Chippewa Music II
ANALYSIS OF CHIPPEWA MUSIC
Tlir(>e questions ^ill ho considd-iMi in the j)res('nt section, namely: Fii'st, Wliat do the Cliip])e\va sing; vSecond, How do they sing; and, Thu'd, Why do they sing? The material under analysis in Tal)les 1 to 22 (pp. 18-33) comprises 340 songs, recorded hy the phonograph and transcri])ed in ordinary musical notation with the addition of a f(nv special signs. The songs were collected on the principal Cliip- |)cwa reservations in Minnesota and on the Lac du Flamheau Reservation in Wisconsin. All tlie leading classes of songs in use among tJic Chippewa are n^pi'csented: Tlu^ songs of the Mkle'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 pi])e dance, songs connected with gifts, songs for the entertainment 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 geograj^hic distribution, those from each reservation being considered as a group and subdivided according to use. In the present work the j)rincipal tabulated analysis is made on the basis of the class or use of the song, tlic material in Bulletin 45 havmg 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 Chij)pewa song has identity. This identity was established by the following tests: First, a song was recorded by tlie same singer at different times; second, a song was recorded by different singers on tlie 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, tliough tlie renditions were not always uniform in every resjiect. The rhythm was rei)eated more exactly than the melody, the latter 07996°— Hull. 53—13 i
2 BUREAU OF AMERICAN ETHNOLOGY [btll. 53
sho^^•ing 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 wdth accuracy at mtervals of several months a song of very irregular rln^thm; 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 soliloquy that the}^ 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 m.ay be altered slighth^ provided the idea remains the same (see Bulletin 45, p. 14). A similar change of words in a war song is noted m the anal3'sis of song No. 37 in the present work. A change of words in love songs is described in Bulletm 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 tlie 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 Chij^pewa music are indicated in 22 tables of anal3'sis (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 properl}^ be used in this work, as the complete tone-system implied b}'^ that term
1 Charles S. Myers, M. A., M. D., The Ethnological Study of Music (in Anthropological Essays Presented to Edward Burnett Tylor, etc., p. 236): "The words are commonly sacrificed to the tune. . . . Wefrequently find that liberties are taken with words, or that meaningless words or syllables are introduced into , primitive music. Yet another cause of the presence of meaningless words lies in the antiquity of the music. The words become so archaic, or their sense was originally so involved or so symbolical that all meaning gradually disappears as the song is handed down from generation to generation."
DENSMoRt] 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 "tlie total liarmonic and melodic relation of such a family of tones," im])lying an harmonic as well as a melodic test. In recorded Chippewa songs the relation of the tones to a keynote is usiiall}^ 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. Tluis 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 mmor intervals and those of minor songs by major intervals. There are, however, in all tlie 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 "tonalit}'" is employed therefore in tJiis work, its use seemingly being warranted by the definition in the Standard Dictionary (1910) : "Tonality, the quality and peculiarity of a tonal system."
In determining the keynote of a song a test by the ear seems permissi])le and the tonality of the song is determined by the distance of th(> 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 classification 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 remaming the same. These songs are Nos. 1 89 and 1 92 in Bulletin 45, and Xo. 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 (Xo. 79 of Bulletin 45, and Xos. 36, 100, and 1 19 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 (Xos. 19, 126, and 150, Bulletin 45; Xos. 9, 50, 85, 100, 119, and 124 of the present work).
Having determined the ])robable keynote of the song, this keynote is used as a basis for further examination, notinir in Table 2 the relation of
4 BUREAU OF AMERICAN ETHNOLOGY [bill. 5:'.
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. Xext 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 corresponds to a fundamental tone and its principal harmonic upper partial tones, commonly called overtones.* It has been stated already (Bulletin 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 statement.
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 Ilelmholtz.- 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 using A sharp. This series contains 88 songs on the fourth five-toned scale, more commonly kno\vTi as the ''major pentatonic," or "Scotch 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 fivetoned 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
' ' ' The ear when its attention has been properly directed to the effect of t he vibrations which strike it . . . becomes aware of a whole series of higher musical tones, which we will call the harmonic upper partial fonts."— B.ELMHOLTZ, The Sensations of Tone, translated by Ellis, London, 1885, p. 22.
«Ibid., pp. 2(iO, 261.
i-KxsMoitK] CHIPr^EWA 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 })eing the two songs (Nos. 51, 52) on the fifth five-toned scale. A similar persistence of the fifth is noted by Doctor Baker in his analysis of 31 Indian songs, the fifth being present in 30 (rf the songs under his observation.* The relative ])ersistence of the fifth and fourth in the songs of the Murray Islanders lias 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 is a fourth above it." The next interval in point of persistence is the third, which occurs in 329 songs, or about 97 per cent of the entire number. The character of the songs from which the third is absent is considered in the analysis of song Xo. 53. A similar frequency of the third was noted by Doctor Baker, who found the thu'd in 25 per cent of the 31 songs analyzed b' 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 frequency. 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).
' Theodor Baker, Uber die ^fmik der nordamerikanischen Wilden, LeijJziK, 1882; "Tahellen der Intervalle und des Tacts," p. 82.
sin Reports of the Cambridge Anthropological Kipedition to Torrtu Slraitu, vol. iv, Cuinbridtji', 1912, p. 200.
The tone-material of most of these songs is diatonic, Table 7 showing that 85 per cent contain no accidentals. In songs containing accidentals the tone most frequently affected is the sixth, this interval being either raised or lowered a semitone in 27, or 8 percent, 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). Ha\ang identified these groups of songs, it was found that certain songs remained which did not properly belong in either group. Thus there are man}^ Chippewa songs wliich would be classified as harmonic except for one tone, or in some instances two tones; a third group was made therefore to mclude these songs, wliich 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 havmg a chordrelation 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 surprismg to note the small percentage of songs which are harmonic m structure.
The next inquiry concerns the progressions in the melody — their direction and the nature of the intervals. Table 9 shows that m 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 thi-ee tables combine to demonstrate the downward trend of Chippewa 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
I The proportion of downward and upward intervals is more uniform in the various classes of songs than any other peculiarity considered in the analysis.
densmore] CHIPPEWA MUSIC II 7
as characterizino; the music of other uncultured peoples. Concerning the songs of the Asaba (Niger) people, Charles R. Day states:^ "A preference for the minor thuxl is rather noticeable, especially at the conclusions." Rev. G. W. Torrance, writing of the Australian aborigmes, says: ^ "The songs in compass rarely exceed the distance of a third, and mmor intervals predominate." Concerning the Sumatrans William Marsden states:^ ''The Sumatran tunes very much resemble to ni}' 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 by 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 thu-ds, but that, to the ear accustomed to the musical standards of civilization, the mterval of the third was clearly a non-major interval.
In the Chippewa songs it is noted that the percentage of minor thirds, m both ascending and descending progression, is more than twice that of major thirds, a reversal of the statement of tonality, Table 1 shoA^ng the songs of major tonality to be about a thu'd 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-formation, a test was made which included the 40 songs recorded at Waba'cing,-^ the 50 war songs of Odjib'we (pi, 1) recorded at Wliite Earth, and 14 songs recorded by E'niwilb'e at Lac du Flambeau. The songs of Odjib'we did not show a single instance of "interval-formation," but it was found to characterize 4 (10 per cent) of the Waba'ciiig 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 Upthe Niger, by Ifockler-Ferrvnnan, willi vhnpt i o;i ai ;-i::il iinlniments of V.v^ natives by Charles R. Pay, Lonilon, 1S92, p. 272.
2 Music of the Australian Aborigine \ in Journil of the A nlhropoloyical Institute of Great Britain and Ireland, London, 1887, p. 336.
3 History of Sumatra, London, 1811, p. lOfi.
< The Muxic of Nature, Boston, 1838, p" . 212 ">4".
^ The combination ng is pronounced as in iho wonl "finger, "not as in "singer."
8 BUREAU or AMERICAN ETHNOLOGY [blll. 53
songs and the singers at Waba'cing and f^ac du Flambeau the material collected there would seem to represent an older culture than the war songs of Odjib'we, a factor wJiicli adds interest to the result of the test.
Having shown, by anal'sis, the prominence of the minor third in Chijipewa 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 tliii'd (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 recordmg. As the phonograph best adapted to field work at the present tmie 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 revolutions 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 tlie 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 sliow that many, })erhaps 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 b}' 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. Tliis directness in beginning a song is shown also by the fact that in most of the songs the rlu'thmic unit occurs in the first measure and that the first tone is usually a high tone. The interest of a Chijjpewa song frequently diminishes as the song j)roceeds, and in some instances the closing measures contain characterless |)hi'ases. repealed in(h>(initely.
r.KNsMouKl CTIIPPEWA MTSIC- IT 9
Tlic next feature ti) be observed is the number of counts in the iirst measure (Table 16). Deducting the number of songs transcribed in outhne, it is to be noted that 50 per cent of the remainder begin in double tune and 40 per cent in triple tirne. 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 projierly 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 ])rimitive music/ and in the music of the Omaha there occur also songs with 7 counts in a measure.
Table 17 shows, however, that the rhythjn of the first measure is rarely continued throughout the song. Forty-two songs were transcribed in outline, without time-indication, but in 77 per cent of the remainder the rhytlim (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 tbe song. No. 39 contains double, triple, and quadruple time. In No. 81 the double rhytlmi is interrupted by oiily 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 un])rovisation, but these measure-lengths were determined by accents tluit were unmistakable and that showed no change in the several renditions of the song, even when slight changes were made in the melod}'. A single exception occiu'S in a song recorded at Wliite Earth (No. 144), which so closely resemble^ cme recorded at Waba'cing (Xo. 176) that it may be inferred tliey 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 IS), the accented double rhytlun is foimd 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 rhytlma. This characterizes a large majority of the dream songs and the songs of various dances and is closely allied to the drum-rhytlnn 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 AUce 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 Afuseum, Harvard University, Cambridge, Mass., 1893, vol. 1, No. 5; sonf,'s Nos. 0, 111, 137, 140.
Among the Kwakiutl: Franz Boaz in Journal of American Folk-lore, vol. 1, 1888, pp. 51, 59.
Among the Ilopi: Benjamin Ives Gihnan, Hopi Songs, Boston, 1908, p. 117.
Among the Creek and Yuchi: J'rank G. Speck, Ceremonial Songs of the Creek and Yuclii Indians, in Anthropological Publications of the Museum of the University of Pennsylvania, Philadelphia, 1911, vol. 1 Xo. 2, pp. 109, 170, 178, 226.
Also among the Sudanese: Heinrich Zollner, Kiniges iiber sudancsischo Musik, Musikalischrs Wochenblatt, Leipzig, 1885, p. 440.
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 lioger (1841),^ the rhythm ''of the adult heart, beating 60 to SO 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 wliich the unaccented stroke precedes, instead of follows, the accented stroke.
In all the^lide' songs and in 53 per cent of the war songs there is a drum-rhythm of rapid unaccented strokes, two of w^hich are approximately equal to one metric unit of the melody. It is stated that under certain conditions, "especially a moral emotion or violent physical exertion," the triple rhythm of the heart becomes " alHed 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 rh3'thmic unit, or motif (Table 19), which appears to constitute the rhythmic nucleus of tlie song, as the interval forms its melodic nucleus. As a basis for this classification, 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 rhythmic unit, while in many other instances the song itself possesses a rhythmic com])leteness which constitutes it a unit. One hundred and ninetyone 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 directness of "attack."
There are four ways in which a rhythmic unit is used to form a Chippewa song: Fii-st, it is continuously and exactly repeated throughout the song (see No. 26); second, it is repeated continuously exce})t for a measure or two having a different rhythm, thus breaking the monotony and giving character to the rhythm of the song as a
» Dictionnaire de Physiologie, Richet, Ch., editor, Paris, Tomeiv, 1900, p. 74. "Beau eompara iin bettement de occur h. une mesurc k trois temps, dans laquelle Ic premier temps serait occupe par le premier bruit, le deuxifeme par le deuxi&mc bruit, le troisicme par le grand silence. . . . D'apres Barth et Roger le rhythme rcpr&ente une sorte de mesure h, trois temps, dans laquelle le premier bruit occupe le tiers environ; le petit silence, k pen prfes un sixi6mc; le deu.xifeme bruit, un sixi^rnc; et le grand silence, le dernier tiers."
2 Ibid., p. 75 (signed by Lahousse). "Si. au contraire, les battements du coeur sont acceleres, le sOence <liminue et Ton n'a plus qu'une mesure qui se rapproche C.e la mesure k deux temps. . . . C'est surtout quand une Amotion morale, ou violent exercice physique agissent sur le coeur de I'homme, ou quand il est le sifegc de certains 6lats pathologiques."
