [rattle], which they said told them many secrets and made all they said oracular.”’ DENSMORE] CHIPPEWA MUSIC—II - 95 The following song was said to have been sung by the leader every night while on an expedition. No. 18. Song of the Leader (Catalogue No. 343) Sung by Opsis’wE VoIcE a 104 Drum a 104 dae pe att similar to No. 15) ees SS este att mS == Se 2S22 == ee = Ear ae —e— ae A-ni de-ba - on Apia a - ri we ani de -_ ba - bfin-da- Fane Beat a E = Ee Seon? ae a Se eee on a ee a oe a- he na ga-ki @€n - i-go-kwag- ga-ki- na a hie lata bum—Cda-mam a, — ict we a = nt de- = r a <. ge ee oe ° 2 = Sey eSar aaa = 2 ba-bfin-da-man a-ki we a-ni de-ba-bfin-da-man a-ki we WORDS LOI oI RE 2 RSI EMT ems BAe as deba’/bindaman’........- a oelesee TI pe ay aS ora Beet eg alee NE the earth EC) CII ahh ete AER eat Bead a, re |ihe whole compass of it Analysis.—The transcription of this song is from the first of four renditions, which differ only in the intonation of the tones marked. These tones are given with what might be termed a ‘‘toss” of the voice. Thus the third tone of the song is sung in one instance almost as high as G flat. There is an evident intention to lower slightly the next to the last tone of the rhythmic unit, but the interval is not definite. The close of the last phrase is given with more accuracy than the preceding, although the low pitch of the tone makes it more difficult to sing. The rhythmic unit occurs six times, its repetitions comprising the entire song. An additional quarter note is inserted after the second and fifth repetitions; this is found in all the renditions and adds 96 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 interest to the rhythm of the song as a whole. The metric unit of voice and drum is the same, the voice slightly preceding the drum. The following song was sometimes sung by a leader and was also used by oc’kabe’wis and by scouts (see No. 82). This is a dream song and was always sung by men who were alone, never at the dances. No. 19. “I will go to the South” (Catalogue No. 333) Sung by Opsis’we Voice g=112 Drum a 112 (See drum-rhythm below ) CS BosmeeetS a Nin-ga - di - ja a - win - ofig nin-ga - di iad fs ca - = ee 2: - ~g- (« «ee zs ae ge pe = ong nin-ga -di - ja ca - win - ofig nin-ga - di - 2 eS gas Bale | — sn eeeaaee Se Pee ee ae te ja ca-wtn-ofig a nin-ga-bi - don ca-wfn - i - no-din wen! D — aor saa ees Fae ere aoe € nin-ga-di - ja maeoe nin-ga - di ca - win-oig e Drum-rhythm : a | => —— > ——d WORDS TSA hye eee we eee ae I will go carwithonge’. Jie, sieh, LT to the south nin/pabrden’ ities iste Veu. tee I will bring os’ whstino/ din... ef 4-t6- sba8 the south wind Analysis.—This song was recorded twice, an interval of two weeks elapsing between the making of the two records. On the first occa- sion the singer sang the song twice, and, after pausing to explain the words, again sang it twice. On the second occasion also he sang the song twice. Thus six renditions were secured, in groups of two. On DENSMORE] CHIPPEWA MUSIC—II 97 comparison it is found that these renditions vary in intonation, but that the note-values and accents are the same, with some slight exceptions in the tones which connect the phrases. In all the songs it seems allowable to divide or prolong these connecting tones at the will of the singer. The song contains a rhythmic unit, which occurs six times and is slightly varied near the close of the song. Each group of two rhythmic units forms a melodic phrase. The song is melodic in structure according to the present basis of classification because an accent is placed on an accidental tone, but the remainder of the accented tones follow the intervals of the tonic chord. The accidental is the sixth lowered a semitone. In form the melody resembles Nos. 4, 5, 33, 34. Many songs were used in the dances at the nightly camps, the warriors frequently singing of their former victories. The following two songs are characteristic of this class. No. 20. “A War Bird” (Catalogue No. 332) Sung by Opsis’/we VoIcE d = 112 Drum j= 116y\, ( Drum-rhythm similar to No. 19) WORDS qaewanibi‘si . : ..cereserse. -- - a war bird ga’kanawa’bamid’............ who looked upon me Analysis.—In the number and manner of renditions this song is similar to No. 19, two sets of records being made at an interval of a fortnight. As in the preceding instance, the rhythm remains identical throughout the renditions, but several unimportant note-values are altered. The rhythmic unit is short and occurs in both double and triple measures; the song as a whole has an interesting completeness or unity of rhythm. The melody is clearly in the key of G, although the tonic does not appear until the eighth measure. 67996°—Bull. 53—13——7 98 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 By midday the warriors were on their journey. Odjib’we said that before starting the leader frequently filled and lighted a pipe, after which he took a puff and held the stem toward the enemy’s country, saying, ‘‘Every Sioux who puffs this pipe will soon be a dead man.”’ He then passed the pipe to all the warriors, each of whom took a puff. The leader then spoke to the drum in a low mut- tering tone, ‘‘ Be faithful, my drum,” or “‘ Be faithful, be true.”’ When this ceremony was finished the drum gave the signal and the warriors took up their journey, with the pipe-bearer leading the way, and the leader walking last, carrying his rattle of deer hoofs. After the party was well underway the drum ceased beating and the war party walked in silence except for the occasional sound of the leader’s rattle. A Chippewa war party frequently traveled 25 miles in a day, stopping at intervals to rest andsmoke. According to Odjib’we they made a camp and “‘had a good rest,” if possible, before attacking the Sioux, several scouts keeping close watch on every movement of the latter. As the warriors neared the enemy they began preparations for actual warfare, chief among which was the singing of their medicine songs. It was a custom among the Chippewa warriors to dip the heads of the war arrows in red medicine, the following song being sung while this was being done. No. 21. Arrow Song (Catalogue No, 370) Sung by Opsis’ we VOICE —= 60 Drum e = 84 ( ico similar to No. Ba 7 ian or ee a oe: are: ott | SEES es O-na-mfin-in i de-bwan o-na- mfin- ee a - ab bwan wa hi | an oo —— Shoes == ee ee yu wa hi ye wa hi yu hu o-na-miin- oe Se eel ny 57 Guat an bwan o-na-mfin - fin 7 nT de- bwan yu hi yu huya WORDS Oo nanhin tin’. eos. tse ee scarlet de’bwan...-25. 2 AURSOR) ena is its head DENSMORBE] - CHIPPEWA MUSIC—II 99 Analysis.—The rhythmic unit of this song is short and vigorous. The melody is inspiring in character and well fitted to increase a warrior’s confidence in his success. The ending is peculiar but was given uniformly, the five renditions of the song being identical in every respect. The principal war medicine carried by the Chippewa was the bi’jikiwtck’ (‘cattle herb medicine’’), which was said to ‘‘make men strong,’’ and to be a powerful healing medicine (see p. 63). It was the warrior’s custom to chew this medicine and spray it from his lips upon his body and his equipment. The following song was sung while preparing the medicine. No. 22. Origin of the Bi/jikiwack’ (Catalogue No. 372) Sung by Opsis’weE Voice g—100 Drum ¢— 100 (Drum-rhythm similar to No. 2) aie DN ie Se i ae ee ee ah eos etak ae se —— | f =| ie —— oe Mo - ki - yan nin - de mo - ki- yan e mo - ki- eee. cede 2): = (——¢_ 4 f=] Ete Soe oe eee ee oe ee 2 yan nin-de mo - ki- yan e mo - ki - yan e mo - ki - 1 — Soe : raped Diy EEE Ste: | dji - wa-nufi mo-ki-yan ¢ wmo-ki-yan nin-de mo-ki-yan e WORDS MIQUEL YOR 2 cae eto oho Saas Gee I arising mide’ 2.2253. peeliew denis ate I myself mokidji’wanun’...........-........ from the flowing spring Analysis.—This is the first of a large number of songs based on the interval of a fourth or in which that interval is especially prominent. This group includes 11 songs in Bulletin 45 and 25 songs in the present volume, a total of 36, or 11 per cent of the entire collection. The interval of the fourth is usually (in its first occurrence) a descending interval and, except at the close of a song, is rarely if ever followed by the interval of a third, completing the chord of the sixth. It occurs in three ways, which form a basis for a closer observation of the group: First, two continuously descending fourths form the framework of the 100 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 melody; thus Nos. 6 and 9 in Bulletin 45 are based on the descending intervals D—A, A—E, ending with the descending tonic triad D—B-G in the closing measures. No. 3 in Bulletin 45 and No. 82 in the present volume are based on the intervals C sharp-G sharp, F sharp-C sharp. Second, the melody is based on two descending intervals of a fourth, the second interval being only one tone below the first. No. 28 in the present volume is based on the intervals E flat—B flat, D flat—A flat. (See also No. 23.) Third, the interval of the fourth is especially prominent but this interval is, as it were, inclosed in the interval of the fifth; thus in the present instance (No. 22) the intervals which form the framework of the first four measures are the fifths E flat— A flat, D flat-G flat, but the principal intervals are the fourths D flat— A flat, C flat-G flat. The next four measures are characterized by descending fourths, the third of the tonic chord appearing for the first time in the final measure. The close of the song suggests that there should be another measure ending on G flat but that G flat was below the range of the singer’s voice. Since 11 per cent of the series of 340 songs have a common melodic characteristic, we note with interest that they have also a common subject, all being songs concerning motion (20) or animals (15), in some instances the two ideas being combined. The single exception. is a love song which contains the words ‘‘T sit here thinking of her.” While the idea of motion is not expressed therein, it can not be con- sidered entirely absent from the mind of the singer. The numbers and titles (or words) of this group of songs are as follows: (a) SONGS CONCERNING MOTION Bulletin 45: No. 6. ‘‘Iam raising my pipe” No. 9. ‘‘A bubbling spring comes from the hard ground” No. 10. ‘‘You are going around the Mide’ lodge” No. 63. ‘‘The shell goes toward them and they fall” No. 86. ‘‘The flame goes up to my body” No. 91. ‘‘To the spirit land I am going, I am walking” No. 199. ‘‘The big bear, to his lodge I go often” No. 132. ‘‘The women are enjoying it [the dance] with us” Present volume: No. 22. ‘‘T arise from the flowing spring” No. 32. ‘‘The prairie land whence I arise” No. 34. ‘‘The Sioux women gather up their wounded” No, 39. ‘‘Odjib’we brings back our brother” No. 105. ‘‘Go with me” No. 106. ‘‘Now I go” No. 110. ‘‘I go around weeping”’ No. 111. ‘‘Come, let us sing” No. 121. Ca’wiino’ga dance No. 162. ‘“‘The sound of his approaching footsteps” No. 170. ‘“‘Work steadily, I am afraid they will take you away from me’ No. 174. ‘“‘You shall depart” ? DENSMORE] CHIPPEWA MUSIC—II 101 (b) SONGS CONCERNING ANIMALS (USUALLY REPRESENTED AS IN MOTION) Bulletin 45: No. 3. ‘‘In form like a bird it appears” No. 121. ‘‘I am afraid of the owl” No. 196. ‘‘Round-hoofed had pity on me”’ Present volume: No. 23. ‘‘Strike ye our land with curved horns” No. 28. ‘My bird-skin charm is my trust” No. 64. ‘The ravens are singing”’ No. 82. ‘Riding on my horse” No. 85. ‘I am walking in the sky, a bird I accompany” No. 95. Song of the deer (a) No. 96. Song of the deer (6) No. 97. Song of the deer dancing No. 103. Moccasin game song taught by a manido’ in the form of a bear (a) No. 104. Moccasin game song taught by a manido’ in the form of a bear (b) No. 147. ‘‘One bird, I am going with him” No. 180. ‘‘The crawfish cringes” Songs in praise of bi’jikiwtick’ were sung in the war dances. When singing these songs the warriors imitated the action of wild cattle, holding their arms above their heads to simulate horns and pretending to paw the ground; they imitated also the calls of various wild animals, these being calls which they intended to use in decoying the Sioux. 