DK.NS.MORK] CHIPPEWA MUSIC II 11
whole (see No. 132); third, it is repeated et)ntinnoiisly exeept for a middle section, which contains the words and is in a dilFerent rhythm (see No. 1); and, fourth, the repetitions of the rhythmic unit are freely interspei-sed witli 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 etiually 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 re])eated several times. Songs numbered 17, 47, 121, and 123 contain two rhythmic units, the second being formed from the first and constituting an answering })hrase. A similar structural peculiarity was noted by Fillmore, who states: "'Having invented his original motive, which is commonly striking in its rliythmic form and highly characteristic, the Indian com])oser proceeds to build his song out of modified repetitions of tliis 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 occurring in No. 77. There is, however, a division of a count jjj 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'cing (Nos. 131, 153, 157, 159, 161, 163), and is found in only five other songs of the entire collection. The same plirase 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'clng are in frequent communication with the Sioux of North Dakota, ])arties from these tribes visiting each other at their various festivals. The Chippewa at Waba'clng are also composing music at the j^resent time to a greater extent than those on other reservations. It is interesting to note that the correspondence between the music of the Chip])ewa 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 Chippewa song is found in the fact that some songs were repeated in sections,
1 John Comfort Fillmore, rrlmitive Scales and Rhythms, in Memoirs of the International Congress </ A nthropology, Chicago, 1S94, p. 175.
]2 BURKAt; OF AMERICAN ETHNOLOGY [BrLi,. 53
the* sin<j:er iisiiitj tlic j)hrascs in varying order, api)arently as his fancy prom])te(l Iiira. 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 tiie entire rhythm of which constitutes a unit that is complete in itself and can not be divided. Such a song would become, in its rejietitions, the rliythmic unit of an extended musical performance.
Finally, there is observed tlie speed of voice and drum, as indicated by a ^laelzel metronome, the number representing the number of beats per minute. The method of adjusting the phonograph 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 quarternote, though in some instances a half-note, or even an entire measure- length, was the only unit by which the tone-values could be determined. 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 i)eculiar 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 com])arative speed of voice and drum is further sliown 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 dnmi are in the ratio of two to three, but the writer does not recall an instance in Chi})pewa 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 *'tw()-against-three rhythm" has been found in the music of other Indian tribes and among many other primitive peoples. Fillmore gives an histance 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.^ In Chippewa music.
John Comfort Fillmore, Primitive Scales and Rhythms, p. 17
i>i:n.s.mcm!i:J CIIUM'EWA .MUSIC II 1 .'5
however, the two exi)ressions seem to be entir<>ly 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 ]:>honograph 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 gra(hially until for one or two measures drum and voice were together; the drum continued to gain until at tlie close of the record it was slightly in advance of the voice. An inde])endence of rhythm of voice and di'um was noted l)y Doctor von Ilonibostel,^ and also by Doctor Myers.-
Further consideration is given the rhythm of ('lii]>))ewa songs in Bulletin 45 (p. 18).
How DO THE Chippewa Sin(; ?
The manner of Chippewa singing varies with the nature of tlie song and the skill of the singer. A nasal drawling is always used in tire 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'wIwTn (Grand Medicine) contain meaningless syllables, which are distinctly j)ronounced and in most instances are given similarly in the various renditions of a song. These syllables are frequeiitly hiter})olated 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 Krich M. von Hombostel, tjber die Musik der Kubu (au-i dein Phonogramm-archiv des p.sychologischen Imtituts der Univemitat Berlin, Frankfurt am Main, 190S, phonogramnie 15").
2 Charles S. Myers, M. A., M. D., The Ethnological Study of Music (in Anthropological Essays Prestnled In Eduard Burnett Tylor, etc), P- 2:J7: " Not infrequently the accents or measures in the melody are opposed to those in the accompaniment." P. Zi.S: [In polyphonic music of primitive peoples] "different simultaneous 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 wc listen to two persons talking simultaneously."
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 transcriptions of these songs should be understood as indicating the tones jiroduced by the singers as nearly as it is possible to indicate them m a notation which is familiar by usage and therefore convenient for observation.' A few additional signs are used and the pecuharities 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-w\ave chart, but, in the present work, are transcribed by the notes thoy most nearly approximate in pitch. Minute gradation of tone in Indian song has given rise to the statement that Indians habitualh^ 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 w^riter that these minutely graded tones are survivals of a less differentiated vocal expression. In the present analysis of Indian music w^e observe the tones on which a purely natural vocal expression crystallizes and first coincides with that system of tones which has gradually developed in the musical history of the white race.
In the early i)art of the investigations a few phonograph records were made wliich 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 tlie 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-
' nelmholtz, The Senmtionx 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 prodiieed by the scales on Eiiropenn listeners."
DBXSMORE] 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." Indians 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 characterized by forcible ejaculations. The Chippewa sing almost con- tinuously for several hours at a time, each song being repeated an indcfmite 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 completed as transcribed and the smger 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 easUy 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 notevalues are changed only when words are introduced, or occasionally in the closing })hrases 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 vnih 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.
Why do the Chippewa Sing?
Investigation of the origin and use of Chippewa songs leads to the conclusion that most of them are coimectel, either directly or indirectly, ^^th the idea of i-eliance on supernatural help. This idea rarely assumes the form of dkect address, thougli one song
K; IK'HKAU OJi' AMERICAN ETHNOLOGY [i;i i.i.. 5:!
(No. 156) contains the words "Be kindly, my manido'," and in sonic of the ^Ilde' songs a manido' (spii-it) animal or biixl is represented as speaking — "I 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 saitl that in tiie old days all the important songs were "comj)osod in tlreams," and it is readily understood that the man who souglit a dream desired power superior to that he possessed. A song usually came to a man in iiis "dream"; he sang this song in the time of danger or necessity in the belief that by so domg he made more })otent the su])ernatural aid vouchsafed to huii in the dream. Songs composed, or received, in this maimer were used on the warpath, in the |)ractice 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 instance of a warrior's success connected with the singmg of a dream song is shown in No. 42, and of a wai-rior's defeat attributed to the failure of supernatural help, in No. s.
In addition to songs connected with dreams and -with triumphs gained by supernatural aid, there are love songs, and songs of phj^sical activity (as the social dances) and of the home life (as the songs for the entertaumient of children). Almost wdthout exception the love songs are songs of disapj)ointment and longhig, though a few lovecharm songs are included among those of the Mide' (Bulletin 45, Nos. 71-76).
The words of 248 songs are transcribed: one-tliird of this number contain mention of some manifestation of nature, the numbei- and percentages of tliis group being as follows:
Number I'erceiilage
SongH foncorniug animals 30 36
Songs concerning birds 17 21
Songs concerning the sky 17 21
Songs concerning water 11 1,3
Songs concerning clouds 4 4.5
Songs concerning the wind 4 4-5
Noting the large number of songs containing mention of animals, it is interesting to consider whether annuals 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 uifluence) one reference to the horse and tjie buffalo. The birds mentioned are the crow, loon, owl,
' Compare Ales Ilrfllifka, Physiological and Medical Observations Among the Indians of Southwestern United Slates and Northeni Mexico, Bulletin ^ of the Bureau of American Ethnology, Washington, 1908, pr>. 222-227, 2i:i, 244.
UE.vsMuut;] CHIPPEWA MUSIC II 17
raven, plover, eagle, " thuiulerbird," and "water-birds." llefereiice to water occurs princiijally m sougs of the Mide'wiwln, the emblem of that oi-ganizatioii behig a shell, and all its traditions being associate* I witji water and with aquatic animals.
A spontaneous outburst of melody, giving expression to either joy or sorrow, does not characterize ('hi[)pewa songs; indeed, the nature of the songs is inoie fre(|ucntly objective than subjective, more often connected witli accomplishment than with seU-expressiou.
A comparison between the content and the tonality of the songs may now be undertaken. As we are accustomed to comiect a minor key with the idea of sadness, it is interesting to inquire whetlier the same mode of expressing sadness obtains in Chippewa songs. Fu'st, it is observed that, apa*t from the love songs, there are few songs of sorrow. The series of 340 songs contains 142 hi minor tonality, of which only 20 (14 per ('ent) are songs of sadness, comprising I^ractically 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 witli an affirmation that it will be cured by supernatural means. Six of the S8 war songs contam 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 m one a condition of distress is relieved by the use of medicine; the tln-ee which may be consi<lered songs of uidightened sadness are the songs of the departure of warriors (No. 150, Bulletin 45; No. 17 of the present work) and the song of the warrioj- left to tlie on the battlefield (Bulletin 45, No. 120). In a similar instance (No. 33) the song of the wounded man left to die is distmctly major m t(mality.
.Vmong the 30 love songs 11, or more than 33 per cent, are songs of sadness and mhior ui tonality. Of the unclassified songs only one contains 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 comiection it may be noted that the result of the moccasin game was always a matter of uncertainty.
Most of the Chippewa sojigs are major in tonality, and most oF the old songs were "dream songs" used in the ^lide', the j)ractice of medicine, and the pursuit of war, the essential nature of a "dream" behig 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 mmor tonality is used, practically without exception, in songs directly expressing sadness, distress, oiuncertahity. These observations may have a bearing on tlie further study of the i)sychology of lii<lian song.
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34 BUREAU OF AMEEICAN ETHNOLOGY [bill. 53
Group Analysis of 340 Songs
One purpose of the foUomng analysis is to determine whether fhere 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 tlie origin and use of the song will be considered. The songs most nearly related in origin are theMide', 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 probalily used by hidivi(hials in dances until they gradually became general throughout the tribe, usually after the death of the composers.
GRAND MEDICINE SONGS (miDe' NA'gUMOWI'nUN)
Tins group c()m])rises Nos. 1-90 in Bulletin 45, and Nos, 154, 155, 156, 174, 175, of tiic present work. TheMide'wiwin (Grant} Medicine) was the embodiment of the native religion of the Chippewa and has numy 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 nuisical 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 BuUetni 45 are of wood, wdth 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'cing (see p. 251 ). The principal classes of the Mide' songs are those of the initiation ceremonv and those coni.KNsMnRi;] CHIPPEWA MUSIC II 35
nectod witli special "medicines." The latter are sun^ 1)y members of the Mide'wiwln in ccmnection with the iis(^ of medicines for tlie curing of the sick or the working of charms, and also in the dances which follow the meetings of members, either lV)r a feast or an initiation. Throughout these songs tlie element of aflirmation is very strong; indeed, many have a triumphant tone. Tlie idea underlying them all is the securing of a definite result thi-ough supenuitural power, the music being an indispensable factor. In the initiation the desired end was the transference of "sj)irit power" to the candidate b}^ the men and women wJio were iuitiating hiui, also the renewal of tlie same ])()wer in tlie members of the order who witnessed the cei-emony, and the pi'olonging of their lives to old age. In the songs connected with special "medicines" the purpose to be a('com])lished was the healing of the sick and the producing of a certain effect on one or more persons, as in the use of various "charms." Thus il is seen that this purpose was usually objective, the effect on tlie singer being only secondary, that the means of securing benefit was sui)ernatural, and that the singer had full confidence in its Ix'stowal as well as in its efficacy.
In the first table of analysis it is noted that 72 p<M- cent of the Mide' songs are major in tonality, tJiis proportion being the same as in the songs of tlie begging dance, and exceeded only by the group of dream st)ngs, which contains 7(5 jier cent of major songs. The proportion of songs begimiing on the douiinant (either \hc, 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 ])er 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 'A7 per cent and the pipe dance songs 67 ))er c(>nt
h\ tone material the Mide' songs are below most other groujis in the numlier of songs on the five-t(med 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
other except the h)ve songs, woman's dance songs, and songs for the entertainment of children. The proportion of songs having the first progression a do\-nward interval is 88 per cent, which is much larger than in any other group. The percentage of downward progression in tlie 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 tliirds this group is 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, tlie 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 dmm-rhythm of all these songs is a rapid, unaccented beat whicli 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 tlie 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 accom])lishing a purpose, namel}^, 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 begging 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 e\adent 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 witli 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 \ath controlled excitement.
For the rhythmic units of the Mide' songs see pages 309-313.
DE.vsMoRK] CHIPPEWA MUSIC Ix 37
DREAM SONGS (INA'sCNDJIGAN' NA'Gl^MOWi'NUN)'
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 eoni])ose(I (in the usual sense of the term) but are said to have ''eome 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 a song." 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 j)roduced by narcotic stimulants. The composition of songs during or immediately following an abnormal mental state has been noted among other Indian tribes. Thus, for instance, ^Ir. James Mooney states that "])ersons 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 Chi])pewa stated that they sang songs heard in their dreams; thus in the description of No. 1 12, 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 axiation in dreams, due to some disturbance of the nervous equilibrium, is not an uncommon ])henomenon.