102 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 23. Dancing Song of the Bi‘jikiwack’ (Catalogue No. 382) Sung by Marn’Gans (“LITTLE WOLF ’’) VOICE a = 96 Recorded without drum = aaa tec: Sia sate ee og irre. ; eee : Poaare — Bi - ti-go-cka-mok gi-ta- ki - mi-nan e bi - ti-go-cka-mok pipette = - = 2aSe = a 8 oa =a =e — gi- ta-ki-mi - nan ey br Aont gi- ta -ki-mi-nan SSS LS ———s—s— bi - ti- go - cka-mok gi -ta-ki - mi-nan - oo ee | =A ea we-wa - gi- Wi- ni bi - ti-go-cka-mok gi - ta-ki - mi-nan PTR PPE, ey TI “he Lewy oe (sooo seen a ae= bi - ti-go-cka-mok gi- ta-ki - mi-nan we - wa - gi - wi - aS Saal a ee a Ee ERY ARIEL a iB = b—+ 2 e Ss = ni bi - ti - go- cka-mok gi -ta- ki - mi- nan soe WORDS bi‘tige’ ckamol? 624-2 inns) 1.2 aestnikerye ea faleiminan’ the: saat Sade eee our land WE WH C1 WIS Se Ee yA Bs Ne Bees with curved horns ~ Analysis —The descending interval of the fourth is especially prominent in this melody (see analysis of No. 22). The first five measures comprise the rhythmic unit, which is well adapted to the expression of the words. This rhythm, combined with the peculiar melodic outline, causes the song to produce an effect of rugged strength. During the preparation of mi/nisino’wiick (‘island herb medicine’’) and also before a battle the following four songs were sung by the DENSMORF] CHIPPEWA MUSIC—II 103 warriors to make the medicine effectual as a charm. This group of songs was rendered by Na’waji’bigo’kwe (“woman dwelling in the midst of the rocks’’). No. 24. First Song of the Mi/nisino’wick Sung by Na’wagsr’ BIGO’/KWE (Catalogue No. 373) VoIcE a= 69 Drum = 108 (Drum-rhythm similar to No. 2) ; bee Etats ‘ . ——s 5 A a ry sag === === > rea —f ee Ka -ga - gi- wi- wan nin - dau ba-on - dji - o-non - ge- 2 rer To a ae 2 — o:6 : = —+—F pai pee ao Sad ———S wi-hi-yanka - ga-gi-wi- wan nin-dauba-on - dji-o-non-ge - wi - yan WORDS : [Free translation] kapa/Biwiwah’:-:. 222. Gigis sees Bs He as a raven’s feather is my flight Analysis —This melody was sung very slowly with a rapid drum- beat. The song is harmonic in structure and contains the tones of the fourth five-toned scale. The rhythmic unit does not vary in the four renditions of the song, but there is a slight variation in unimportant melody progressions. Attention is directed to the register of the woman’s voice. Several other phonographic records made by Chippewa women show the same register. All the songs of this series close with the ejaculations We ho ho ho, which characterize also the Mide’ songs. 104 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 25. Second Song of the Mi/nisino’wick Sung by Na’wasi’BIGO’K WE (Catalogue No. 374) Voice g—152 Drum e => (Drum-rhythm similar to No. 2 ) Gi - jig €-yo-ho-nt - hé gi - jig €-yo- ho-né- hé r Sl. « 2 ae oe ee _jp—_@ _@+ @ @+ @ — es aT . EL ESS SS eee vee en ee gi - lig &- yo - ho-né - hé hé gi- jig &-yo-ho-né - hé Paar a a oe ae ra ee ere gi - jig &é-yo - ho-né - hé gi - jig €-yo - ho-né - hé | ola} yp se 2 ee ee 2 fa es an sae cea BEA Sa eae yee eee gi - jig &-yo-ho-né - hé hé gi - jig &-yo -ho-mé - hé lp tp e@ ei! Tepe ye agree oii tt Getter Feenet Soka aes ae] t- ae pees gi - jig &-yo-ho-né -hé gi - jig &-yo-ho-né-hé gi- jig &-yo-ho-né - hé WORDS lf emer Se ea < gal tee the heavens Syoyan’ Luscubaliessics echt 2 use Analysis —The words imply that the heavens are secured as a defense by the singer. In all the renditions of this song the drum is struck after the melody tone is sung. This gives an effect of great irregularity to the performance and also shows the independence of vocal and instrumental expression. The rhythmic unit, which is accurately repeated, occurs 11 times. The double measures vary in length and apparently serve as resting places for the voice. 1 See footnote 2, p. 89. DENSMORE] CHIPPEWA MUSIC—II 105 No. 26. Third Song of the Mi/nisino’wick Sung by Na’wasI’BIGO’K WE (Catalogue No. 375) VoIcE st .— 16 pecconied without. without drum — { gua “5 = Pa Se eee A A ee Ga-mi-no- gi- we-pfi- ya-ya-ne he Le mi-no- gi- we - pfi-ya - ya - ne 2S] Seeoe Hele] ga - mi-no- = = as - ee = = ga- mi-no-gi - we - pfi- ya- ya- ne WORDS a/minogi/wepii’yane’........ I will return to my home in gafet g ig MA J y Analysis.—This melody contains no tones except those comprised in the rhythmic unit, which was steadily maintained throughout the six renditions. Owing to the rapid tempo, the measure is a more convenient metric unit than the individual count in the measure; thus the metronome indication is for a dotted half instead of a quarter note. The song is harmonic in structure and contains the tones of the fourth five-toned scale; it was recorded without the drum. 106 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 27. Fourth Song of the MYnisino’wick Sung by Na’waJI’/BIGO’/KWE (Catalogue No. 376) VoIcE a = 168 Recorded without drum ai OMe: pa ge ==5 Na-miindj-ge - do-gwén é@ ba- 6n-dji- o- nan-ge- yan é oe el ee ene — nae ae -2- 2-2 oe £ a SL Se na-miindj-ge - do-gwén ba- 6n-dji- o - nan- ge-yan é Frisia eee e_@___-__— ef SE ee ee antind-ee - do-gwén @ ba- 6n- aii - O-nNan-ge-yan é 2 eee ae na-mf{indj-ge - do-gwén bi - on ty - bi - si - gwi- yan é Net erauerer Seige a= Sse s SSS SS = ee na-m{indj-ge - do-gwén bfi - 6n - dji - bi - si - gwi- yan WORDS namiindj’gedogwén’.......... it is uncertain what will happen baéndji’onan’geyan’........-. to the one from whom I fly namundj’gedogwén’........-- it is uncertain what will happen biéndji’/bisigwiyan’.........- to the one from whom I rise Analysis.—This melody is unusually irregular in form. The prin- cipal measures are in 7-4 time; the rhythmic unit contains three measures and occurs five times. Four renditions were secured; these are identical except that after the first rendition the singer omitted part of the last phrase, closing with the calls We ho ho ho. Apparently this was done to avoid the very low tone at the close, which was sung with difficulty. The song is freely melodic in struc- ture and contains all the tones of the octave except the seventh. If a great fight were expected, the Chippewa made preparations for the care of the wounded. Litters were constructed of poles, these being especially required, as the Sioux always pursued the Chippewa in an effort to capture the wounded. Every war party included an DENSMORE | CHIPPEWA MUSIC—II 107 old man whose duty it was to carry an extra supply of medicine and of water; he did not fight but held himself in readiness to attend those in need of assistance. The feather flag (see p. 91) was carried by one of the bravest warriors, who ran to and fro with it during the fight. This man was a target for the Sioux and defended the flag with his life. The drum was beaten during the contest by one of the warriors, who also sang to inspire the men. This duty likewise required special courage. Before entering a fight the leaders arrayed themselves in brilliant trappings. Each wore a band around the head in which were bright feathers; this rendered them con- spicuous and showed their fearlessness. The neck was usually encircled by a charm consisting of the dried skin of a bird, which contained a medicine known only to the wearer (see p. 77). This charm was wrapped in birch bark but before a battle the warrior tore off the cover, exposing the bird skin, and also sang the song which should make the charm effectual. The following song was used for this purpose. No. 28. Song of a War Charm (Catalogue No. 369) Sung by OnJis’weE VoIcE ¢—80 Drum d = 92 (Drum-rhythm similar to No. 2) i i a = se a ait er ome ake a Se lermerase cera ea ll a =a" z ——— E = 3 = D bck S a aw ee ly a ee 7 eS We-go-nén-i - wi- né - hé-hé - ne e - pé - ni- mo - a+ —9 -—} —-t o @ 9 9 9 — 93 pp er a kale S.- S SS S = SS Se Ca 3 ——— ya ~ ha-han e we-go-nén-i- wi -né - hé-hé-ne e-pé- ni-mo- — S$. li pe a ee ee ya - ha-han nin-bi-nés-i-wa-yan e he he e- e - péni-mo- — i S26 = aa oe eS ee : i a ey ya-ha-han e we-go-nén-i- wi-né - hé-hé-ne e-pé-ni-mo-yan e WORDS wegonén’iwinén’!............ in what PRO MIMOVER 221. is my trust? HMnbines lwayan’...°.52...:. my bird-skin charm CPO MMBOYAN 658 02 seats tt - is my trust, 108 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Analysis.—This song is transcribed in the key of D flat, though the third of that key does not appear in the melody (see analysis of No. 53). In broad outlme the framework of the melody may be said to be the descending interval of the fourth—E flat—B flat, and D flat—A flat (see analysis of No. 22). The song is regular in form, the rhythmic unit occurring four times; the first two occurrences con- tain the words of the question while the last two contain the answer. According to Odjib’we the Chippewa always sang, if possible, before attacking the enemy. If the attack were to be1 made at day- break, the Chippewa crept stealthily to an ambush near the village, the drum was beaten very softly, and the following song was sung in subdued tones. Then came a piercing yell as the warriors dashed on the sleeping enemy. In open fight the war cry of the Chippewa was Bwan, Bwan,' the word by which they designated a Sioux. Odjib’we stated that the leader started the drum song. The title is not fully explained, but may have been suggested by the muffled throb of the drum, which impressed itself indelibly on the mind. No. 29. Drum Song (Catalogue No. 341) Sung by Opsin’WeE VoIcE o=96 Drum a— 96 ‘— chy thr sientioe te: similar to No. 15 Morig opis ESE Sars ait ae Ga-ki-na-ni-ni-mi-ag o-gi-tci-dag e en-da-ci - wad e as ange ae ce a ee ga -ki-na- ni-ni-mi-ag o-gi-tci-dag e en-da-ci- A Sd Raine eeu aes tached wad e ga-ki - na-ni-ni-mi - 4g reese en-da-ci - wad e WORDS gakina/ Nini Mike’ ger... con Meee. nan 2 I make them dance ogitcidag’ 4... 2... 5.2. Hee Se. thoge brave men en daclwaar ceiier sts etnies oo every one of them Analysis.—This melody is grouped about the tones of the chord of A minor, but begins on the tone above the fifth of that chord, a similar approach to the harmonic tone being found in the fourth and fifth measures from the close of the song (see analysis of No. 53). 1 The full form of this word is Abwan’, plural A bwan’tg (“Roasters’’), but the contraction is the form incommon use. (See Warren’s History of the Ojibways, in Colls. Minn. Hist. Soc., vol. v, 1885, p. 36.) 2 From Sioux aki’éita + g (ug), Chippewa plural ending. See also pp. 76, 186, 190, 230. DENSMORE] CHIPPEWA MUSIC—II 109 The tone material comprises only the first, second, third, fifth, and sixth tones of the minor scale, the second being lowered in one measure. Although the song is minor in tonality it is found that 8 of the 17 intervals (47 per cent) are major thirds. (See Nos. 83, 99.) The reverse of this, namely, prominence of minor thirds in songs of major tonality, is considered in the analyses of Nos. 140, 141, 151, 161, 163. The rhythmic unit is repeated once accurately but. is slightly changed at the close of the song, this change relieving the monotony and giving character to the rhythm of the song as a whole. The metric unit of voice and drum is the same, the voice slightly preceding the drumbeat. Three renditions of the song were recorded; these are identical in every respect. After a lapse of eight months the song was again recorded, the repetition of the melody being exact but the words being slightly different. When the Chippewa met the Sioux in open fight one of their number might inspire the others to bravery by making himself a target. Throwing aside his weapons and divesting himself of all clothing, he rushed toward the enemy. If the Sioux failed to kill him at the first shot, it was permissible for him to attempt to escape. It is said that a man named Ogima/wiidjiwéb’ (“chief of the moun- tains”’) had an experience of this kind and made his escape. No. 30. Song of a Man Who Rushed Toward the Enemy Sung by OpJis’weE (Catalogue No. 329) VoIcE ee 76 Drum oe 88 ie -rhythm similar to No. 2) was et Poe: eee a Sees SSS een tthe tert, Ni - dji- ki-wé - i-dog e ge-go ji - mo-ke - gun posgey EF meteeere rea =a sy nin zon-gi - de-é WORDS moan weidoo” fs!) PSL A my friends See ae. Se US. teal. cuiceess do not MUNG Me UU eon Di ,. = wecia an yew flee 1b) STE le ee i BOT CTRERN a7 B.O5: BE dea ib ve tee. fh am strong-hearted 1The first syllable of this word was omitted because the previous word ends with the same vowel. See footnote, p. 90. 110 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Analysis.—The rhythmic unit of this song is short but interesting. It occurs three times and comprises the entire song except that part which contains the words. (See Nos. 1, 8, 12, 13, 39, 40, 81, 105.) The song was recorded four times, the renditions being uniform except that in the fourth from the last measure the pro- gressions vary slightly. It is worthy of note that this is the only measure whose principal tones are not those of the chord of F minor. The melody is strongly harmonic in feeling, although classified as melodic because of the accented B flat. The difference in intonation between the first and second E flat in measures | and 3 is interesting, as it appears in all the renditions. The song contains ten measures and is divided into four parts. The metric unit is slower than in most Chippewa songs. A slow metric unit is found in other songs of self-control under excitement (see songs Nos. 51, 52, 103, 161). Asarhythmic whole this song is particularly complete and satisfactory. During a fight a man frequently sang his dream song or a song which he had composed concerning a former victory. Odjib’we stated that in time of great excitement a man would sing louder but probably no faster than was his usual custom. It is said that the following song was composed and sung on a field of battle by a woman named Omiskwa/wegi’jigo’kwe (‘woman of the red sky”’), the wife of the leader, who went with him into the fight singing, dancing, and urging him on. At last she saw him kill a Sioux. Full of the fire of battle, she longed to play a man’s part and scalp the slain. Custom forbade that Chippewa women use the scalping knife, although they carried the scalps in the victory dance. DENSMORE] CHIPPEWA MUSIC—II i No.31. If I Had Been a Man (Catalogue No, 349) Sung by Opjsis’ we Voice e = To Drum Je 92 (Drum-rhythm similar to No. 2) ‘A - pi-dfic i- ni- niyan-ban ke - gét i-ni-ni nin-da- 2 Se SS ee ee ee Ss : is 2 {| 3-0-8 __e-6s o pee eS pe ey el WORDS UI en ain niin ennocienociiaso aes iba tame PAU WARY AUT OLE “iayarereve ics jas serene oe if I had been a man LL 1 le aml ape IF RRP Ae 5-8 xf el truly were 2). LO AS a man mindaci/tabibina’=.2:. J25.2728= : I would have seized Analysis.—The first progression of an ascending octave, followed by a descent along the tones of the tonic chord, characterizes this melody (see analysis of No. 9). The harmonic feeling is strong throughout the song, the accented C in the sixth measure being the only departure from the tonic and submediant chords. There is no rhythmic unit, but the rhythm of the song as a whole is complete and satisfactory. Three renditions of the song were recorded. In each the tempo was more rapid and less regular in the four measures following the words, returning in the last two measures to the metric unit of the beginning. ‘This unit is slow, as in other songs of self-control. The more rapid and free rhythm of the middle part is the more inter- esting if considered in connection with the words and origin of the song. Other songs composed by women are Nos. 39, 40, 112, 127, 151, 177, 178. When a Chippewa shot a Sioux he shouted, ‘‘T have killed a Sioux,” and others took up the call, adding the victor’s name. Thus other warriors were nerved to renewed endeavor. After the fight the 1A syllable is omitted to make the words conform to the music. 112 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 names were remembered, and the warriors were given proper credit. In the old days each warrior marked his arrows, hence it could usu- ally be determined by whose hands the slain fell; but after the intro- duction of guns it would have been impossible to ascertain who had killed the Sioux unless the call above mentioned were given during the engagement. It was not unusual for a warrior to sink exhausted during a fight. This misfortune once befell Odjib’we, and the incident was related by his friend Niski’gwtin, who was present on one occasion when Odjib’we was recording songs on the phonograph. Niski’gwin was with Od- jib’we in many of the contests with the Sioux. Niski’gwtin stated that on one occasion Odjib’we went into a fight without his ‘‘medi- cine.” The fight had scarcely begun when Odjib’we appeared to be almost paralyzed. He was not able to strike a blow in his own defense and would have fallen an easy prey to the Sioux had not Niski’gwin rushed to him and given him medicine from his own bag, mixing it with water. Niski’gwtin also’ sprayed the medicine on Odjib’we’s feet and limbs with a wisp of brush. This revived him and enabled him to rise. Soon he was entirely himself and the fight was won, the Sioux village being captured. Niski’gwan stated that he sang the following song when he applied the medicine. No. 32. Song of Help in the Fight (Catalogue No. 385) Sung by Niski’awtn VOICE = 144 Drum d= 108 tere cos similar to No. 2) be.) sagt typ eet pee — Ss ea Mfic-ko_ - a-kifi we-yan-e - ba-si- gwi-yan tp tataliee= ae sees eae eee mific - es - de a-kifi we-yan-e -_ ba- Si - gwi-yan ee Se Se ; 9: ee ae See = @@ toe EIS ae oe a? fe mfic-ko - a-kii we-yan-e - ba- Sa é WORDS MORO. 5 orn tein ck Sole eee the prairie CU oF cok ge ee land weyan’eba/sigweyan’......--- whence I arise DENSMORE] CHIPPEWA, MUSIC—II Li3 Analysis.—Four renditions of this song were recorded, in all of which the final word was mispronounced, this license being allowed in Chip- pewa songs. On the octave and fifth the intonation is fairly correct, and these tones were sung firmly; the other tones are variable in pitch, and the transcription should be understood as approximate. The signature is that of the key of D, as both F sharp and C sharp occur in the melody, but the ‘‘sense of key”’ is not clear. It seems probable that the singer’s recollection of the song was not quite dis- tinct. The rhythmic unit contains seven measures, and its repeti- tions comprise the entire song. The framework of the melody is the descending interval of the fourth, a peculiarity which is fully con-- sidered in the analysis of No. 22. While this is not an inspiring mel- ody, there is something in it deeper and stronger than enthusiasm; there are steadiness and control. Strongest of all is the idea of the words—the picture of the prairie, calm in its consciousness of power. The following three songs relate to one of Odjib’we’s war expedi- tions and illustrate the singing of a death song and the composing of songs concerning a notable victory. These songs are connected with an expedition against a Sioux village called Gaye’dawima’miwitii (‘‘lake in the valley’’), which was located on the upper waters of the Minnesota River; its chief was known among the Chippewa as Manda’minés (Little Corn). A war party of more than a hundred Chippewa attacked this village and the first man killed was the Sioux chief. During the fight the Sioux women rushed out and dragged back the wounded men that they might not be scalped. Although seven of their number were killed the Chippewa would have been victorious had not a large party of Sioux come on the field from a distance. Finding themselves out- numbered, the Chippewa began to retreat. The Sioux used poisoned arrows. One of the Chippewa warriors was wounded in the foot by a barbed, poisoned arrow, but his friends were able to carry him away. The Sioux followed the Chippewa a long distance and many of the former were killed in this running fight. Name’binés’ (Little Carp), a leading warrior of the Chippewa, was terribly wounded in the abdomen. His retreating comrades tried to take him with them but after a time, realizing that the attempt was useless, at his own request he was laid in a clump of bushes. There his friends left him with his gun, saying, ‘“‘ Defend yourself as best you can.’”’ Soon the Sioux came in hot pursuit of the Chippewa and from his hiding place Name’binés’ shot aman. With ebbing strength he gave his last war whoop and his friends heard him cry, ‘‘ Men, I have killed a Sioux.” When Name’binés’ was laid in the bushes he sang his death song, which he is said to have composed at that time. Looking into the faces of his comrades he said, ‘‘When you reach home sing this for the women to dance by and tell them how I died.” 67996°—Bull. 53138 7 114 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 33. Death Song of Name’binés’ (Catalogue No. 335) Sung by Opsin’we VoIcE a= 104 Drum e = 104 (Drum-rhythm similar to No. 2) Ni - ma - ji-man-dis ni - ma-ji-man-dis nim - bi - dji-man-dis nim - iT Snrugent AUMMNE & ee ec wee a a sens! as is ea SA Seeaich, ee vate e tee | bi-dji-man-dis nim - bi-djizman-dis 6 - na - su-mi- ka-yan e WORDS nima/jiman/dis.........-.-.-.------ the odor of death MIMD? CEI Mio keene a= is suas I discern the odor of death Cha SUM EN VER So sce ke ee in the front of my body Analysis ——Ten renditions of this song are on the phonograph cylinder, the transcription being from the eighth rendition. The words vary in the several renditions, sometimes only one word being used or meaningless syllables sung. The principal variation in intona- tion is on the tone A in the second measure. The intonation of the last three measures is uniform and the rhythm of the entire song shows no variation. The song contains a short rhythmic unit, which occurs five times without interruption. The last three measures are in a different rhythm. (Compare Nos. 4, 5, 19, 34.) In these measures the length of the tones is unusually regular and the voice and drum exactly coincide. The structure of this song is interesting. The accented tones follow the intervals of the triad of A minor and the unaccented tones in the fourth and sixth measures introduce the chord of C major, the song being in the major key. Thus the first two measures are on the chord of A minor and the next two measures on that of C major; then follows a measure in A minor (without the third), giving way again to C major in the last three measures. This alternation of minor and major is worthy of special note in connection with the origin of the song. (See No. 128.) At the first camp after this fight the Chippewa composed a song, the words of which refer to the Sioux women who came from the village to drag back the wounded men. DENSMORE] CHIPPEWA MUSIC—II 115 No. 34. “The Sioux Women Gather Up their Wounded’”’ Sung by Opsip’we (Catalogue No. 336) Voice ¢g— 100 Drum ARS 108 ee similar to No. gg ae See = Pept O -ma-mi-kweg 0 ya ne _ pa-ba- nay mo-witig o-na-dji - E2 i “= ws : o— o—-—__se—_,—_ Pea ns a oS = =| @ cea =e See Sasa aes da- ba-ma - win e o-di-ni - ni - mi-win e a -ni-mi- = SSS) SaaS tt Saree = de - mi - wig e WORDS Oma/mikweg’...........-.......... the Sioux women paba’made’mowilig’.........-..----. pass to and fro wailing ena ajida’ bamawitin’*":. 2.2.52. 5.22. as they gather up OGmini MAW UN. >.-2-..6:-..... 2 their wounded men an inide miwitie’.......-...--.5.. the voice of their weeping comes back to us Analysis.—Six renditions of this song were recorded, the transcrip- tion being from the third rendition. The rhythm and the melody tones are the same in all the renditions but the words vary slightly, affecting the length of the tones; for instance, the word meaning ‘‘village” is used in one rendition and the order of the words is some- times changed. The tonality is minor but, as in many similar songs, the tonic does not appear in the opening measures. (See analysis of No. 9, also of Nos. 1, 83, 94, 120.) This song contains a short rhythmic unit which is repeated without variation except for the addition of a quarter note after the second occurrence of the unit. The closing measures are in a different rhythm (see Nos. 4, 5, 19, 33) and the rhythm of the song has a well-defined individuality. The interval of the fourth is especially prominent. (See analysis of No. 22.) On their homeward journey the Chippewa composed another song. Remembering the tread of the pursuing enemy, they sang of war as a game with the bodies of the dead as its score: 116 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 35. “They are Playing a Game’ (Catalogue No. 342) Sung by Opsis’ we VoIcE d= 104 Drum aI 104 (Drum-rhythm similar to No. 15) Fe err page Se | @ @ -@. - __ - # -@. . f a a as Sees es ee ee a ee = Ga-m = mi 4 bi - di-kweg miic - ko- deiig bi - mi-a@ - ta - _-@—, 9—e— 9» a _ Zz a === =_ = eS = asta = di-wfg e i- ni-ni-wig e ga-bi-mi - bi-di-kweg mfic-ko- 9S a a ee defig bi-mi-a-ta-di-wfige i-ni-ni-wige ga-bi-mi - bi-di - oe Fy AAA SSH oe te ee tee ee — kweg mfic-ko-defig bi- mi- a-ta- di-wig e i - ni-ni-wig en Dim WORDS "iat alia Wel OE, 7 ag enn ge the noise of passing feet mile’ kodene.....-...2.:+.-:.---s., 08 the prame HR AU WUE oo oe they are playing a game as they come DP EW Pet eeet s = Steck wee ee Se those men Analysis.—This melody is based on the tones of the minor triad, the sixth being used as a passing tone and occurring only once. The song contains a rhythmic unit eight measures in length, which occurs three times, is accurately repeated, and comprises the entire song. It is worthy of note that the song contains only one upward progres- sion; this occurs between the second and third sections of the song. The compass of the song is unusual, as it begins on the tenth above the tonic and ends on the fifth in the octave below the tonic. Four renditions of the melody were recorded; the intonation of the tones marked — is uniform in the several renditions. Odjib’we stated that on one occasion a warrior sank exhausted as the war party was returning home. The other warriors, reluctant to leave him a prey to some wandering enemy, stayed with him. It seemed impossible for him to rise. However, he used his medicine, and after a time sprang to his feet, singing this song, which-he com- posed at the time. The war party resumed its journey, and he accompanied them, still singing his new song. DENSMORE] CHIPPEWA MUSIC—II 117 No. 36. Song of the Exhausted Warrior Sung by OpJis’wE (Catalogue No. 367) VOICE a 84 Drum a 104 (Drum-rhythm similar to No. 2 ) See ae 8 a a EE a a a ea a ES ee Eee eee + 3 # #- fe 0 peer Ole DR Ba - ba - pi- ni - si-wa- gin ge-non-de - ci-nan nal ae oa + -8- - “ @- @ # Ee @ -»- -s- = pp = ns 3 a e ba- ba - pi-ni - si-wa- gin ge-non-de - ci-nan Bs ee [a eee ae a ee ZTE Sis —, a e nin - ga - 4-da - wofi-gé-yén S - O6n-dji-da-go - —7 ee. 7 —_ SSeerettsess oi Tsp. “5 6-0-6 +6**F Te —- | 018-0 6» = “ta ae ci-nan @ ge-6n-dji-da-go - ci-nan e worps! baba’pinY’siwa/etin. - fo. | slag penomadeGimgin . 22.22. 250545. I can not travel ningii’ada’wongén’”?......-..-. but I will borrow that geondji’dago’cinan’..........- by means of which I can arrive Analysis —Three renditions of this song were recorded; these are uniform in every respect. This uniformity is of interest, as the rhythmic unit is long and irregular; it occurs three times without variation. The remainder of the song contains fragments of the unit, but no complete repetition. The song is minor in tonality and is characterized by the sharped seventh, which is found but rarely in the minor songs under analysis. By this accidental the song is more fully identified with what is commonly termed the minor scale. The relation of the rhythm to the content of the song is worthy of note, the effect of perturbation in the first part of the song being con- trasted with the more regular rhythm of the latter part. 1 Where no words appear in the music above, meaningless syllables were sung. 2 A syllable is added to this word to make it conform to the music. 118 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 SONGS ON THE RETURN OF A VicrorRious WaR Party On returning, a victorious war party sent runners in advance to carry the news of their approach, and preparations for a suitable reception were begun at once. Meantime the warriors made their last camp before reaching home; here they rehearsed the songs con- cerning the victory and arrayed themselves in their finest apparel. Then began the final stage of the journey. As they approached the village they fired guns as a signal and the women came out to meet them. One woman led the party, to whom were given the scalps taken by the warriors. Each scalp was dried, and fastened inside a hoop at the end of a pole. Occasionally several were fastened in the same hoop (see pl. 17, showing five scalps in a decorated hoop). Frequently a man gave his wife the Sioux scalp he had taken. The women took the warriors’ blankets, beadwork, and tobacco bags, and even their guns, none of which were they required to return. Then the women led the procession, the scalp bearers in advance, waving the scalps and singing. After the party reached the village preparations for the victory dance were begun. A suitable place was selected, to which was carried a large quantity of food—dried meat, wild rice, and maple sugar. The poles bearing the Sioux scalps were stuck in the ground beside the pile of food, and the feast was called ‘‘feasting the Sioux.’’ There was no song connected with this feast. After the feast a simple ceremony in praise of the war- riors took place. The victors were seated in a row and their friends brought gifts, which were laid before them. Often the following song was sung at this time. The words of this song require explanation. According to Odjib’we, defeated warriors were treated with scorn. and derision when they returned. This is the song of victorious Gull Lake warriors, who were being honored at some other village, the inference intended to be drawn from the words being the exact oppo- site of their direct translation. Odjib’we stated that the words of the song meant ‘‘at Gull Lake [our home] they will be proud of us,” but the correct translation is as given. This song was recorded three times, a period of several weeks elapsing between the ren- ditions. The words varied somewhat, but Odjib’we stated that all have the same general meaning and that it was allowable to change _ the words of a song provided the “tune” and the meaning of the words remained the same. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 17 FRONT BACK SCALPS ATTACHED TO HOOP DENSMORE] CHIPPEWA MUSIC—II 119 No. 37. Gift Song (Catalogue No. 389) Sung by Opsis’we VOICE J = iG Recorded without drum ett soot jaaS ae aaae be gee ae oe oor eee eee ee gare LIES peters t+ Be roe =a St oe ee re 2S WORDS ga’gayac’gonsikag’..........