In the circumstances attending l)oth the composition and theuse of the dream songs the underlying idea was that of expectancy and acquirement. To the Indian a "vision" was more to l)e 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-
1 The wriUT gratefully acknowledges the assLstancc of Dr. AleS Hrdlidka, curator of physical anthropology, United States National Museum, and of Mr. James Mooney of the Bureau of American Eth- nology, in studying the relation Ijetween physiological conditions and musical expression.
nected with gifts. One of the jn-ineipal features of the woman's (hmce is the presenting of gifts, an invitation to dance being accompanied by a gift. Frequently these gifts are valuable articles, as i)onies, rifles, and beade<l garments, and the dancers wait with pleasurable expectancy to know what presents will be bestowed on them.
At this dance tlie writer has often observed the interest with which the Indians watcli a man who rises and walks across the dancing circle with an attractive gift in his hand. The feeling is expressed in song Xo. 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 suj)ernatural 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 an}^ other group, comprising 76 per cent, the songs of the Allde' and of the begguig dance each showing 72 ])er cent. Tliis grou]) is largest also in songs beginning on the twelfth, the group of love songs ranking next in this respect. The ^lide', however^ contains the highest percentage of songs begmning on tlie domiiumt, com])rising a larg(5 mimber of songs beginning on that interval but having a compass of less than 12 tones. Tlu^ number of dream songs Ix^ginning 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 IVIide', 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 Mde' 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 gi-oups are the woman's dance songs, the songs connected with gifts, and the songs for the entertainm<Mi( of children, 50 per cent of each being on the five-toned scales. The })roportion of songs containing only the tones of the major triad and sixth is the largest except in the pipe dance, constituting 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
nENsMoRE] CHIPPEWA MUSTC^ — II 39
wi(l(^ly ill striicturo from the Mido/ songs, 4!) ])cr cent being luirnionic and 16 per cent melodic with harmonic framework (a chiss in which many songs are harmonic except for one measure) ; thus, 65 per cent of the (h-eam songs are harmonic in feeling, compared with 23 ])er cent in the ^[ide' and 44 per cent in the war songs. In the proportion of songs beginning with a downward progression this group is next to the ^[id(>/, 77 ])er cent beginning thus. In total numbm- of downward progressions tliis group shows 66 per cent, the same as the woman's dance songs and the songs connected with gifts. The pro- ])()rtion of minor thirds in both ascending and ch^scending progression is much larger in this than in any other group . The average uiterval is the same as in the woman's dance — 3.1 semitones, this being also the average interval of tlie entire series. The beginnings of these songs are more direct than in the ^lide', 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 Afide' or the war songs, comprising 55 per cent of the number. The time is more variable in this than in any oth<^r 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 dnuim songs constituting this group (with the exception of the "doctor's songs") the purpose was to secure an advantage more or less ])ersonal. The analysis shows that in some respects this group resembhw the Mide' songs and in other respects shows similarity to tlie songs of the woman's danc(^ and the songs connected with gifts. Tlui dream songs ar<^, even more strongly marked by major tonality than are those of tlie Alide', which they resemble in the ])rominencc of tlu^ dominant, but they are different from the Mde' and allied to tlie 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 ])rogi'essions, the average interval, the accented beginning, and the triple drum-rhythm.
The rhythmic units occurring in the dr<^am songs are given on pages 314-317.
WAR SONGS (MIGA'dIWIN' Na'gUMOWi'nUN)
Tins njjoup comprises Xos. 122-132 and 154-172 in Bulletin 45, and Nos. 1-50, 63-66, and 80-93 of the present work. On the warpath those songs were accompanied by a small drum (see pi. 7). At tlie dances in the village, preci^ling the ch^parturo and after the return of a war party, a large drum was used and tlie drummers were seated arountl 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 pi. 18), but, according to tlie writer's observation, less eUiborately decorated.
The war songs are of four kinds — the dream songs of mdividual warriors, tlie songs concerning war charms and medicmes (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 comj)osed 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 )ov cent of the war songs are major m tonality, the same proportion as in the songs for the entertamment of children. The proportion of war songs beginnuig 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 m 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 IVIide' 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 alli<ul 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 ])er cent of the songs the first ])rogression is downward. The number of intervals of a second is much above the averajje, showiu"; frtunlom of melodic
DENSMORKl CIIIPIM'^WA MUSIC — IT 41
movtuiuMit. T\v. !iv(U-a*i;(i iiitcirvul is oiu'.-to.uth of a semitouo bdow tlid iivia-ago interval of llui i'.utini s(U-ies of songs. Fifty-ono per cent of tlu! songs begin in double time, but this is not steadily maintaimnl, G6 per cent of the songs containing a change of time. The triple rhythm is said to be the drum-rhythm of the victory dance, commonly known as the scalp dance; but this is found in only 35 por cent of the war songs, 42 per cent showing the even beats which charactorize the Mde' (see footnote, p. 10). Soventy-one per cent contain a rhythmic unit, the largest proportion except in the Mldc'. Tiie 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 tlie songs, the same ])roportion as in the begging dance; and the woman's dance, and much less than in the ^lidv' and tlui dream songs.
The group of war songs is probably less homogc^neous than any other, and its correspondences to other groups are diverse. The relation to the 'Midv' songs seems stronger than any other, b(ung both melodic and rhj^thmic; 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 Mde' and war songs are principally melodic in sti-ucture, 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 prominiuice 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 ])eace between the Chippewa and the Sioux. It was said to have been given to the Chii[)j)ewa 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 ndative sp(uid of voice and drum, as it a})pears 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 ton(!s being referable to a keynote in a greater degree than in many otiu^r groups of songs.
The rhythmic units occurring in the war songs will be found on pages 318-325.
LOVE SONGS (SA'Gli'l)IWiN' Na'gUMOWi'NUN)
This group comprises Nos. 133-141 and 1G3-167 of Bullethi 45 and Nos. 105-113, 157-160, 170, 177, and 178 of the present work, the "love-charm songs " of the Mide' not being included. The love songs were unaccompanied by any instrument, but lovei-s frequently played
on ji musical instrument commonly callcul a flute, but similar in construction to a flageolet, b<"ing blown at the end instead of at the side.* The instrument is called Uhi'gwUn. (See pi. 2.) This instrument was procured at Lac du Flambeau, from a middle-aged woman, who said it had belonged to her grandfather. It is 2 1 ^ inches long and 1 1 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 ])roduced by this instrument was less accurate than other intervals and that the seventh was very faulty and not a clear tone. Uncertain 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.
^^BM^^^arjzgHJS^^pB
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 expnvssing sadness and disappointment. 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 instances 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 character 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 fickbness, and two relate to an attempt to drown disappointment in drink. It has been already stated that the w^ords of the love songs are sometimes im])romptu, and that new w^ords 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 m the love songs than in anj^ 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 percentage of songs beginning on the octave is larger than in any other except the war songs. Eighty-six per cent begm 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.
Contributions to the History of Musical Scales, by Charles Kasson Wead, in Report U. S. National Musium, 1900, p. 420, Washington, 1902.
DE:<SMoni;l CirlPPEWA MUSIC II 4,^
Tlut proportion of soii<];s ondiiiji; on eitlior tlu^ tonic; or dominant is 93 per cent, larger than in any other group exct^pt the ])ipe dance songs and the songs for the entertainment of children. Ninety-seven per cent of th<^ lovo songs have a compass of an octave or more, and four songs have a range of 14 tones.
The love songs have the highest p<u"c(Mitage among songs containing all the tones of tl\e octav<\ tl\e begging dance songs raid-cing n<'xt; th:i omitted seventh, which characterizes th<^ war songs, does not ap])ear in this group, and the octave complete (except the second occurs in 17 per cent of the number. The fiv(^.-ton(id scales appear less frequcuitly in this than in any other group. In accidentals the sixtli is sharjied more often than in any other group; the Hat third, which we are accustomed to connect with the idea of sadness, does not appear, and th<^ flattxxl sixth occurs only twice. Two songs have the tliird omitted, a pecidiarity found to exist in several songs concerning women (see analysis of No. 53). Ninety-three per cent of the songs are ])urely nudodic in structure, a ])ro])ortion nuich higluu" tlian in any group except the woman's dance (100 per cent), the group nearest it being tlu^ songs for the entertainment of children, which contains S7 per c(uit 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 entertainnKMil of chihb'en. Th«^ love songs, so eminently songs of sadn(\ss, contain a smaller percentage of minor thirds (in both ascending and descending progression) than any other group. The i)ro- portion of asciniding fifths is much larger than in any other group, aiul seven asceniUng intervals of a twelfth are found, showing, as in the ])rece(Ung Tables, a strong feeling for the dominant. The average interval is 3.4 semitones, the highest except in the moccasin game ami 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 abov<i the average, and most of the songs do not contaui 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 iro.cdom of expression are suggested by the melodic form, the large com- pass, and the use of all tlie tones of the octave; an element of excit<iment by the largeness of the average interval, and an ehunent of control by the slow metric unit, while a lack of definitely formed tliought is suggested by the small perc(mtago containing a rhythmic unit.
For the rhythmic imits occurring in the love songs see pages 325 327.
MOCCASIN GAME SONGS (mAKIZIN'aTA'dIWIN' NA'gUMOWI'nUN)
This group comprises Nos. 142-145 and 168-176 of Bulletin 45, and Xos. 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 "composed in dreams" but only a few such are included in this series.
The instrument used to accompany these songs is a drum, specimens of which vary but little in size, provided usually with deerskin heads (see pi. 3).^ Witli this drum is used an ordinary short drumstick the end of which is wound witli cloth. Small pieces of tin are sometimes set in the frame of the moccasin game drum, to add a jingUng effect.
In the analysis of tliese 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 tlu^ i)ipe dance songs. One-third of the songs are on the second livivtoned scale, this being the largest proportion in the entire colh^ction, the closest approximation being the woman's dance songs. The several five-toned scales comprise 43 per cent of the entire number, and apart from these the group presents a wide range of tone material. Oidy one song contains an accidental — the flat sixth. Forty-two ])er cent of the songs are harmonic in structure, the group being ext^eeded in this respect only by the dream songs. The percentage 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 tlie same as in the pipe dance (3.5 semitones), is the largest in the entire series. Eighty-nme 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 maintams the time throughout the song more steadily than any other group, a feature which is surprismg in view of the excitement of the game. Thirtythree 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 ))een renewed from lime to time, the design being duplicated on the new cover, as in the instance of Odjlb'we's war drum (p. 62). The diameter of the drum shown in plate 3 is ISJ inches, the thickness 2J inches. A single piece of deerskin forms both heads; this is sewed with strips of hide on v.hich some of the hair remains. Inside the drum are three tightly stretched cords, each provided with small pegs tied at equal distances. At the writer's request the former owner of the drum fastened a cord across an ordinary hoop (pi. 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 put in place the cord is twisted to increase the tension, permitting the pegs to vibrate against the deerskin.
MOCCASIN GAME DRUM
^s the arrangoment of one of the three cords inside the drum together with the pegs fastened thereto.
DMNSMORK] CHIPPEWA MUSIC II 45
the oiitcrtainnK'nt of childivMv (oS ])<'r cvni liaviut:; a rhytlunic unit) ranking noxt. The rhythniic unit a])])oars to nipiv.sont a (Icfiniti^ly formed thought and conveys tliat ini])ressi()n to tlie hearer. In this connection it will l)e noted that the chief concern of the moccasin game ])Liyer is to give no clue to his thought, thus mentally eluding his o])])onents. A \vid(* range is shown in the speed of both voice and drum, and in comi)anng the metric units of the two it is found tliat the drum is faster than the voice in 82 per cent of the songs, the p(U-- 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 (hmce 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 p<M'uliar to the: moccasin game. It will be recalled that many dn^am songs and war songs were used in dances and that the ])honograpli records of those songs show a drum-rhytlim similar to that of these three groups of dance songs, but matiy of the war songs and all the dream songs w(n-e essentially ])ersonal 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 w^ere o])en to all the men and women, and the pipe dance is said to have been ''the ])rincipal 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 jjlayers, watching tlie 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 danc(^ groups. A resemblance to the love songs may be noted in tlie seeming discrepancy between the tonality and tlie character of tht^ intervals. Perhaps it may be said that these two groups have in common a certain elusiveness and whimsical changeableness. Directness is shown in the accented beginnings of the songs and their endings on the tonic, but this is contradicted by the small ])ercentage of songs containing a rhythmic unit. The rhythm of the drum is the usual moccasin game rhythm (see No. 125).
The rhythmic units occurruig in the moccasin game songs are given on pages 327-328.
woman's dance songs (ikw^e'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 .-igo from the Sioux, but the
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 hirgcst 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 ending 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 purel}' melodic in structure, the love songs (93 per cent) being the nearest rivals in this respect. The upward and downward progressions are evenh^ divided, as in the love songs and in those for the entertainment of children. One-fourth of the intervals, in both ascending and descending progression, 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. Continuity of measure-lengths is greater in this group than in any otlier, 40 per cent of the songs showing no change of time. The triple dnmi-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 rh3^thmic 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 dram is largest except in the pipe dance.
The rhytlmi of the woman's dance songs is particularly "catchy" and pleasing, but the element of what might be termed intellectuality does not enter into this merrymaking, and perha])s this lack is one of the factors essential to the development of a song fioni 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 pleasm-e allied this group to that of the pipe dance songs and the songs for the entertainment of children, and some corresponding characteristics are sho\ai by the analysis.
The rhythmic units occurring in the woman's dance songs will be found on page 32S,
DExsMORE] CHIPPEWA MUSIC II 47
BEGGING DANCE SONGS (bAGOSAN'nINGE'nIMIWIN ' NA'gUMOWi'nUN)
This group comprises Nos. 1S7 and 188 of Bulletin 45. and Xos. 114-118 of the present work.
The be(2;ijiiig dance, like the woman's dance, is said to have been derived from the Sioux. In the writer's observation of this dance amonw 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 traditional 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. Seventyone 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 ec[ual. 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 Mlde', and the largest in the entire series= The percentage of ascending fourths is the largest in the series excejit 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 excejjt 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 children, 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 rhj^thmic unit, the related groups being the woman's dance and the songs for the entertainment of children. The number of songs havmg 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 antl some correspondence of motive was traced. In the analysis of the begging dance songs are found similarities to the songs of tlie 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 purj)Ose of the begging dance was^ of course, the securing of gifts. Underlying the other
three classes of songs is a strong element of ])leasure 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 recreation 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 anticipation of the varied feast to follow. No one acquainted with a Chippewa or a Sioux camp would be surprised at the resemblances shown in tliis 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 tlie tribe. In its original form it passed out of existence long ago and only a few of its songs remam. 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-thu'ds 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 tlie dance, it is surprising to find the metric unit of A^oice 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 vrnitg occurring in these songs see page 329.
dens.mokk] chippewa music— ii 49
songs connected with gifts (mi'gine, ma'moya'ne, na'gumowi'nun)
This o:roiip comprises Nos. 151-153 and 189-191 in Bullolin 45, and Xos. 123, 124 of the present work. These are the son^^ which accompany jjifts, usually the f^ift of a l)ony, and are sun^ by the recipient or o;iver, togjet her 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 remainmg 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 downward progression, tlie 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-fcurth 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 accentetl part of the measure, a pro])ortion 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 ])ag('s 329-330.
songs for the e>"tertainment of children (a'dizo'ke na'gumowi'nun)
This group comprises Xos. 149 and 197 in Bulletin 45 and Nos. 51-53, 127, 179, and ISO of the present work. Nos. 149 of Bulletin 45 and No. 127 in this volume represent different versions of tiie same song, recorded on widely separated reservations, which j)resent some differences on analysis. It will be noted that, with the exception of the hdlaby, 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 (.i799B"— Bull. 53—13 i
50 BUREAU OF AMEKICAN ETHNOLOGY [bull, o-'i
arc Oil the fiftli fivo-tonod 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 contain an accidental and 87 per cent are purely melodic in structure. Half begin with a downward and half with an upward progression. The minor tliird is especialh'' prominent in the descending intervals. The average interval is the same as in the war songs, and we note that tlirce of these songs are concerned with a child's game of war and one wdth war between animals. Half the songs begin on the accented and half on the imaccented part of the measure. Threefourths 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 contain no rhythmic unit, this proportion being exceeded only in the moccasin game songs. In the rendering of these songs, as well as in those of the moccasin game, a high degree of excitement i^revails. Most of the songs were recorded \-ithout the drum; in one song drum and voice show the same metric unit, while in another the drum is slower than the voice.
Tlie rhythmic units occurring in these songs will be found on ])age 330.
UNCLASSIFIED SONGS
This group comprises the following songs: Nos. 146, 147, 148, 150, 186, and 192-196 in Bulletui 45, and Nos. 67, 68, 119-122, 165-169 of the present work. These songs present a vn.de variety of interest, inclucUng songs of the ca'wtino'ga (southern) dance, the divorce ceremony, the friendly visit of one band to another, and a song concernuig 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 imits 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 prcce(Ung analysis suggests connection 1)etween the idea of the song and its musical form, and also incUcates resemblance between gro\ips of songs containing a somewhat similar idea. Tables (pp. 51-58) Juivc been prepared in order that these resemblances may be more conveniently observed. For instance, it %vill 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 supernatural 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 wldch the element of pleasure is strongest — the songs of the woman's dance, the pipe dance, and those for the
nKNSMnuKl CHIPPEWA MUSIC II 51
entertainment of children, the be^^ging dance combining tJie idea of acquirement with that of pleasure. It may l)e 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 tlie begging dancti made the circuit of the entire camp and that the pipe dance was a contortion (hmce. Turning to the analysis of tlie songs for the entertainmeut of cliildren, we find tliat 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 groiij)s 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 sti-ongest in subjective songs, and to tlu-ow liglit on other peculiarities suggested as subjects of more extended investigation by tliis comparative analysis of the content and form of Chippewa songs.
Tabulated Analysis o:-" Resemblances
1 . MIDe' S()N(iS
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 resemhlances of Mule' songs to— Dream Songs
fl, In major tonality
6, In proportion of songs l)eginning on octave
c, In proportion of songs ending on 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
6, In proportion of songs beginning on dominant
c, In proportion of songs containing octave complete exce|)t
seventh
d, In proportion of d()^^^lward ])rogressions
e, In average interval
Songs for the Entertainment of diildren In purely melodic structure
52 BUREAU OF AMERICAN ETHNOLOGY [bill. r.;j
li/iytliinic irsemhlanccs of Mule' songs to— Dream Songs
In proportion of songs in which drum is faster than voice Certain kinds of War Songs
In double drum-rin^thm Moccasin Game Songs
In proportion of songs in whicli drum is faster than voice
- DREAM SONGS
General motive of songs: The s(^curing of supernatural aid in personal undertakings.
Melodic resemhlances of dream songs to — ]\Iide' Songs
a, In major tonality
h, In proportion of songs beginning on octave
c, In proportion of songs ending on tunic
d, In compass of twelfth
e, In first progression doA\Tiward Love Songs
In proportion beginning on twelfth Moccasin Game Songs
In harmonic structure Woman's Dance Songs
a, In five-toned scales
h. In compass of twelfth
c, In proportion of downward ])r<)gressions
d, In average interval Begging Dance Songs
In major tonality Pipe Dance Songs
a, In proportion containing major triad and sixth
h, In songs having compass of four tones Songs Connected wdth Gifts
In five-toned scales Songs for the Entertainment of (-liildren
a. In five-t(med scales
h, In proportion of downward })r()gressions
Wtythniic resemblances of dream songs to — ' Hide' Songs
In proportion of songs in which drum is faster than voice Songs Connected mth Gifts In triple drum-rhythm
i.EN.sM..iu;l CHIPPEWA MUSIC II bd
;i. WAR SONGS
General character ofsongfi: (1) Dream songs of individual warriors; (2) Songs concerning war medicines; (3) Songs incidental to a war expedition; (4) Songs concerning success on tlu^ warj)ath.
Melodic resemblances of war songs to ■- Mule' Songs
In proportion of songs containing octave complete excejit seventh Dream Songs
In compass Love Songs
a, In ]M()portion of songs l)eginning on octave
h, In melodic struct lire Moccasin Game Songs
In compass Woman's Dance Songs
a, In proportion of songs ending on tonic
&, In melodic structure Songs for the Entertainment of Children
a, In equal major and minoi' tonality
6, In melodic structuie
Rhythmic resemhlances of war songs to — Mitle' Songs
In double drum-rliythm (of certain classes of war songs) Begging Dance Songs
In proportion liaving drum faster than voice
- LOVE SONGS
General character of songs : The cx])ression of (lisa])pointnient , loneliness, and sadness.
Melodic resemhlances of love songs to — MIde' Songs
In melodic structure Dream Songs
In pro])ortion of songs beginning on t\v<!irth War Songs
a, In ])ro])ortion of songs begiiniing on octave
6, In mel(idic structure Moccasin Game Songs
a, In pro])ortion of songs begiiuiing on tonic;, octav<^ or dominant
6, In av<a-ag<i interval
Melodic resemhlances of love songs to — Woman's Dance Songs
a, In relative proportion of downward and upward progressions h, In melodic structure Begging Dance Songs
a, In proportion of songs beginning on tonic, octave, or
dominant h, In compass of an octave Pipe Dance Songs
a, In proportion of songs ending on tonic or dominant h, In average interval Songs Connected with. Gifts
In relative number of downward and u])ward progressions Songs for the Entertainment of Children
a, In pro})ortion of songs ending on tonic or dominant h, In relative ])ro])<)rt ion of downward and ui)ward progressions Rhythmic resemblances of love songs to — • Begging Dance Songs In change of time Songs for the Entertainment of Children In change of time
- MOCCASIN GAME SONGS
Elements in moccasin game: Controlled excitement, desire for success and gain, pleasure, and confidence m supernatural aid.
Melodic resemhlances of moccasin game songs to — Dream Songs
In harmonic stiiicture Love Songs'
In number of songs beghming on tonic, octave, or tlominant Woman's Dance Songs
u, In minor tonality
h, In second five-toned scale
c, In com])ass Pipe Dance Songs
In average interval Songs Connected wdth Gifts
In minor tonality
r.EN.s.M..KE] CHIPPEWA MUSIC — n 55
Rhytlimic refiemhlances of moeca.sin game songs to — Miclo' wSongs
In ])roportioii oi" sonjjjs iii which (h'uin is riisicr than voice Woman's Dance Songs
a, In proportion of songs Ix-ginning on accented ])art of measure
h, In time steadily maintained Pipe Dance Songs
In number of songs hegimiing on accenttul ])art of measure Songs Connected with Gifts
In time steadily maintained Songs for the Entertainment of (Miihh'en
in riiyt hmic unit
(). 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
h, In compass of twelfth
c, In proportion of downward progressions
d, In average interval Love Songs
a, In melodic structure
h, In proportion of downward and upward ])n>gressions Songs Connected with Gifts
a, In minor tonahty
1), In live-toned scales
c, In relative number of downward and u])ward jji-ogi-essions Songs for the Entertainment of Children
a, In five-toned scales
1), In proportion of downward and upward ])rogressions
Hhytkmic resemblances of woman's dance songs to — Moccasin Game Songs
In time steadily maintained Pipe Dance Songs
In number of songs beginning on aeeent«'d ])art of nu^asure Songs Connected with Gifts
In time steadily maintained Songs for the Entertainment of ChildnMi
In rhythmic unit-
56 BUREAU OP AMERICAN ETHNOLOGY [ntii.t..r,3
- BEGGING DANCE SONGS
Elements in the dance: Pl(>asuro and acquiromont. Melodic resemblances of hegging dance songs to — MIde' Songs
a, In majoi- lonality
h, In proportion of songs ])oginning on dominant
c, In pro])(n'tioii of songs containing octav*^ coni])l(>t(^ except
sev<intli
d, In pro])ortion of downward ])rogn\ssions
e, In average interval Dream Songs
In majoi" tonality Love Songs
In ])ro])ortion of songs Ix'ginning on toidc, octave, or dominant Pi])e Dance Songs
\n num])er of ascending fonrtlis
Wiytlimic resemhlances of hegging dance songs to^ Woman's Dance Songs
In rhythmic unit Songs for the Entertainment of Cliildren
a, In proportion of songs bcghming in double time
h, In rhythmic unit
- PIPE DANCE SONGS
Elements in the dance: Ludicrous pantomimic and contortio!).