-- at Gull Lake manoga’yana’wenimigo’min.. let them speak lightly of us Analysis.—This song was transcribed from the first of three ren- ditions. The melody consists of four parts. The rhythmic unit was accurately repeated except for a slight change in the note-values of the last measure. The other renditions were only partial and were similar to the latter half of the transcription. When different words were used the note-values differed accordingly, but the trend of the melody remained the same. The song is harmonic in structure and contains only the tones of the major triad and sixth. In response to this song the warriors rose and danced, singing of what they had done on the warpath. These songs were composed on the way home (see No. 35). The following is an example of this class of songs. Odjib’we stated that this song was composed by his brother and sung in the victory dance. His brother had been on a war party with his father and Hole-in-the-day and had cut off a Sioux woman’s | head, bringing home the scalp. 120 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 38. Scalp Song (Catalogue No. 366) Sung by OpJis’weE VOICE a= = 160 Drum = 104 ( a ra ent een to No. < Ve 2 2. =e Go - ni- ge - ta- gi - na a- cas ee - da-mo - aiasigied o- ma - needa eee ee aes eee eae we gi- kic - ki- gwe - jfig WORDS 0) cl a 1 cr I wonder agadén’damodog’........---- if she is humiliated Oma/mikwe’................. the Sioux woman gikic’kigwejiig’........---.-- that I cut off her head Analysis.—This is a song of derision, and in that respect it resem- bles No. 14; comparison of the two songs is therefore of interest. Both are minor in tonality, begin on the octave, and, as is unusual, have the descending fourth as their first progression. Both end on the fifth, the compass being from the dominant below the tonic to the octave above it; a more common range is from the tonic to the twelfth above it. Both songs are melodic in structure and neither contains an accidental. With these features the resemblance ends. No. 14 is in double time with two triple measures, begins on the accented part of the measure, and contains no rhythmic unit; while the song under analysis is in triple time throughout, begins on the unaccented part of the measure, and contains a short rhythmic unit continuously repeated. These points of difference show the individ- uality of the two songs. The derision in No. 14 is subtle and tan- talizing and the rhythmic swing is long, without a clearly defined unit; while in the present instance the derisive idea is more direct, _ the taunting more keen, finding expression in a short, crisp rhythm. Five renditions of the song were recorded, the rhythm showing no variation. Gifts were distributed to all the people by members of the war- rior’s clan; for instance, Odjib’we’s do’dem (clan animal) was the bear. When he returned bringing a scalp, all the men and women belonging to the Bear Clan danced around him with their arms full of presents, after which they distributed the presents throughout the village in his honor. EEO DENSMORE] CHIPPEWA MUSIC—II 121 The next event was the victory dance, which often continued until daylight, by the light of torches and bonfires. At this dance the Sioux scalps were carried and songs were sung in honor of the war- riors. (See Nos. 80, 83, 165.) This is illustrated by the following two songs, which were composed, respectively, by the wife and the mother-in-law of Odjib’we and sung in recognition of his prowess. ' Odjib’we recorded the first song *n August, 1909, and sang it again in March, 1910, the renditions and the accounts of the incident being identical. Odjib’we stated that his wife’s brother was killed by the Sioux and that he organized a war party in return. The purpose of this expedition was to attack a certain Sioux village located on an island in Sauk River, but before reaching this village the Chippewa met a war party of Sioux, which they pursued, killing one man. There were nine Chippewa in Odjib’we’s party; not one was killed. They returned home at once and Odjib’we presented the Sioux scalp to his wife De’kim (‘‘across”), who held it aloft in the victory dance as she sang the following song. No. 39. The Song of De’kim (Catalogue No. 348) Sung by Orvis’ we Voice é — 168 Drum Ts 108 (Drum-rhythm similar to No. 2) [9-9 -3- 5. at re ee BE eS SSS goa Sess | O-djib-we gi - sai- ye-naii o-bi-nan WORDS Odyfib’ wes... a. cess: yaeate Odjib’we Piss yenal. ooo. on abe. our brother GPE RAR: i. «So n'5.00.0 2 ere brings back Analysis.—The five renditions of this song recorded are uniform in all important respects. The rhythmic unit is interesting; this occurs three times, comprising all the song except the part in which the words occur. (See Nos. 1, 8, 12, 13, 30, 40, 81, 105.) The minor tonality is well established and the approach to the tonic by the descending interval of a fourth is somewhat unusual. (See analysis of No. 22.) Other songs composed by women are Nos. 31, 40, 112, 127, 151, 177, and 178. 192 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 When De’kim had finished the song, her mother, Djifigwa’kimigo’-- kwe (‘‘rumbling-earth woman’’), arose, and, taking the scalp, danced while singing the following song, which she composed in honor of Odjib’we. No. 40. Song of Rejoicing (Catalogue No. 365) Sung by Opsis’wr Voice ¢= 168 Drum a 104 ( Drum-rhythm similar to No. 2) sig gg tty eee Mi-si - na _ dji-min - wén -da-man niii- gwi - zis oagtat = = mi- si - na «-Saiismanh min - wén- 5 aa nifi- gwi - zis a - 2 ~. 9- -9- . or oe em i Geena el We, Gear Sap ee = ag ES See 5: a = E EERE 5 owes: 1 gi - sai - ye gi - pi-da-ma - wi-yan nifi-gwi-zis e mi-sfi - na Sahin -min-wén - da-man nifi-gwi-zis @ ye WORDS mista yi 226s Pet hte more $ vet it shall be djiminwén’daman’.......-.-..-..-- that I rejoice BENE WL IGA = ane = 2's eee fe O, my son SE ga MM Sey lene be gee Peart mn eelet your elder brother pipi‘damawiyan’: + /l2...2..2002 alt you have brought back ningwi mis. tao. one... 1 e218 O, my son mishnal 43.0 - steethontn eee. it shall be djnnimwen’daman’ 2. iss eer that I rejoice ORT AT ea a GOA Le OS Se Wi Pao ond oh: O, my son Analysis.—The rhythmic unit of this song, which occurs 3 times, is particularly interesting and inspiring. The song is divided into four parts, the words changing in the third section. (See Nos. 1, 8, 12, 13, 30, 39, 81, 105.) The melody is major in tonality and moves freely along the fourth five-toned scale. In songs based on the fourth five-toned scale the second and sixth frequently occur only as passing tones. The sixth is accented in one measure and the song is therefore classified as ‘‘melodic with harmonic framework”’ instead of purely DENSMORE] CHIPPEWA MUSIC—II 133 harmonic in structure. The four renditions of the song recorded are identical in every respect. Other songs composed by women are Nast, 2h, (49,1124 127, 151,; 177,178: Odjib’we stated that he took part in a severe fight with a band of Sioux led by the famous chief Gaga’gins (Little Crow). The circum- stances were as follows: Little Crow’s band was in camp on the west side of the Minnesota River a few miles below the site of the present St. Paul. The blind warrior accurately described a level tract of land west of the first bend in the river. A large war party of Chippewa prepared to attack the Sioux village and sent two scouts in advance, who killed and scalped a Sioux woman coming out of a tipi. Think- ing that the scouts were unprotected, the Sioux warriors pursued them and soon met the entire force of the Chippewa. A terrible fight followed in which the Chippewa were victorious. The following song, which relates to this victory, was composed by Hole-in-the-day, leader of the expedition. (See p. 61.) No. 41. Victory Song (Catalogue No. 345) Sung by Opjin’wE VOICE ws 92 Drom 2 104 (Drum-rhythm similar to No. 2) sey Bp ae Et tf —- 3, —-, — = = =o fe A’ - ci - do - ka - ma ge - wa - wi - ni - go- yan ee ee @- 9 = 5: aT. | aie 2S Sa yy See ie ae = ! = —- a = ' £8 ree eee a - ci - do-ka - ma en ge - wa- wi - ni-go-yan WORDS ! GeammeR Cin? oe Ss seSs ce ee ee surely pewawinigoyan’..).-..4..-2.-9.2 24 I will have great praise Analysis.—Seven renditions of this song were recorded, the tran- scription being from the sixth, which is the only one in which the words occur twice. The rhythm of the first part is uniform in the sev- eral renditions recorded, while that of the latter part varies with the presence or omission of words. The melody moves freely along the 1 Where no words appear in the music above, meaningless syllables were sung. 124 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 intervals of the fourth five-toned scale. The first three measures constitute an interesting rhythmic phrase but it is not repeated and the song as a whole lacks rhythmic unity; it is, however, inspiring and joyful in general character. Attention is directed to the discrep- ancy between the metric units of voice and drum. The following incident illustrates the use of a dream song, which the warrior sang while on the warpath, to secure supernatural aid, and afterward in the victory dance to commemorate the triumph and the means by which he believed it had been attained. Odjib’we stated that long ago a party of Chippewa attacked the Sioux, killing several and securing the scalps. Then they started for home with the Sioux in hot pursuit. The leader of the party was the singer of this song. In his youthful vision he saw a protecting cloud, and when the Sioux pressed close he sang his dream song. Suddenly a dark cloud came across the sky, the rain fell in torrents, and through the storm the Chippewa made their escape. After reaching home the leader sang this song at the victory dance. (Compare Nos. 63, 64, 66, 85, 87, 94, 140, 141, 145, 147, 148, 150, 151, 152, 153.) No. 42. “A Cloud” (Catalogue No. 330) Sung by Opjis’we VOICE 2 = '96 Drum d= 96 (Drum-rhythm similar to No. 3) | iB oa 2° # o° 2. » rm (pee SSS Sees i ea I en S So Ora > — = a Ge - bi-mi- 4 - go- 6- yan a - na-kwad_ ge - bi- mi - o——» yeep - go- 6-yan ge-bi-mi - & - go-6 - __De- @ e Si hae tet ee ee eer | yan a - ha-kwad ge-bi-mi-# - go-6 - yan ge-bi-mi- a.