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 ton(\s Love Songs
a, In proportion of songs (hiding on tonic or dominant
b, In average interval IVIoccasin Game Songs
In average interval
Rhythmic resemblances of pipe dance songs to— Moccasin Game Songs
In proportion of songs l)eginning on accented part of measuni Woman's Dance Songs
In ])ro])ortion of songs bc^ginning on accented jjart of measure
drnsmoukI CHlPPfiWA MUSIC — II 57
- SONGH CONNECTED WITH GIFTS
()in])risiii^ son<i:s which ju'c sun<!: when a <j:ii"( of coiisidcfahlc vuluc is givcMi or received at asocial (laiH'(\
Melodic resemblances of songs connected with gifts to — Dream Son^s
Til five-toned scales Love Sonojs
In proportion of dowiiwiird and u])\v:n(l jjioirrcssions Moccasin Game Son<i:s
In minor tonality Woman's Dance Son<];s
(I, In minor tonality
h, In five-toned scales "*
c, In pro])ortion of downward and n])ward ])rof;ressions
Rhythmic resemblances of songs connected with gifts to Dream Son^^s
In triple drum-rhythm Moccasin Game Son^s
In time steadily maintained Woman's Dance Sonjz;s
In time steadily maintained
JO. SONGS FOR THE ENTERTAINMENT OF CHILDREN
Comprisinw; son^s of mimic waifare and of warfare between animals— 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 ])r()gressions War Songs
a, In ecjual major and minor tonality
b, In melodic structure Love vSongs
a, In proportion of songs ending on tonic oi- dominant
b, In melodic structuie
c, In proportion of downward and n])wai(l ])ri)gressions Woman's Dance Songs
a, In five-toned scales
b. In ])r<)])(>rtion of downward and u]»ward ])rogressions
RJiythmic resemblances of songs for the entertainment of cJtildren to^ Love Songs
In change of time Moccasin Game Songs
In rhythmic unit Woman's Dance Songs
In rhytlimic unit Begging Dance Songs
a, In i)ro])ortion of songs beginning in double time
I, In rhythmic unit
WAR SONGS OF THE MISSISSIPPI BAND OF CHIPPEWA
Odjib'wo (j)l. 1)/ the last great warrior of the Afississipjn Band of Chi])j)e\va in Minnesota, san<^ the sonojs which were associated with his own expeditions, related the story of his war ])arties, and described tlie 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 ])art of the following cha])t(n-.
At the age of 89 Odjib'we still possessed a voice of unusual strength and sweetness. The first ])honogra])hic records of his songs were made in August, 1909. A second set of records was made two weeks later for ])urposes of comparison, the songs being accurately repeated. At tlie ex])iration of several months tlie entire material was translated into Chipj)ewa for re\nsion by Odjil)'we, some new songs were achknl, and many were sung or recorded a thii'd time. In these repetitions it was noted that certain tones which \vere shortened or ])rolonged 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 unim])ortant 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.
' 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 eorrupted form "Chippewa," the only form which seems to have l)oen used in (Jovernment publications, has never been adopted by the Indians. Many variants of this name were used by early writers, among those cited being, Aehipoes (Perrot, 1(171), Oehipoy (York, 1700), ("hepeways (Croghan, 1700), Tschipeway (Wrangell, 1839), and Otchipwe (liaraga, 1878). (See Handbook of American Indians, Bull. SO, B. A . i?., pt. 1, pp. 280-281.) In the first volume of treaties published by the (Jovernment the form "Chippewa" appears. (See Indian Treaties and Laws and Regulations relating to Indian affairs, comijiled and |(iiblisheil under orders of the Department of War, Washington City, 182ti.)
The meaning of the word Odjib'we (protiounced Ojib'way) has been a suliject of much discussion. (See William H. Keating, in Narrativ(! of an Kxpedition to the Source of St. Peter's River, vol. 2, p. 151, Philadelphia, 1824; Oov. Alexander Ramsey, in Report of Commixxioner of Indian Affairs, Washington, 18,50, p. 83; and William W. Warren, in History of the Ojibways, St. Paul, Miim., 1885, p. 30.) The derivation of the word from a root meaning "to jjucker" is established, but the connection of the idea is a matter of disi)Ute. The form of moccasin to whic'h some have attributed the name is shown in plate 36. It is possible that the word Ojibway may have been derived from a phuc name in the coinitry from which tin" tribe came many generations ago.
2 ,See de^scription of song No. 37, ). ll'J.
60 BUREAU OF AMERICAN ETHNOLOGY fBt;r.r.. 53
Truly Odjib'we was a musician as well as a w^arrior. 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 Pco])le'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'gwiin ("ruffled feathers"),^ who fought beside him in the great struggle at Ca'gobens' village, was also there, and how good it was to talk over the old times! And Maifi'gans C' little wolf"), plate 9, was there, too. Although Main'- gans came from Mille Lac, he had lived at Wliite Earth for almost a generation. lie, 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 hi' jlkiwuck' (''cattle herb medicine"). This is a kind of medicine used by warriors in the old days, and Maifi'gans, as liis 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'gwun was present when, Odjib'we was recording songs and added to the collection his owTi dream song and one or two others. The songs of the mV nisino' wuck ("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 Eartli 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'kiwen'zi ("old man"), all of whom took part in the wars against the Sioux, the two last named fighting under Odjib'we's leadershij). 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 unquestioned by his tribe throughout northern Minnesota. His hand was never lifted against the white man, but when war was glory he led his peoj)le to victory over the Sioux. May he rest in peace.
The final battles in tlie hereditary warfare between the Chippewa and the Sioux were fought in central Minnesota. This warfare, wliich began before the tribes became known to the whites, had its origin at the time ol" the westwai-d migration of the Chippewa (Ojibwa), who found their progress barred by the Dakota, a Siouan tribe. The confUct contuiued with intervals of peace until brought to an end by the removal of tlie Miiuiesota Sioux by the United States Government.
' See pp. 77-7i).
HOLE-IN-THE-DAY
DENSMUKK] CHIPPEWA MUSIC^ — II 61
Oil Aufjtist 10. lS2r>, n treaty was no<j:()ti!ito(l at Prairio du Clii(Mi, MioJiigjau Toi-ritor} ,' in wliicli tli(> C'hipix'wa and the Sioux a,<2:r«>«Ml on a line of demarkation bctwoen their territories. This hne (surveyed in 1835) extended dia<:;onally across what is now the State of Miimesota from near the site of the present town of ^[oorliead to a point on the Saint Croix River a few miles above Stillwater.- In spite of the ajjreement, however, tlie war parties of both tribes conthuied to rano;e freely across the boundary line. The last o^reat light tooiv ])lace hi the Minnesota Valley, May 27, ISoS, near the site of the present town of Shakopee (see p. 76), but minor encounters between warrioi-s of the two tribes are said to have occurred for some years aftei'ward. Brower makes tlie 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, 18(i0. • • • There were about 150 painted, bedecked, and ornamented Indians in the ]iarty.
War between Indian t ril)es 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, smce any prominent warrior might persuade liis comrades to join him and organize an expedition. There were periods of peace, but as the maintenance of peace depended largely on the self-control of the indi\ddual warrior, outbreaks were of frequent occurrence. Often one fight ended an expedition, the warriors returmng 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 oi a Sioux "restored" the man who had been Idlled by a Sioux. Underneath all other motives lay tribal pride. War was a game whose terrible tally must be kept m favor of the Chippewa. To this end war ])arties 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 Bil'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 fatJier of Odjib'we was brother of the first Bu'gonegi'jig and led iiis warrioi-s against the Sioux. Bows and arrows were used in Odjib'w<>'s earlier battles and neither Sioux nor Chippewa rode upon hoi-ses.
' statutes at Large, vol. 7, p. 272.
' Eighteenth Ann. Rep. Bur. A mcr. Elhn., part 2, map 33.
» J. v. Brower and D. I. Bushnoll, jr., MUlc Lac, .St. I'aul, Minn., 1900, p. 97.
< From picture (numbered 07) in collection of photographs of North American Indians, in Descriptive Catalogue of the Photographs of the United Slates Geological Survey of the Territories for the years ISdO tq I$:j, inclusiie, by \V. H. Jackson, Washington, ls74.
In jjeneralship Odjib'we was (ILstinojuishod for sound judgment and st(^adinoss of purjjose rather than for reckless daring. His war expeditions were successful and he boasted that he was never w^ounded by the Sioux.
Odjib'we's ])rowess won for him the right to wear 11 war-honor ffiathcrs, each indicatmg that he had takon a Sioux scalp; these were eagle feathers and were worn upright in a band around the head (pi. 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 acquu'cd 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.^ Bits of once bright ribbon are at the tip of each feather. OdjSib'we stated that "four feathers could be counted for the death of each Sioux; one was worn by the man who killed liini, 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 (pi. 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 (pi. 7), of birch, has a knot for the head. According to Odjib'we, he liad 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/tctda dewe'igiln ("drum of the braves"). The frame of Odjib'we's drum is 17^ 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 (pi. 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. WTien We^nabo'jo was wandering around he always sent Mici^ken ("large turtle") on his errands; so the large turtle came to be considered a great warrior. WTien Mici^ken went to war he had Miskwa''des ("small snapping turtle ") as his o&kahc'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 (pi. 8). After the wars with the Sioux were ended Odjib'we kept it in a bag woven of cedar
All the war paraphernalia of Odjib'we, including these feathers, are now in the National Museum at Washington,
ODJiB'WE'S WAR-HONOR FEATHERS
FRONT BACK
ODJIBWE'S WAR-HONOR BADGE
5ULLETIN 53 PLATE 7
ODJiB'WE'S WAR CLUB AND WAR DRUM
DE.\s.\r..Ki:l CHIPPEWA MUSIC II 63
bark, a method of storage goiiorally listed among the Chippewa. Several years before his songs were recoTded tlie writer saw tlie old warrior wearing this shirt in a dance. The decoration is of narrow strips of weasel skhi, forming a fringe. The weasel is a luniter, a wanderer, and a warrior. A well-laiown authority states,* ''I can not learn of any otlier creature that is more thoroughly ])ossossed of tlie lust for blood than are these slim-bodied little creatures."
The ])rincipal kinds of "medicine" carried by the Chippewa warrioi-s w<n*e hi'j'thifvi/cl'' ^ (''cattle herb medicine"), ml'msmo'wuclc ("island herb medicine"), and ini'hrnio'wuclc (" eastern herb medicine"). Tliese medicines were secured by the warriors from the old men of the tribe, usuaU}^ members of the ^lide'wiwm (Cirand ^ledichie Society), who made a special study of the compounding of herbs. They were used })oth externally and internally and were sup])Osed to have efhcacy as charms, their mere presence serving as a protection. They were l)elieved also to "count<Tact the effect of bad medicine carried by the enemy." ^
Bl'jiMivficlc' , a medicine which derives its name from the principal ingredient, is commonly used among the Chippewa at tlie ])r<'.sent 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 Maiil'gans* (pi. 9), the origin of tins medicine is as follows :
There was once a Mide^wiiiFiii [male member of the Mide^whvin] who dreamed that he saw horned animals resembling cattle, under the water. They came up from the water and talked with him, tellin<i; 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 whenever he dug the roots or ]>repared the hi'jihiwdrV . Others learned it from him and now it is always sung when this medicine is ])repared.
It was customary for tlie old men wh<ni prejmring this medicine to "make noises like cattle"; this was done also when the hi' jikiivucJc' songs were sung in war dances (see No. 23).
Main'gans used four ingredients in compounding hi'jtJciwucJc^ The number of ingredients was said to vary from two to eight, according to the judgment of the man ])reparing the medicine, but the principal herb, that from which tlie medicine took its nam^, was alwa3^s ]) resent.
1 Witmer Stone and William Gram, American Animals, Ni'W York, 1902, p. 2,J7.
2 From bi'jiki and wikk; the former was. originally applied to the buffalo (see No. 90). I'lit at tlic present time signifies "cattle," while the latter means "medicine."
' Cf. J. N. B. Hewitt, "Orenda and a Deflnitiou of Keligion." in American Anthropologist, n. s., iv, no. l,pp. 40, 41, 1902.
- Main'g;iiis and Odjib'we, treating tlio siek, are shown in ]>1. ID, Bullelin 4.').
Specimens of the four herbs iissd by Main'gaiis were secured and were identified by Dr. J. N. Rose, Division of Plants, United States National Museum. These herbs are as follows:
(1) Bi'jlkiwuck' ("cattle herb"), the plant from which the medicine took its name. This was said to be "a plant a few inches hioh wliich 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 ])lant in blossom but was given a piece of dried root to which several downy white feathers were fastened (fig. 2). ^lain'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 ri « it is that of Polygala senega L., Seneca snake-root. " The bark of the root is the most important part of the plant; the ligneous portion is comparatively inert. The root possesses various medicinal \rtues. It is a stimulant, diuretic, ex- pectorant, purgative, emetic, and a 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 and internally, either chewed and applied to the wound or in the form of a cataplasm. The Indians also use a decoction of tlus root in sji^hiUs and in malignant sore throat. A decoction of the root has been used with marked success in cases of hydrophobia, with a ^'iew to its specific or remarkable operation on the apparent seat of this malady, the lungs, trachea, and larynx."
(2) Bi'jikivnri'gfick, a plant closely allied to the common sagebrush and identified as " Artemisia frigida Willd."
(3) Bi'jlldwi'hilgesa'nug ("cattle plum"), idc^itified as "Astragalus crassicarpus Nutt., or Ground Plum."
(4) Bi'pMwi'ginig' ("cattle IxuTy"), identified as " Bosa arl'ansana Porter, or Ai'kansas Rose."
The roots only are used in pre[)ariug the medicine; these are washed, scrap(Hl, and dried, and th<ui i)oundod to a i)Owder in which small shreds still remam. The princii)al ingredient is prepared and kept separate; tlie other three herbs are pounded together, equal parts of each being used. Main'gans showed the writer his l>i'jiTci}nfui-' medicine ])oiich (])1. 10) whicli h(^ always carries with him,
Dried root of 1)i'jlki\vflck' with feathers attache
i^htly mlucfil)
POUCH AND MEASURE FOR BI'JIKIWUCK'
I.KNSMOKKJ CHIPPEWA MUSIC II 65
This contained a mixtuiv, of the tlir<'.o ingnulicnts and a very small tin spoon, such as is used with a child's toy tea set. ] leld in place by the flaj) of the pouch was a small tied packet of the principal ingnnlient. Main'gans said that he frequently took a little spoonful of the powder from the pouch, and, suituig the action to the word, he took a dose of the meilicino to show that it could easily be swallowed without water. Oil the foUowuig day, in the writer's presence, he ])repar<Hl the medicuic in liquid form. Taking a pail containing about a quart of hot water, he })laced a little spoonful of tlu^ tliree mixed ingredients on the surface of the water at the eastern side of the pail, saying Wa'hunong ('' at the east ") , then at the sou them side, saying Ca'wunong ("at the south"), then at the w(\stern and northern sides, saying Ningabi'anong ("at the west"), and 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 diyided it equally among the patches of ])owder, placing it carefully in the middle of each, beginning with the east as before but not rtipeating the names of the cardinal ])oints. The ingredients soon dissolved in the hot water. According to Maiii'gans the medicine was then ready for use, though some preferred to secure a stronger flavor by boiling it. lie said that the tasto was agreeable^ and that the medicine should be taken four times a day, the dose to be small at first and then increased, the fuU dose being taken m a measure (pi. 10) which he gave to the writer. This is made of bii'ch bark and contains about a tablespoonful. The drawings on the inside are said to represent animals and to iiulicate that the measure was to be used for this particular medic hie. Main'gans swallowed a ])ortion of the liquid aft(>r offering it to the writer.
Ml'rmino'wilcl: ("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, whore 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 fouiul growhig in the woods at White Earth.
Na'waji'l)ig()'kwe said that many years ago the Sioux were "getting too powerful for the Clii]:'])ewa," and that about that time a man "dreamed of a thund<u'bird, who told him iiow to ])repare and use this medicine." She rtdated the two following incidents of her personal experience with ml'nlsmo'wuck: In the autumn of 1909 a member of her family was involved in serious and compliciited difficulties. She resolved to help him by means of ml' nlsino'wuck. 67996°— Bull. 53—13- 5
66 BUREAU OF AMERICAN ETHNOLOGY [bill. 53
After searching many weaks in tho woods she found at hist one httle root, not the principal ingredient but all she could find. She took tMs 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 w^as 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 m%'n%sino'wuck. 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'nismo'wUck is said to be a powerful curative agent. It has the effect of checking the flow of blood from wounds, and is also used mternally in many forms of sudden illness. It is a "life medicine," used for good ])uii)Oses only. Four songs connected with this medicme are contained in this section (Nos. 24, 25, 26, 27).
Wa'huno'wucl: ("eastern herb medicme") is entirely flifferent in both nature and use from either hi'jihkvilclc' or ml'mslno'wuck. 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 foUowdng story of its origm: 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 triflmg to appreciate so solemn a thing as the Mide'." The yoiath 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 hun 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 ^ya'hunog' } They l\eld 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 thmgs go tlirough the aii'." There were said to be many songs connected with this medicme, but none have been recorded by the wTiter. It was said to have passed out of use among the ^lionesota Chippewa except at Vermilhon Lake.
' Compare Hoffman, The Mide'wiwiji or " Grand Medicine Society " of the Ojibway.in Seventh Ann. Rep. Bur. Ethn., pp. 150, 157.
The three iiKHliciues above dsscribcd, impart iii^jj ))()\v(U" of healiiio;, success, and revenge, respectively, wm-e well adapted to the use of men on the warpath.
Songs Connected avith Odjib'we's Personal Experience ^
When Odjih'we was a hoy liis paternal gi-andfather, two ol" the hitter's brothers and two ol his own brothers, one older and one younger than himself, were kilh'd by the Sioux. Hatred iiHed Jiis 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 davs at a tune, remaining alone in the woods and hoi)ing 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 hmi. The Sioux took the guns made of rushes and shot at him. Out of the guns came hoi-sefhes, which lit on him but could not harm hmi. 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 reall}' 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 lips 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 tlie 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 ])ossession.
No. 1. <»<ljih'wo's nrcaiii Sonj? (Catalogue Xo. 392)
Sung by Odjib'wk Recorded without drum
r
O- bic-ko-
1 .Sec 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.
obic'kona'wawan' when they shot, they missed
ini^nlwuu' ' the man
Analysis. — This song contains nine measures and is divided into four parts, the first, second, and last contahiing tlie rliythmic unit, and tlie third containing the words. Tliis 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'wc took part m a dog feast. It was the custom of the triljo to hold feasts of this kmd 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 amiounce 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 sbiging and dancing, and many speeches, the youths whose courage was to be tested were seated on the ground in a circle, m the center of which a dog was killed. The fiver was then removed and cut into small pieces, one of which was given each young man on a long stick. If ho chewed and swaUowed the moreel without flhiching, he was consideretl brave enough for the war[)ath, 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 slightsst change of expression," but that for many days afterward he was unable to bear the thought of what he had done, althougli 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'bdncc'ktin ("he who walks by one side of the thing"), a young man about his own age, and they decided to go on the warj^ath together. They told no one of their intentions, but pretended tliat they were going on a hunting expedition. With heavy hearts they left the vifiage. They thought of the friends whose deaths they were
1 In order to make this word conform to the music a meaningless syllalile (ua) is inserted. The Chippewa custom of changing the words of a song to fit the music is considered in Bulletin 45, p. 14.
densmork]
to ayoiigo, Jiiul tlioni was ])f()l)!il)ly in their miiuLs luicerlaiiil y ro.o;ar(ling their own fate.
Oiljib'wc said that thoy sang the following song every one of the four iiights they campetl. The words imply that there were nion^ 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.
N(». 2. Odjlh'wo's First War Son?,' (Culalo.mie No. ;571)
Suii^' by Odjib'we
Voice ,'—192 ( Drum in unaccented eighth notes*)
^^s^i^^^iP^^^^Bpi
Be - ba - ni -o - ne-yau nin-do - na-gi-mi-gog ni -ni-wfig
•-^-^-^-^-^--^^'^fiJ
be -ba- ni - o - ne - yan nin-do- na-gi - mi-gog ni-ni-wug e
m^^M^^EE^^^^^^^^=m
be - ba - ni - o - ne - yan e nin-do-na - gi-mi-gog ni - ul-wiig e
- Drum-rhythm
-d — J d i — 3 — ^— ^ — ^
beba^nio^neyan on the fourth day
nindo^nagi'migog'' I am chosen by
ini'nhvug ' 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 ^larch,
1910, all the renditions being identical. The intonation was good throughout the renditions. The metric unit of the song is very rapid, but steadily maintauied. The accents were clearly given and the transcription is divided into measures according to the accented
'This word, literally translated " men," is commonly applied to warriors (see p. 187).
70 BUREAU OF AMERICAN ETHNOLOGY [p.rr.i.. 53
toiios. Tlic. 1-liylliinic unit varies sonunvhat in its r<>p('titi()iis, l)ut begins uniformly with a ")-S nicasviro. Tn 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 transcribsd. The words, however, are of interest as showmg the arrogance of the youthful warrior after his first victory.
nisese''sinawa^ I make him bite the dust
Wape^tawau (Sioux word) ' . . . the Wapeton Sioux wabamuo;' when I see him
Odjib'w(v stated that he tlid not sing his cU^eam song on the expediti(m 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. WhUe the men were away from their camp the women saw two Sioux scouts, and on theii- 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 breakfast the next mornmg 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 ho put on his brightest ihiery, 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 vSioux, the former carrying his gun on his right arm.
Two Sioux were on the watch, and wluni they saw Odjib'we and his companion approaching, tliey hid in bushes besitle the road; one carried a spear, the other a club . Without warning they at tacked the two Chippewa. The mahi body of Sioux warriors then appeared, some
1 "The Dakota call themselves Oteeti cakowi" (Oceti sakowii)), The Seven Fireplaces or Council-fires. This designation refers to their original gentes, the Mdewakantonwan (Mdewakarj-toijwai)), Waqpekute (Wahpe-kute), Waqpe-to"wan (Wahpetogwaij), Sisitc^wa" (Sisitoriwai)), Ihank-to"wa» (Iharjktoijwai)), Ihank-to"wanna (Ihagktogwarina), and Titonwa" (Titorjwa^). . . . The Waqpe-tonwa" or Wahpeton [:] The name of this people signifies 'illage-among-the-leaves (of deciduous tre«s). the gens being knowTi to the whites as Leaf 'illage or Wahpeton."— James Owen Dorsey, Siouan Sociology, in Fifteenth Ann. Rep. Bur. Amer. Eihn., pp. 215, 216.
DExsM.mF.l CTTIPPEWA MUSIC 11 71
arnuid with s])<iars and sonio with chih^. Odjih'wc's (•oinpaiiioii was killed, but he himself eseaped, rumiino; a loiii:; distauee before he realized tiiat he had a gun. Suddenly a Sioux attacked him with a club. Odjib'we shot the Sioux ami then hid l)ehind a great oak tree. According to then* 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 vSioux. They could not find any living enemies, but they scalped tlu^ di^id man. It was during this skh-mish that Odjib'wc first sang his dnuini song (Xo. 1).
The followhig song (No. 8) was composed by Odjib'we after killing a Sioux and was sung by liim whsn carrymg the scalp in the victory dance.
A small war party was organized by BCi'gonegi'jig (Hole-in-theday), Odjib'we being one of the number. They went to a point on the Mmnesota River near the site of the })resent city of St. Paul and took their ])Osition near the road which the Sioux would travel in going from their village to the white settlement. Ilole-hi-t he-day told his men to lie in a row behmd a fallen tree and gave strict orders that they should await his signal for firing, that only one man should lire, and that no one should shoot a woman. In silence the Chippcnva 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 laughing merrily. The warriors watched their leader but he gave no signal and the Sioux jiassc^d on. Later a man came alone. Hole-in-theday 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 Odjib'we was entitled to wear thereafter a skunk-skin badge on his right arm (see pi. 6; also p. 62). Ilole-m-the-day gave the order, ''Cut his throat at once." This was done, and Odjib'\ve Mmself took the man's scalp. The Chippewa then ran down to the river and, entering a canoe, started for the opposite shore. ^leantime the sound of the fu'ing 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 o])posite 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."
BUREAU OF AMEBIC AX ETHNOLOGY
No. 3. "An Eagle Feather I See" (Catalogue No. 346)
Sung by Oojib^ve ( Drum in accented eighth notes*)
mM^mm^^^^w^m
Gi-ni-wi-gwfm ni-wa - ba-iua loe o -gi-tci-da nin-de - bi - bi-uau
mim^^m^m^^^m^^i^M
- ( Drum-rhythm )
gini'wigwun^ an eagle feather ^
niwa^bama' I see
ogi^tcida - a brave
iiind('^l)iliina' I have caught
Analysis. — Triple and double measures alternate througliout this song. The first and second measures constitute a rh3^t]miic unit, tlie tones being those of tlie major triad of A. In the tliird and foiU"th measures this unit is repeated on the minor triad of F sharp. (Compai-e 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 influences the rhythm of other parts of the song is worthy of observa- tion. Four renditions of tliis song were recorded, the rhythm being accurately repeated.
The following song commemorates an incident imique in the annals of Indian warfare, relating to a scalp which was mislaid.
Odjib'we was leader of a small war party wliich went against the Sioux. The Chippewa were hiding in a ravine, when they saw a Sioux coming over tlie 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
' This refers to the feather worn by a warrior who took an enemy's scalp. (See p. C2.) « From Sioux aki'iita. Cf. pp. 76, 88, 108, 186, 190, 230.
iM(iKi:l
CHIPPEWA MUSIC
until after he has shot the (hicks." Odjib'we ami the rest of his war ])arty renuiined in concealment. Soon they heard the re})ort of a gun, indicating that the Sioux had shot the ducks. Then tliey heartl two shots and knew that then- men had fu-ed on the Sioux. Their aim was faulty, and the Sioux soon a])peared, running toward Odjib'we and his warriors. Odjib'we ste])ped from his hiding ])lace. The Sioux cried, "You can not hit me. 1 am a bravo man." Odjib'we replied, "I too am brave," and struck at the Sioux witli his gun. The latter dodged and attem])te(l to strike back with his own emj)ty gun. FiiuJly the Sioux started to run away, and Odjib'we shot him in the back.