- go- 6- yan a-na-kwad ge-bi-mi-4 - go - 6-yan WORDS - ge Dein e0p yan = sorte sce es circling above me a TAK WAG ctoe ete ue eee a cloud DENSMORE] CHIPPEWA MUSIC—II 125 Analysis—This song contains three accidentals—the second, third, and sixth lowered a semitone. The F natural was imperfectly given at the opening of the song but accurately sung in the latter part. Three renditions of the song were recorded and the accidentals were uniformly given though the intonation varied on several other intervals. The rhythmic unit occurs six times, the prolonged tones between the second and third occurrences of the unit being uniform in the renditions. The following is the dream song of a forgotten warrior. No. 43. “I am Called” (Catalogue No. 331) Sung by OpJis’ WE Voice ye 104 Drum es 116 (Drum-rhythm similar to No. 2) (1st phrase ) tS SSS ath phrase PRISE) |) patter pier Na - na - wa- gam cma - tei - gam -ifig e nin - on - do-mig “se pes ole Sis Jhotess ) 228 Ezaee elt ie aes a2 coon caaet = releretiall ma-ni-do e WORDS nana/wagam’........---..---- from the middle USA s Tchr (: a, 2a ere of the great water PEBON“GOMNE $< diese ewetn's Iam called PHMMUG! sos Se ee se by the spirit Analysis.—Four renditions of this song were given, with a pause between the second and third. Two weeks later the song was recorded twice. The six records are identical except that in the last two the tone E (last count, fifth measure from the close)-was sung F natural. In one or two of the first set of renditions this tone was raised slightly, less than a semitone. The ascending progression on the last count of the first measure was given with a sliding of the voice which can not be accurately transcribed. It will be noted that the first five measures of the song constitute a rhythmic phrase, marked ‘‘1st phrase’’; instead of repeating this, 126 BUREAU OF AMERICAN ETHNOLOGY [BULL 53. however, the song introduces another phrase of 7 measures, marked “2d phrase,” followed by still another of 5 measures, marked ‘3d phrase.” Thus the song contains 17 measures, divided into three parts, each part making ‘‘rhythmic sense,” the three forming a rhythmic whole. The tones of the song are grouped about the chord of E minor, the tone A in the ninth measure being the only accented tone not belong- ing to that chord. The presence of this tone, however, makes it necessary to classify the song as melodic rather than harmonic in structure. The song contains all the tones of the octave, also one accidental—the sixth raised a semitone. The principal drum-rhythm is that of accented eighth notes, but in the latter part of the first record the accent is intensified and the unaccented beat shortened until the drum-rhythm consists of triplets, the accented beat representing the first note, and the unaccented beat the third note, of the triplet, an eighth rest occurring between the two.. This change of drum-rhythm in a record is unusual. At the conclusion of these dances! the scalps were carefully wrapped and kept until the next dance. When one village was tired of dancing with the scalps they were sent to another village, where similar dances were held. Mrs. English (the writer’s inter- preter) stated that she remembered when Sioux scalps were sent from the Minnesota villages to those on the shore of Lake Superior, a distance of more than a hundred miles. The scalps were carried by the same oc’kabe’wis who bore the war message and tobacco before the organization of the war party. On this occasion also he carried tobacco and was prepared to sing the songs connected with the taking of the scalps. When all the villages had finished dancing the scalps were brought back to the first village, where speeches were made and the poles were set in a grave. This was frequently the grave of the man whose death was avenged by the war party. - There the poles bearing the scalps remained undisturbed until wind and weather completed the conquest of the Sioux. SoNGS OF THE PEACE Pact Interspersed through the troubled years of strife there were periods of peace between the Chippewa and the Sioux. Odjib’we stated that the tribe desirmg peace sent messengers to the other tribe asking for a cessation of hostilities. According to him, the Sioux were usually the tribe who sought peace. If the Chippewa were willing to join in a peace pact, the messenger returned to the enemy with a favorable reply. The Sioux then brought their families and camped near the Chippewa while each tribe made preparations for the formal proceedings. The meeting was attended with much 1 Other songs of the war dances are Nos. 83-93. DENSMORB] CHIPPEWA MUSIC—II 127 pomp and ceremony. The warriors arrayed themselves in their gayest attire. In each camp was the sound of singing and of shrill war cries, excitement was in the air, and it seemed that an encounter instead of a truce was in preparation. Amid shouting the opposing forces made ready to advance. The Chippewa were led by an oc’kabe’wis bearing the pipe, followed by four women; next came the leaders of the war party, while behind them were the warriors. The Sioux followed in similar array. As the two tribes approached each other the excitement subsided. One of the greatest scenes in the drama of Indian warfare was to be enacted. To and fro in front of the warriors walked the women. Often it was only their presence that prevented violence, the fire of battle bursting forth afresh as the warriors drew near their recent enemies. All sang as they came forward. The melody was the same in both tribes but the Chippewa sang the names of the Sioux leaders and the Sioux the names of the Chippewa leaders, each praising the valor of the other. Odjib’we recorded the song, first as it was sung by the Chippewa, the transcription being from the first rendition which contained the name of Ga’gagins’ (Little Crow), who is mentioned in connection with song No. 41. Without a pause he continued the song, introducing the names of the following Sioux leaders in the successive renditions: Ca’gobéns (Little Six), Bi’nicédns’, and Wa/- bacéns’. He then stated that he wished to record the song as it was sung by the Sioux. The melody was the same but the following names of Chippewa leaders were introduced: Bi’gonegi’jig (Hole-in- the-day), Wa’bejic’ (‘‘marten’’), and Zon’gaktim ‘ig (‘‘strong earth’’). No. 44. Song of the Peace Pact (Catalogue No. 352) Sung by Opjis’we VoIcE = 126 Drum a= 76 (Drum-rhythm similar to No. 2 ) ——— E hui - ga e hui ga Ga ga - gins om FSA fyeper epi: a] = o-gi-ma e_ huii-ga e huii-ga e oe An ga WORDS Peg er ese Sere ATS ee leader Mak Gapeimer AV II3. SEPT OPE SEES Little Crow OPiS: . tees a8 oenrs -22t 4er ie) chief 1 From Sioux hunka’. See S. R. Riggs, Grammar and Dictionary of the Dakota Language, Smithson. Contrs., vol. 1v, Washington, 1852. 128 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Analysis —This melody is characterized by directness and simplic- ity. It begins on the tonic, an unusual beginning in minor songs, and the minor tonality is fully established in the first two measures. The song contains 12 measures and consists of three parts, the rhythmic unit occurring in the first and last parts and the names in the middle part. The slow metric unit was maintained in the renditions with both Sioux and Chippewa names, suggesting that this was the tempo in which the song was actually sung, a tempo which gives dignity to the song, appropriate to the occasion of its use. The Sioux fired their guns into the air and did not reload them. The Chippewa did likewise. Nearer they came, the singing women walking to and fro, brave as the wives of warriors should be. Then the tribe which had asked for peace sent forward its pipe bearer. Holding the pipe in his hands, he offered the stem im turn to the opposing leaders, each of whom puffed the pipe. Then the other tribe sent forward its pipe bearer in the same manner. The following song was sung by the Chippewa pipe bearer when offering the peace pipe to the Sioux. No. 45. Song when Offering the Peace Pipe (Catalogue No. 390) Sung by Opjsip’we VoIcE e — 72 Recorded without drum weet oa EE tytttt gh tert Nin - do-kidj an nin- do- kidjan nin-do- kidj an WORDS NC Sig RR PEE CITRIC SR Se my pipestem Analysis.—This song is in the key of G, yet the tonic appears only once (in the seventh measure) as an accented tone. Harmonic tones are frequently approached from the tone above. (See analysis of No. 53.) The rhythmic unit occurs only twice, the latter part of the song containing a division of the count similar to one which occurs in the unit but not containing a repetition of the unit. The rhythm of the song as a whole is particularly interesting and pro- duces an effect of dignified action well suited to the occasion of its use. The melody tones are those of the fourth five-toned scale. The four renditions recorded are uniform in every respect. - DENSMoRE] CHIPPEWA MUSIC—II 129 When the smoking of the peace pipe was finished, the opposing warriors shook hands, and the Sioux were offered the hospitality of the Chippewa camp. After the forming of a peace pact the two tribes camped near each other for some time and social dances were held every night; these were called ca’wino’ga (southern dance). Odjib’we stated that only ca’wino’ga songs were sung at the peace dances and that these songs were sung at no other time. Presents were sometimes given, but the exchange of gifts did not form an essential feature, as in the woman’s dance (see p. 38). A woman sometimes beckoned to a gayly arrayed young man, threw her blanket over his head, and took some of his finery as they danced together. It is said that the ca/wtino’ga songs were particularly pleasing and that the people were so carried away with the excitement that the dance often lasted all night. The origin of the ca’wino’ga was thus described by Na’waji’- bigo’kwe: The ca/wiino’ga is a very old dance and was first a dance for healing. It was not to cure people who were very ill, for that was done by the Mide’, but it was for people who were not in good health. The South Manido’ taught this dance to a very good young man whose relatives were ill. It is called ca’wiino’ga because it came from the South Manido’, and the people who first used it were people living south of the . Chippewa country. The young man got up the dance as he was instructed by the South Manido’ and his relatives recovered. Afterward the dance was used as a social dance, and the songs are particularly pleasing. No. 46. Ca’wiino’ga Song (a) (Catalogue No. 354) Sung by Opsis’we Voice g— 88 Drum = 104 (Drum-rhythm similar to No. 2) ict FF hes Analysis —This song should be regarded as one of those fugitive melodies in which the signature indicates the pitch of the tones rather 67996°—Bull. 53—13——9 130 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 than an established key. The six renditions of the song recorded are identical. In every instance the close was as transcribed, and the return to the first measure was without a pause. The first two measures are in an ordinary rhythm, and around them, in the repe- titions of the song, there circles a succession of measures so irregular in rhythm as to fascinate and hold the attention. One can readily imagine that to such rhythms the excitable Indians might have danced all night. No. 47. Ca’wiino’ga Song (b) (Catalogue No. 355) Sung by Opsis’we VOoIcE d= 168 Drum ae 108 ( Drum-rhythm similar to No. 2) wet f= -o- eek = ~ as 3 — —— Paes - —— Bulger: =e er oO ga-yan 7 ca-wfin-o ga-yan i hi ca-wfin - eeu! B -_ Es tees o--6-0 99-0 =p Posh pe O ga-yan i hi ca-wfin-o ga-yan 7 hi WORDS Ca wigs 2 Meat eee south ga’yan..