Odjib'we allowed Mo'kadjiwens' ("little hill rising uj) to 'iew") to remove the scalp, and the war ])arty started for home. The scalp was in charge of the man who removed it; when the party sto])j)ed for their noon lunch he either laid tlie scalp beside liim or hung it on a busli and forgot it. The scalp was not missed until the ])arty went into camj) at night, many miles from the halting place at noon. It was out of the question to return and find the seal]), so they com- ]josed this song, which they sang at home in the victory dance. Mo'kadjiwfns' was given credit for taking the scalp, but mingled with tlu' honor was o})en ridicule for lia'ing left it "hanging in some marsh."
No. 4. Song of a Mislaid Scalj) (Cafalogue Xo. 387)
Suiif^ l)y ( (djib'wk
Recorded without drum
sti - gv/M gi - a
m
I riT^
5=F=
go - de uia-na-ki
kin
:t^:
^^^^^^
Md'kadjiwens' M(/kadjiw('ns' (man's name)
gama'mijun took
bwan^istigwun' a Sioux scalp
gi^agode^ which is hanging
ma^nakikin' in a marsh
Analysis. —This is a particularly lively and attractive melody. Tt is one of the comparatively few Ohi})])ewa songs in which there is no change of time, the triple measure being steadily maintained. It
74 BUREAU OF AMERICAN ETHXOf.OGY [bim.. r,:!
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 melotly.
The next song concerns a war expedition which was organized by Ge'miwunac' ("bird flying low through the rain")/ a member of the Pillager Band of Chippewa (Odjib'we was a member of the Mississippi Band). The ]VIississii)])i were not thinking of going to w^ar, but a party of 20 Pillagers came to the \illage 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 w^as 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 otliers sat still; all sang before they w^ent to bed. Early the next morning they broke camp and took their journey through the woods, traveling rapidly all day. 'Wlien they reached the prairie, they rested in concealment by day and traveled by night. On approaching the Sioux country, they sent two scouts ahead w^ith 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 i)late 11, in which his costume, as shown, is not that of the w^arpath).- 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 a new trail. The Sioux must have passed to-day." One scout said, "There must have been a hundred;" the other was more conservative, estimating 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 pi. 9 of Bulletin 45 and pp. 51, 95, 114, 115 of the same Bulletin.
2 Cf. pi. 14.
ODJIB'WE IN POSTURE OF SCOUT
i.i:.vsMni:i:I CHIPPEWA MUSIC II 75
looking over the cam]), Ihcy hcanl in the distance the <i-uns 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 o])en country on the o])posite shore. The main body of the Chi])])ewa followed in the same general direction. Soon they met the scouts coming hack with the re])ort that two Sioux were sitting on the other shore of the lake. When the Chippewa reached the l)lace, 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 untU night. The Sioux did not suspect the ])resence of Chip])ewa in the vicinity. From their hiding j)lace the Chippewa watched the Sioux cook a meal and later prei)are 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, sapng that he would creep ahead (see i)l. 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 lieard them cho])])ing wood. He ran back and found all the Chippewa at the old vSioux 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 re]:)ly. 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 i^ass, and when the latter came up, sliot one man. That was tlie beginning of a hot fight, which lasted all day and until after nightfall; it was fought in the open with no protection except the higli grass. No bows and arrows were used, l)oth Chi])])ewa and Sioux being armed with shotguns. The fighting was ])articularly 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 im])ossiblc to tell who killed each man. Toward evening Xo'din (''wind"), the Mille Lac chief, was killed, and the Chi])])ewa could not recover his body. Three Sioux scalps were secured by the Chi])pewa. After the fight they did not follow the Sioux, but returned home with these trophies.
This victory was celebrated by great dances at which the following song was sung, tlic words indicating that the singer would soon go on the warpath again.
No. 5. Song of an Unsatisfied Warrior (Catalogue No. :i91)
Sung by Odjib'we
1 r
Mi - s(i - wa -bQii-ji
r
bo - zi - yan e
a - sa - kfim -ig - dji
^igl:g^p^i^^[|l^g^^lliEi^
ua - dl-yau e
mi'suwabunjibo'ziyan'. asa'kilmig'djTna^diyan'.
to-morrow I shall start in my canoe 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 begm on the descending tones of the mmor triad. Double and triple measures alternate tliroughout tliis song, the rhythmic unit consisting of a double followed by a triple measure. Keference 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, whicli 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 ]\Iimiesota River at the village of a Sioux chief called by the Chippewa Ca'gobens (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 Chi])pewa changed the pronunciation sUghtly and added the Chippewa diminutive termination ens,^ so that the name became Ca'gobens.^ 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 WTiter has heard of his fame from Sioux livhig at Sisseton, South Dakota, and at Devils Lake, North Dakota. Both Odjib'we and his friend Niski'gwtin took
1 Pronounced Sha'kpay.
See pp. l,S(i, 190, 230.
Pronounced Sha'gobfins.
DENSMouK] CHIPPEWA MUSIC II 77
part ill tho. fight and togdlluu- tlicy related its story, NiskiVwuu also singing two of the songs.
Kegarding this fight Folwell gives the following infoi'iuatioii : '
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 t()w^l which bears his name. One of his braves, fishing in the river (the Minnesota) at an early hour, was fired upon. Shako- ])ee"s men instantly recognized ihe 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 dowTi 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 ])erhaps 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 stan(l])oint of the native historian is given by WaiT'Mi.- Odjlb'wii's narrative is given below in connection with song No. S, which conctn-ns the chuith of a ^^•arrior in the engag(>ment.
The first song of the group has reference to the war charm worn l)y the warrior, the song being sung shortly before a fight to mak<'. the charm mor*^ (^ft'ective.'' Niski'gwiin said that he sang this song before the battle at Ca'gobens' village. The last two words were sung with the rej)etitioii of the song, the melody remaining the same. The word ''balls" was said to refer to the luuitls of the enemy, which the waiTior would cut oft" 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 hun in a dream. (See No. 28.) Thischarm was hung around the neck of the warrior, who believed in its power to ])rotoct him. It was said that if, by any chance, a bullet struck this charm it would kill the man. According to Ma'djigi'jig (see p. 84), who made a duplicate of the old war charm (pi. 12), the bii'd used hi preparing this charm was "the smallest of a kind of bird that fli(>s at evening;" it was identified by ]\Ir. Henry Oldys, of the Biological Survey, as the kingbird, or bee martin ( Tyran nus tyrannus) . The characteristics of this bird may explain its use by Indian warriors in preparuig a charm. "Nothmg can be more strikuig than the intrepidity with which one of these birds will pounce upon and harass birds vastly larger and more powerful than
1 \V. W. Folwell, Minnesota, the North Star State, Boston, 1908, pp. 157-15S. •i History of the Ojihway, in Collx. Minn. Hist. Soc, vol. V, 18So, pp. 502, 503.
3 other songs connected with the use of "medicine" are Nos. 21, 22, 23, 24, 25, 26, 27, 2S, 32, 36, 141, 142, 143.
BUREAU OP" AMERICAN ETHNOLOGY
itself. The kingbird is always ])rompl to ])orcoive 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 sldn of the weasel, the most ferocious of small animals, as a decoration has been abeady noted (p. 63).
If a birdskin were not available, a charm in the form of a bird (pi. 12) was made of cloth and the medicine placed between the two layers of the material.
No. 6. War Medicine Song
Sung by Niski'gwux
Ga - um - ba - ci - wad
^3EH3
ba- ci-wad
:4=^=
:9^^E4
:K:
se
SS^ii^iiii;
nim-bi- lie - sl-wa - yaii ga-um - ba- ci-wad
^i^l^lilipipiiiililiiiigill
nim-bi - ng - si - wa - yan ga-um - ba - ci - wad e nim- bi - ne
{First rendition)
ga^umba'ciwad' i t is wafted upward
nim'bine'siwayan' my bird-plumage
{Second rendition)
ga'umba'sin' thoy will be flying
nim^bika^kwadoii' 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 w^ar cries. Indifference concerning the completion of a song lias been noted in a few other instances, the singer seeming satisfied without hearing the final tone. This suggests that tlie relation of the tones to a keynote is not clearly felt. A strong rhytlimic sense is sliown by tlie accuracy with which the rhythmic unit is repeated. The melody tones are those of the fourth five-toned scale.
Niski'gw<in stated that before the battle he sang liis dream song. This song came to him when he was a young man, after he had
'r. M. Hrewcr, and H. Hidgway, North American Birds, Boston, 1874, p. 318.
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'gwun's Dream Song (Catalogue No. 386)
Sung by Niski'gwux Drlm , — 100
M. ^ JL.
=4 —
il^i^
Gi - jig
ni-wi-dji-wi-go
gi'jig the heavens
ni'widji'wigft' go with me
Analysis. — This song was recorded three times; tlie transcription was made from the first rendition. In general character the song presents a contrast to the songs recorded by Odjib'we. The rhvthm 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 rhvthm of the song as a whole has a certain individuality 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 tlie first measure. This tone was sung firmly and accurately. Tlie sixth lowered a semitone is the accidental occurring most frequently in Chippewa songs (see Table 7). This accidental is found in tlie following songs of the j)resent volume: Nos. 7, 8, 19, 22, 41, 101, 156, 160.
The story of the fight at Ca'gobens' camp, as related by Odjib'we, is here given.
A war party of more than a hundred Chipi)ewa determined to attack the encampment of Ca'gobens, 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 an<l hid in the bushes beside the water; among the number were Odjib'we and
Ga'witayac/ C' whirling wind"), a very brave and handsome 3-oung 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 Chijjpewa camp the fight began beside the river. OdjibVe and Ga'witayac', who had used all their ammunition, w^ere 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 antl 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 filled on them in the open. Tlie 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 standmg around him as he sang his death song. Slowly his voice faded away and in a few hours he died while he was still singing. 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 Odjib'we
Drum Jzr 100
r
Ki-tci-mak-wa iii-
;• -]•--#- -#.
sii^^^^^gN^Bi^
-b.-
wa - ji-mig e
"1 r"
P^^p:1=1:
^^^^^^^^^U
'm
X=^-
■jtm:^
ll
CHIPPEWA MUSIC ^n
ki^tcimakVa.. ni^waye^jimig'
large bear 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. Tlie first two measures constitute an introduction, after which the rhytlimic unit is continuous!}^ repeated except in the mi(Ulle ])art, which contains tlie words. (See Xos. 1, 12, lo, 30, :39,40, ST, 105.)
The song is major in tonahty and contains the flatted sixth as an accidental. The chords of the tonic and submediant form the framework of this melody, but the accented A flat prevents the classifica- tion of the song as purely melodic in structure. It is classified therefore as ''melodic with harmonic framework."
Two songs were composed concernmg 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 composed during the fight. The struggle continued until past noon. Five Chipi)c\a were kiUed and 10 wounded, and many Sioux were killed.
No. 9. "On tin* Bank of a Stream'
Suni; by UujIb'we
Voice J_^ 144 ( Drum-rlij'tlim similar to No. 2 )
^. ^. ^. #. ^-
iisiii^
zzt:
mm
A - ga - mi - zi
bi - wi - cell
eu -da-iia - dji-mi-go
yau
9^!=*
iH^^ill
m
SSEE
I
^
S=tt=f
s
^
aga'mizi'biwicf'ii' across the river
en'dana'djimigoyau' 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 scries of 340 Chippewa songs (see Nos. 170, 174 hi Bulletin 45 and Nos. 31, 53, 125 m the
1 One syllabic of this word was omitted by the singer. 67990°— Bull. 53—13 6
BUKEAU OF AMERICAN ETHNOLOGY
iBLI.L. 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 mtervals 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 constitutes the upper part of the tonic triad. This openmg 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 m th'e followmg songs in BuUetm 45: Mde' songs Nos. 51, 54, 59, 69, 79, and war song No. 130.
At the close of this song we find the progi^ession 8-7-8, which represents the descent of a whole tone to the seventh of a mmor key ami 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 m 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 m old English Plaui Song.
This melody contains no rhythmic imit, but the phrase in the 8th measure reappears m the 14th and in part of the 15tli measure with a change of accent, a variation which gives character to the rhythm of the song as a whole. The metric miit was maintained with less regularity m 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 followmg them across the river, crymg, and cursmg the Chippew^a.