-.......#.%..:%. dancing Analysis —The four renditions of this curious song show no varia- tion. The general effect of the song is jerky, yet the rhythm has an element of indefinite continuity; it is a rhythm which fascinates and could be kept up for along time. The principal rhythmic unit occurs four times at the opening of the song, and is followed by a shorter rhythmic unit, which likewise occurs four times and contains the same syncopations as the first. These syncopations were uniformly given and are the principal characteristic of the song. (See No. 88 of present work and Nos. 123, 147, 152, in Bulletin 45.) War Sones ConcERNING WOMEN The incident concerning the first of this group of songs was narrated to the writer by Mr. John W. Carl (see pp. 83, 303). Mr. Carl, who is a DENSMORE] CHIPPEWA MUSIC—II 131 grandson of Bica’ganab, said that in his childhood he often heard the following story: There was once a Hudson’s Bay trader who came to the Chippewa country, loved a Chippewa maiden, and wooed her according to the custom of her people. He gave a great feast, invited her father, and asked his consent to the marriage. Three daughters were born to them, one being the mother of Bica’ganab. Years passed and Bica’ganab, granddaughter of the Hudson’s Bay trader, grew to womanhood. One day as she was lighting her breakfast fire she heard the cry, ‘‘The Sioux are upon us!’’ This was followed by the report of guns. Immediately the camp became a scene of confusion, the men trying to repulse the Sioux and the women hastening to put their house- hold goods into canoes. The father of Bica’ganab went into the fight ; he was wounded five times but contrived to get near the water and was helped into a canoe. It was supposed that Bica’ganab had been killed, but when the escaping party were far from shore they saw a woman fighting the Sioux with a club. The Sioux drove her into the water and she swam toward a canoe. The Sioux followed, trying to strike her on the head with a club, but she actually broke and tore their canoe with her hands. It was said that she was like a great bear in her ferocity. The Sioux were forced into the water and she pounded them with a paddle as they made for the shore. Instead of following the retreating Chippewa she went upstream, hiding in the bushes, returning later to the battlefield by a circuitous path. There she found only the dead Sioux, covered with their blankets; beside them lay their guns and much beautiful beadwork. Bica’ganab scalped the Sioux, put on a Sioux war bon- net, and made a great pack of blankets, guns, and beadwork; then she painted her face and went to the Chippewa camp with her trophies. Bica’ganab, one of the bravest of Chippewa women, died in 1892. No. 48. Song Concerning a Brave Woman (Catalogue No. 351) Sung by OvJiB/weE VoIcE d= 160 Drum ¢ —160 (Drum-rhythm similar to No. 15) + ~~» £f- pi ete yt BE -ni-wék we win ja - wa - So win gi - ja-wa-so min - di - -9- —_— = aa. 2. Te ramet (ete ere ese beeen = REE eer eet te te i; a po - mo-yan we ja-wa-so - no-da-go-nan ya ey¥ae we a le WORDS UWE aoe onc eek YS MY eorestry i gee 2 eee she , BAe WARDS 2). FARES EO IES 2 SY, defending her children oo Ae a ed oe the old woman gigijawa’sonoda’gonan! ............- fought for us all 1 The first two syllables of this word, and in one instance the first syllable of the third word, are omitted to make the words conform to the music. 132 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Analysis.—This melody presents an interesting study of rhythm. It contains 19 measures and is divided into three parts, the first con- taining 5 measures, the second 4, and the third 10. It has no rhythmic unit, yet there is a melodic phrase which occurs three times—in the second and third, and in the sixth and seventh, measures. It occurs also in the tenth and eleventh measures, but in the latter instances the first measure is a triple one, strongly accented on a tone not found at the opening of the song. _ If the first tone of the song were unaccented it might be regarded as the second count of a triple measure, but it is strongly and unmistakably accented. Five renditions of the song were recorded, all identical. The metric unit of voice and drum is the same, but in rendition the voice slightly preceded the drum. The following two songs were composed about a war expedition which occurred when Odjib’we was a young man. The fight took place on the prairie, a few miles north of the site of the present St. Cloud, Minnesota. It was a hard-fought engagement and 20 Chippewa were killed. One of the Sioux women seized an ax and attempted to repulse the Chippewa who attacked her, but she and all her children were killed. The father of Odjib’we composed this song concerning the incident. No. 49. “The Sioux Woman Defends Her Children” (Catalogue No. 364) Sung by Opjis’/we VOICE é — 92 Drum c= 92 (Drum-rhythm similar to No. 2) 2. a. bg OG o- 2 eee te 2s ‘acs e¢ +# 2% pig ini Ee Pe fey Ne - ta-gi-ca-wa-so - sig Wa-pe-tofi bi-a&-pi - si- ka- dug go- g Smmares Pitas biaseeisaasaadrrs Scie! = = +-—9—H- +9 Sc= rah Pog ee Eth4: SE ieinccsage ame ee = ethic ca-win bi-gi - ca-wa-sud WORDS Nets @1en GAsAMe ns So eo oe once careless of her children Wape’ton ' (Sioux word)..........-- she of the Wapeton Sioux bispi‘aika’ dig. Ta AL Ce now comes in haste oo cawin tl: 2252) Bice S231 ee surely bigica’wasud’, 029i cat caphuxewise to their defense Analysis.—The five renditions of this song recorded are singularly uniform. Not only is the rhythm identical, but shght variations in 1See footnote, p. 70. DENSMORE] CHIPPEWA MUSIC—IIt 133 tempo are duplicated. The melody is based on the major triad and would be classified as harmonic in structure except for the accented E in the fourth measure. Among those taken captive in this fight was a Sioux woman. It was decided to kill her and she was led forth to be shot. After the preparations for her execution were complete she was allowed to sing. We do not know what the song may have been, but it moved the elder brother of Odjtb’we so strongly that he rushed forward and rescued her. The war party soon started on its homeward way. At the first camp a dance was held. During this dance the captive woman arose, shook hands with the warriors and kissed them to show gratitude for her deliverance; she also sang the following song, which she composed at that time. No. 50. Song of the Captive Sioux Woman (Catalogue No. 334) Sung by OpstB’wE VoIcE — 80 Drum A 100 ( Drum-rhythm similar to No. 3) pate ety Pe Sree ty Ka-ka-ta-wi wi he o ya -ba-ma-gin go -dji - ma he ke- VOICE d= 92 : —*_@. —- o o — e 2 aa ll ————— =H gét nin-ja- we - ni-mig e WORDS Bee Certs er ats tino ase any Chippewa waya’bamagin’? ..................- whenever I see URIS ROY WE eo oo ao 2 ieee a Aan I will greet with a kiss [EL Ta lige eee een na EPS truly nin“jawe‘nimie’ . 0.2. 22.5 ee eee he pities me Analysis.—F ive renditions of this song were recorded. The metric unit varies slightly in these renditions, the metronome indication being from the fourth rendition. The same rhythmic pecularities appear in all the renditions, the first count in the second measure receiving more than the regular time and the last two measures be- ing sung more rapidly than the preceding part of the song. The upward progressions in the second measure are uncertain in intona- 1 Word used by the Sioux in designating the Chippewa. 2The first syllable of this word is omitted and the following word is changed in order to adapt the words to the music. [BULL. 53 134 BUREAU OF AMERICAN ETHNOLOGY tion, the upper tones not being clearly sung but rendered with what might be termed a ‘“‘toss’”’ of the voice. The song contains no rhythmic unit, yet the melody as a whole has a complete and satis- factory rhythm. Attention is directed to the interval of a whole tone between the seventh and eighth of the scale, near the close of the song. This interval was firmly given. It is an unusual progression in recorded Chippewa songs although found also in songs Nos. 9, 85, 100, 119, 124. After an interval of eight months three renditions of this song were recorded by the same singer; these were identical with the first record in both melody and rhythm but differed slightly in the words. War Songs— White Earth Reservation MeEtopic ANALYSIS TONALITY Numbers| Per cent. Serial Nos. of songs MajOY oe. 2 tennis pee sie pa eeesesies 27 54 | 2, 3, 5, 6, 7, 8, 13, 16, 18, 19, 20, 21, 22, 23, 25, 26, 27, 28, 31, 32, 33, 37, 40, 41, 42, 47, 49 Minor! = 2045 Set i. 2. csan eae es Sse 23 46 | 1, 4, 9, 10, 11, 12, 14, 15, 17, 24, 29, 30, 34,35, 36, 38, 39, 43, 44, 45, 46, 48, 50 TROUSER oe etn mse tecennwes 17) Miers alt) BEGINNINGS OF SONGS Beginning on the— Numbers] Per cent. Serial Nos. of songs fT ET Saale © ike ME MON NNRe 3 6 | 19, 20, 29 SixiDes sc o-eet eee ceed eens sae 1 2 | 45 Pwelfilie23-< 26 scehey esse tee ll 22 | 1, 2, 3, 7,12, 16, 22, 27, 40, 41, 42 1) 4 ee «Ae es. 5 Se eee 8 16 | 5, 9, 15, 18, 24, 31, 39, 47 TRENt=2 s\ cece eee cesar rence see oe 11 22) 8, 10, 11, 17, 21, 26, 33, 34, 35, 36, 49 DCTS F | ee, ee ee Meee er EE See a 5 10 | 6, 18, 23, 25, 28 Opp a). os 2a eon oe aecee ap cea sea 10 20 | 4, 14, 30, 32, 37, 38, 43, 44, 48, 50 POMEL Rhos oe eee nace eras 1 2 | 46 fA Ss SE BE I ee i). Sees ee ENDINGS OF SONGS Ending on the— Numbers) Per cent. Serial Nos. of songs BOTIG 5 oso ce aw daaqs stein - Speen =: PEE - SC 31 62 | 1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 16, 19, 24, 25, 26, 27, 29, 30, 31, 32, 33, 34, 36, 37, 40, 41, 42, 47, 49, 50 Mafthh . 2-223 i422. RSS Me AAG 14 28 | 5, 13, 14, 15, 17, 21, 23, 28, 35, 38, 43, 44, 46, 48 Whirds-tsoc- cei + seo eter eee ss: eee we 5 10 | 18, 20, 22, 39, 45 ; 41) | ee ee a ee ae C8 Bee seer, TT DENSMORE] CHIPPEWA MUSIC—II 135 Metopic ANALYsIs—continued TONE MATERIAL Numbers) Per cent. Serial Nos. of songs Second five-toned scale.........-.-.-.-- 6 12 | 1, 17, 24, 30, 34, 44 Fourth five-toned scale. .......-..-.---- 16 32 | 3, 6, 8, 16, 18, 19, 21, 22, 23, 26, 31, 40, 41, 42, 45, 47 Major triad and sixth...............---. 2 4 | 38, 37 Major triad and second): ...----.-..-...-2 1 2) 49 Minor triad and seventh.........-..---.- 1 2 | 36 Minor triad and Sixth, .......-.----..-- 2 4 | 29, 35 Minor triad and fourth................-- 2 4 | 10,12 Minor third and fourth...............-- 1 2) il Octave complete... cts. seo n a2 tsccce gee es 1 2| 48 Octave complete except seventh........ 5 10 | 2, 7, 25, 27, 32 Octave complete except seventh and i 2| 38 sixth Octave complete except seventh and 2 4} 14,15 second Octave complete except sixth..........- 3 6 | 9, 39, 46 Octave complete except fourth.......... 3 6 | 13, 20, 48 Octave complete except fourth and 1 2 | 28 third Octave complete except fourth and sec- 1 2|5 ond Octave complete except second.......-.. 2 4 | 4, 50 { NOL AMOR. ore ae ohio eR Be 50) |) aac ACCIDENTALS Songs containing— Numbers | Per cent. Serial Nos. of songs ING RECIOCItAIS Ss Veco e ... eee. aoe ee os 38 76 | 1,2,3,4, 5,6, 9, 10, 11,12, 13, 14, 15, 16, 17, 18, 20, 21, 23, 24, 25, 26, 27, 28, 31, 33,34, 35, 37, 38, 39, 40, 44, 45, 47, 48, 49, 50 Seventh raised a semitone.........--..- 1 2| 36 Sixth raised a semitone.....-.......---- 1 2| 4 Sixth lowered a semitone...........-.-- 5 10 | 7, 8, 19, 22, 41 Fourth lowered a semitone. ........-..-.- 1 2 | 30 Second lowered a semitone..........-..-- 2 4 | 29, 46 Second, third, and sixth lowered a semi- 1 2| 42 tone Second lowered a semitone and fourth 1 2 | 32 raised a semitone MO pale ce 34 o. oh sie es ee eh rd Beeie reece STRUCTURE Numbers | Per cent. Serial Nos. of songs AGI, See es ee 11 22 | 3, 4, 5, 10, 17, 24, 26, 33, 35, 37, 50 Purely MelOGICs y= 7 sa425n ce ess St 25 50 | 1, 2, 6, 7, 9, 13, 15, 16, 20, 21, 22, 23, 25, 27, 28, 29, 32, 34, 36, 38, 39, 42, 43, 46, 48 Melodic with harmonic framework... - . . 14 28 | 8, 11, 12, 14, 18, 19, 30, 31, 40, 41, 44, 45, 47, 49 Motalee- 5. Ssewcme oe h aca. ne= 2 50! |S Sse s 136 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Metopic ANALYsIS—continued FIRST PROGRESSIONS Numbers 30 50 Per cent. Serial Nos. of songs 60 | 1, 2, 3, 4, 5, 6, 8, 12, 14, 15, 17, 19, 21; 22, 23, 24, 27, 28, 29, 30, 33, 35, 36, 38, 39, 40, 41, 45, 47, 49 40 | 7, 9, 10, 11, 13, 16, 18, 20,°25, 26, 31, 32, 34, 37, 42, 43, 44, 46, 48, 50 Ruytumic ANALYSIS PART OF MEASURE ON WHICH SONG BEGINS On accented part On unaccented part 24 Numbers Per cent. Serial Nos. of songs 48 62 2, 3, 5, 6, 8, 14, 15, 16, 17, 20, 23, 25, 26, 27, 31, 32, 37, 38, 40, 43, 44, 46, 48, 49 1, 4, 7, 9, 10, 11, 12, 13, 18, 19, 21, 22, 24, 28, 29, 30, 33, 34, 35, 36, 39, 41, 42, 45, 47, 50 RHYTHM OF FIRST MEASURE Beginning in— Numbers | Per cent. Serial Nos. of songs e a iste, | Q=SMNG pee eee en ieee eee eae | 26 52 | 5, 6, 9, 11, 13, 14, 16, 18, 21, 23, 24, 29, 30, 31, 32, 33, 34, 35, 37, 40, 41, 42, 45, 46, 48, 49 Sa TIMNC. oes -s wae ses cace rc cestetoeeees 19 38 | 1, 3, 4, 7, 8, 10, 12, 15, 19, 20, 22, 28, 36, 38, 39, 43, 44, 47, 50 eh i ye rR i hea a a a 2 | 27 OAM So oe aan eee nee ee eee 6 | 17, 25, 26 DO UgINO ee ee roe eee ee Seen pe eee 2/2 Wotalisrwedosass cosa ne dE oe OER Oa. bee A CHANGE OF TIME Songs containing— Change of time Serial Nos. of songs Numbers | Percent. | 38 76 12 24 BON ease se 1, 2, 3, 5, 6, 7, 8, 9, 11, 12, 13, 14, 15, 17, 18, 19, 20, 23, 24, 25, 27, 29, 30, 31, 32, 34, 35, 36, 39, 40, 41, 42, 43, 45, 46, 48, 49, 50 4, 16, 21, 22, 26, 28, 33, 35, 37, 38, 44, 47 DENSMORE] CHIPPEWA MUSIC—II 137 Ruaytumic ANALYsIs—continued RHYTHMIC UNIT Songs containing— Numbers| Per cent. | Serial Nos. of songs | Peeeethinit unit. -<. 22. eS 38 76 | 1, 2, 3, 4, 5, 6, 8, 11, 12, 13, 15, 16, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 32, 33, 34, 35, 36, 37, 38, 39, 40, 42, 44, 45, 46 Twombythotic unites. <-)- a2 sss<< << = 2 4 | 17, 47 INGER UMRIC UIE - cos. cc sea mews = 10 20 | 7,9, 10, 14, 31, 41, 48, 48, 49, 50 LNCS | aR. UR oe Re Oe 3 Sleep | COMPARISON OF METRIC UNIT OF VOICE AND DRUM! Numbers | Per cent. Serial Nos. of songs PEI BLSAIIG =. 35 fss2os Se tose ce et ek 12 24 | 5, 15, 16, 17, 18, 19, 22, 29, 33, 42, 48, 49 CE CITE REG Fe | 29 58 | 2, 3, 6, 7, 8, 9, 10, 11, 12, 13, 20, 21, 24, 25, 28, 30, 31, 32, 34, 36, 38, 39, 40, 41, 43, 44, 46, 47, 50 Recorded without drum...............- 9 18 | 1, 4, 14, 23, 26, 27, 35, 37, 45 DARN eo ae Se ee Fee eee Ni Saeed 1 For more detailed analysis see Table 20, p. 30. CHILDREN’S GAMES OF WAR The children as well as the older members of the tribe formed new acquaintances while the Chippewa and the Sioux camped near . together. Games were arranged in which the children of the two tribes contended with each other. War was the chief interest and even found its way into the play of the children. Odjib’we stated that he remembered an instance which happened when he was a little boy. The Chippewa and the Sioux were camped near each other and the small boys had a sham battle, with the men and women of each tribe as spectators, cheering on their young warriors. Rushes, sharpened at one end and notched at the other so that they could be shot from bows, were used as arrows. The sting inflicted by these was painful, as the boys wore no clothing, but no one who entered the contest was allowed to run away. The rules of the game forbade shooting at the heads of the opponents, as otherwise serious injury might have resulted, but the fight was waged right lustily and blood flowed freely. 138 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 51. War Song of Odjib’we’s Childhood ! (Catalogue No. 278) Sung by Opsis’weE VoIcE e- 80 Drum d= 80 (Drum-rhythm similar to No. = Gti Mase —— Nin - do-kidja nin- do-kidj a nin-do-kidj a WORDS EURO RI ee eke east Oe Lee my pipestem Analysis.—This song contains the tones of the fifth five-toned scale according to Helmholtz (see p. 4), a scale which comprises the tones of the diatonic octave, with the exception of the second and fifth. The song is in the key of D minor and the tones E and A do not appear. No. 52 is based on the same scale. This song is charac- terized by the approach to an harmonic tone by means of the tone above. (See No. 53.) The three renditions recorded are uniform in every respect. The metric unit is very slow, a characteristic of many songs of self-control. (See Nos. 30, 52, 103, 161). The following song was used as a preliminary to a sham battle between Chippewa and Sioux boys. The combatants, divested of clothing, were ranged in facing lines. The men of each tribe stood behind the boys and sang the song with them. When the song was finished the men shouted, ‘‘ Now start to fight,” and thereupon the little warriors flung themselves into the scrimmage. The rules of this battle were different from those referred to in connection with the preceding song. In this contest the boys tried to kick one another down, not being allowed to use their hands. If a Sioux boy succeeded in felling a Chippewa, the war whoop arose from the whole band of Sioux. Perhaps this exultation was still at its height when a Sioux boy fell before the sturdy kicks of the Chippewa, and a whoop arose from the Chippewa ranks. The battle was well fought and in it many a boy received his first training for the sterner game of tribal warfare. 1 This and the two songs next following are included in the tabulated analysis of White Earth songs, p. 306. DENSMORE] CHIPPEWA MUSIC—II 139 No. 52. Song Before the Boys’ Fight (Catalogue No. 279) Sung by Opsin’weE Voice J= 63 Recorded without drum sh eee ff 2-0 2 O:0 5.9 9 ogg SS per es ity Se Serer ell Analysis.—This melody, like the preceding, is based on the fifth five-toned scale with D as the tonic. The song is minor in tonality and very slow in tempo. The subdominant triad (G—B flat-D) is prominent in the middle section while the minor third on the tonic (D-F) characterizes the first and last sections. A slow metric unit in songs of controlled excitement is noted also in Nos. 30, 51, 103, 161. No. 53. Little Girls’ War Song (Catalogue No. 280) Sung by Opsis’wE VoIcE ae 96 Recorded without drum . Sag epee [eresecsisaseaimss eeaseareeae| ». Nin-a-bem ga-mo-kwa-na-wind WORDS MUM ACME ewe Cease as ieict = anise my husband camo Kwanawind 2. <6. s5.ha4 5: - ti who was wounded While the boys held their sham battles the little girls mimicked the woman’s share in war. The aged warrior remembered well the boys’ contests and also the song which the little girls sang, giving several uniform renditions of it, but in his description of the girls’ play there lingered a trace of the boy’s condescension. Odjib’we said merely that “the little girls were dancing and jumping around.” Analysis.—This melody contains three peculiarities which rarely occur in Chippewa songs. First, it begins and ends on the same tone. This feature is found in only 11 songs (3 per cent) of the entire series of 340. The examples found in Bulletin 45 are Nos. 132, 142, 149, 140 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 150, 170, 174, 197; those in the present volume are Nos. 53, 112, 125, and 127, the last being another version of No. 149 in Bulletin 45. Of this number 4 are moccasin game songs, 2 are war songs, 1 is a love song, and 3 (including the present example) are songs for the entertamment of children. Second, it begins with the upward pro- gression of an octave, a characteristic of only 5 other songs of the entire series; possible connection of this with the content of the song is noted in the analysis of No. 9. The other examples are Nos. 170 and 174 in Bulletin 45, and Nos. 9, 31, and 125 in the present volume. Third, this song does not contain the third tone of the scale. Only 12 songs (3.5 per cent) of the series of 340 show this peculiarity, the song here considered being the first of the group in this volume. The serial numbers of the entire group are 45, 49, 60, 91 in Bulletin 45, and 28, 53, 112, 113, 116, 121, 178, 180 in the present work. We note that three of these songs were sung by women or by little girls and that 3 concern women, the 6 constituting half the group. Three of the remainder are songs of the Mide’wiwin, to which women as well as men belonged, 1 is a begging dance song, 1 a war song, and 1a _ song for the entertainment of children. The present song (No. 53) is the only one which contains only the first, second, fourth, and fifth of the scale. No. 121 contains only the first, second, and fifth; No. 113, the octave complete except the third; No. 60 (Bulletin 45), the octave complete except the seventh and third; No. 28 (herein), the octave complete except the fourth and third; and No. 116, the sequence of tones designated by Helmholtz as the first five-toned scale (see p. 4); and we find only the first, second, fifth, and sixth tones in Nos. 45, 49, 91 of Bulletin 45, and in Nos. 112, 178, 180 of the present volume. With the exception of No. 45 in Bulletin 45, and No. 180. herein, these songs are major in tonality. A brief analysis of them for