No. 10. "At Ca'^obens' Village'
Sung by Odjib'we
Voice J-z 100 Drum J-_ 108 (Drum-rhythm similar to No. .'>)
^iE:
^^
:p=t
'm
J^
3^f
^
^Htt^
W4
r
'JH^^^^H
■_
^ -..- %A<>.'^' m^^^M
(Ciipyrii^'ht >y SWL't-C ^imiio, iluiiicapolis, Minn. MEJA'KIGI'JI'G
DENSMOREj CHIPPEWA MUSIC — II 83
{First rendition)
Ca'gobens at Ca'gobens
odo^denan'' village
raa'wiwug^ (they) are weeping
ini'niwug' the men
{Second rendition)
Ca'gobens at Ca'gobens
odo'denan' village
ma'wiwiig' (they) are wailing
ikweVug the women
Analysis. — This mclocly ls cluiraclerizod by opening;" measures nnuor in tonality and by the tonic appearnig in the first measure. (See analysis of No. 9.) The first five measures have a rhythm wliich 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 containuig the words. This is not strongly accented, though the notevalues 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 phonogra])li 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.
Personal Reminiscences of Three Warriors
THE child's dream OF WAR (By Meja^kigi^jig )
Meja'kigi'jig ^ (pi. 13), chief of the Wliite Eartli Chippewa, furnished, in June, 1911, the following narrative of his childish dreams and their fulfillment. He stated at that time that lie was the sole survivor of the representatives of tlie 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 ])arties led hy Odjib'we, that he took ])art in ten camj>aigns against the Sioux, and was in four figlits. The aged chief is honored and res])ected by all who know him, a man of wise counsels and kindly heart.
vSpeaking through his favorite interpreter, Mr. John W. (^arl (see pp. 130, 303),Meja'kigi'jig said that when he was a little boy iiis father was killed by the Sioux. He well remembered trying every night to dream of something which should enable him, a boy of 7 yeare, to
1 Rev. J. A. GilfiUan is authority for the statement that when he ^vent 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."
kill a Sioux. The older j)eople 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, hoi)ing 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 "wUderness." 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 wSioux scalps.
Thus the boy, grown to manhood, avenged his father's death according to the custom of his people.
THE TRAINING OF YOUNG WARRIORS
(By MA^DJUii'jir,)
Ma'djigi 'jig ("great sky") was a young man when the war ])arties swej)t 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 wisj) 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.
IN POSTURE OF LOOKING FOR THE ENEMY
RECOUNTING THE TAKING OF THREE SCALPS
MA'DJIGI'JlG
DENSMOKE] CHIPPEWA MI'SIC II 85
When (leer oi- other h\v<xv <^i\n\o were killed by the wariiors it was customary to hold a '' breakin^-boiie 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 w^as then blindfolded and, hatciiet in hand, walked toward the bone. When he thought himself neai- it, he sti'uck at it with his hatchet. Ma'djigi'jlg illustrated this for the writei-, 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 wdth 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. Tliis 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 w^ere tied securely at the wrist, from wdiich a small stick w^as hung; this the recruit was ordered to use in scratching his head or body. FaiUng to do this, on reaching home he would ''break out with boils on his whole body." Some recruits refused to w^ear mittens or to use the "scratch stick," and ]\Ia'djigi'j!g 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 lacked 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 ow^ner of the weapon, as such action w\as supjiosed to render it useless. It w^as considered a bad omen for a reci'uit to see a snake.
Ma'djigi'jTg I'elated the story of an attack on a Sioux village, which took place during his first war ex])edition. At dusk the leader of the party sent several experienced men to reconnoiter. Under cover of night they appioached the Sioux village, counted the tipis, and estimated the number of w^arriors. Soon after midnight tliey returned and made their report. Prej^arations for a march were begun at once and just before daybreak the C'hippew^a drew near the Sioux village. Tiie leader then called for the wind and the wind came. The Sioux heard the wind singing through the tipi poles, anti the flapping of the tipi canvas, but they did not hear the soft tread of the Chippewa as the latter entered the camp. The Chi|)|>ewn lowered
86 BUREAU OF AMEEICAX ETHNOLOGY [bull. 53
their guns, aiining at the phices wliere the Sioux hiv 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 tliis 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 difficult to remove, but a skillful w^arrior 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 coiTiing 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 callage, the leader of a war party frequently "called on the thunderbird to send rain," in order that the Sioux would remain at home, not changing their camp or wandering in the vicinity, where they might detect the approach of the Chippewa.
THE WAR BADGE
(By A^KiWEN^zi)
A'kiwen'zi ("old man") wore })roudly the double insignia of his success as a warrior — feathers in his headdress and skunk skins attached to his ankles (pi. 15). Even at his advanced age lie was so lithe and agile in the dance that one could readily l)elieve his statement 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'gobens' 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 liis ankle. Later, as a member of a w^ar 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 w ar-honor feather, and the other skunk skin at liis ankle. In June, 1911, A'kiwen'zi w^as living on the Wliite Earth Reservation. There he and his war comrades frequently joined in social dances with their old enemies, and again smoked tlie pipe of peace with the Sioux.
JULLETIN 53 PLATE 15
AKIWEN'ZI
DESCRIPTION OF CHIPPEWA WAR EXPEDITION, WITH TYPICAL SONGS
Every ])haso of a war ox])0(liti()ii had its ai)pr()])riate sono;, from \\o. niniouucomeTit of tlio lead(u-'s ])lan to tlie close of the victory (lances.
Songs Connected with Organization of War Party
The wan-ior who wished to lead a war party sent an oc'lcahe'wis (messenger) with tobacco to ask the warriors to joui his expedition. The messenger went to each village and requested the wari-iors to assemble; he then explahied the purpose of the expedition, fdled a pipe with apak'osigun' (a mixture of tobacco and the iimer 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 ex])<uliti()n so signified by smoking the pipe.
N<K 11. Song of the War Messenger (Catalogue No. :i58) Sung by ODJiiS^WE ( See drum-rhythm below )
m
rfc^:
':\i±i
Bi - da - ko - na - ma - wi - c
^?. [.,. *. ... .... ... .,f^
no - sis nin- do - pwa-gfin
E3I5
-•- -•- -»- -•-• -•
bi - da - ko - na - ma - wi - cin
no - SIS nin-do - pwa-gfm
^^^^^r^
^E^
f-^^^-
.aii:=t:
^-^—^^—jLr—MtnrA
i
e bi - da - ko - na - ma- wi - cin
no - SIS nin - do - pwa -gfin
^siESiiiSfeil^i^iiiil
e bi - da- ko-na-ma-wi - cin no- sTs nln-do -pwa-gfui e
Drum-rhythm
i=fe^E;s^^?=r=^i=^
[Btn.L. !
bidako'namawirin^ como and hold
nin^dopwa'gun my pipe
no^sis my grandfhild
Analysis. — The driim-rhythm of this song is iiniisual; it consists of an accented stroke followed by a short unaccented stroke corresponding to the second count of a triplet. The metric unit of the drum is slightly 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 percept il)ly.
The tones of the melody comprise only the minor thii'd and fourth, the principal interval b(ung the desctuiding minor third. The song contains a rhythmic unit, which occurs four times, constituting the entire melody.
After the smoking of the pipe the oc'kabeVis returned to tlie man who wished to organize the expedition and reported his success in the following song.
No. 12. Return of the War Messenger (Catalogue No. :i59) Sung by Odjib'we
'^^^^^\i
■B=
:^=:t
i=^=
•-^
m^
gsigiL^li^ifl^iEiii^iiBii^
m
ni - ui-wfig e
ogi^tcidaii like warriors
ijina^gilziwug' they look
be'zigwi'djig who arise
ini^niwug^ those men
Analysis. — This song is dividtul 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-
DEXSMOnE]
codiuo; song. Tlie descending interval of the minor third occurs frequently, and the song is distinctly miiioi- in tonality.
In a short time the warriors arriv(ul and camped lu^ar tlu^ lodge of the leader. A feast was given by the lead(u-, at wliicli he (^xjdained more fully the proposed ex})edition, asking lor a ilnal pledge from the warriors. All who were satisfied with the ])lan responded with Tie he lie, find the expedition was considenul formally inaugurated. The leader then said, "We will have the first dance to-niglit, and we will dance every night until we reach the (UKuny." According to Odjih'we the following song was usually sung by the IVILssissippi Band of (''hi])pewa at this initial (hmce (see also No. SI).
No. 13. "I Feel no Fear" (('ahilogue No. :V28)
Sung by Odjiu'we Voice J:_160
a- , - '*' r^ f
r^^-^
1 — 1
.^~r-! -1 1 1
^-^^^^^—^-
L.ii
^
Ka - will nin - ca - gwe - iii - mu - si ka - win nin - ca
^-^— •
^-
t^
■•— ^— • — r 0-^ • • 1 — •-: 0 • 1 — •-= • — 0 r.
gwe- 111- mu - si ka-wiii nin-ca - gwe - ui - mu - si kl-tci
idS ; ■- ^ '^
win nin-ca - gwe - nl- mu - si ka-wTn nin -ca - gwe- ni-mu -si ka-
"1 I ~~ 1
-^=EI^^E^
win nin-ca- gwe-nl-mu - si ka-wiu nin-ca - gwe - ni-mu - si
kawin'' 1 , , ,
.... [ I feel no fear
nincagwe'nimusr J
Kitcizi^iwini^ni when the (Jreat River mnii '
nibo^in death
waya''winduri ^ speaks ( i [
' The "Great River" \va.s the Mississippi, and the term "(;r(';il River man'' referred to a mem Mississippi Band of Chippewa. sTlie last syllal>le Ls divided and also ehanged, to fit the music.
Analysis. — This is the first song rocorded by Odjib'we. Four renditions were secured and found to be uniform. The first two were witliout the drum; these were followed by a pause, during wliich it was explained to the singer that the drum was desired; he then resumed his singmg with the accompaniment of that instrument. On comparison 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 interru])ted 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 expedition. It contains the name of a man who once stayed at home, and was intended to shame all wdio, without proper excuse, failed to join the warriors.
No. 14. "The Man who Stayed at Home" (Catalogue No. 388)
Recorded without drum ^ ^ -^
Sung by Odjib^we
S^^lS^^^H^I^ig^
Mi-nodj JTn-gwa-be mi no i - ni - nin gi-ne - ni-mud e
:3!SEE
?^3IS3
i^ES^lHS
^m^
teS
I
—IS.S -s^
wfin go - cd o-don-da - me - ni - man
mi^nodj although
Jingwa'be Jingwa^be (man'.s name; meaning, "man
of the spruce tree")
ini'nin ' a man
ine'ninuul' considers himself
wi'wun his wife
gocu' certainly
odonMame'niman^ takes all his attention
' The initial g of the fourth word in the music Ls carried over from the n, the final letter of the preceding word — an example of elision by Chippewa .singers.
CHIPPEWA WAR BANNER
DEN'SMOUE] CHIPPEWA MUSIC II 91
Analysis. — Four renditions of this song wcro nn'ordod with u short intorval between the seeond and third. The rliytlnn was accurately repeated, even the slight vanations in time being dujjlicated. 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'lcahe'wts. They attended to all the pre])arations for the ex])edition and made the arrangements for tlie dances held before lea^^ng the Adllage. One of them carried the leader's pipe and the other carried the drum when the war party was on the inarch. 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 w^as proxnded by the leader, who also borrowed the "banner" or "flag" borne l>y 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 auK^ng the Mississippi Band of Chippewa, made by a man named Gaga'glwlgwun' ("raven feather") and loaned to the war parties. It was considered the common ])roperty of the warriors, but this man was its custodian in time of ])eace, and it was })reserved in his family after hostilities ceased. At the present time (1912) there is one war flag ])reserved at White Earth, but this is believed not to be the one made by Gaga'giwigwun', 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'glslns', though a woman would not have carried such a banner in actual warfare. Mi'gMns' was so distinguished a warrior that a song in his honor is still sung at White Earth (No. 126, Bulletin 45). A similar banner, useil at Waba'cing, is shown in plates 44 and 45.
The final event before the de])arture of the war party from the viUage was the dog feast. The head alone was eaten and oidy the men who were going w^ith the expedition partook of it. Participation in this feast was considered equivalent to a ]>ledge that the warriors were prepared to meet the full fortuni^ of war, whether death oi' wt)rse, at the hands of the enemy.
No. lo. Pledge Song Sung by Odjib^we
Voice Jr=108 ( See drum-rhythm below )
-•- -»- -0- -•--•--•- - ^ r^ ^
9^
^^l^^^i^
=P
o - gi - tcl - dag
nin - da - ca - mi - gog
§aES=BgiSE^^pi|gig
nin- da - ca- mT-gog Drum-rhythm
nin-da-ca-mi-gog
t=t:
nin'dacamlgog' they feed me
ogi'tcidag' the braves
nin^dacamigog^ 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 mstances the last measure was omitted, the corresponding quarter notes an octave higher takhig 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 contaming eight and the second seven measures, a strong accent bemg given the fu'st note of the nmth 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 fmal preparations had been made and they were ready to start on their journey.
DE.NSMUUEJ
No. 16. Dance of the Dog Feast (Cataloj,me No. 361) Sung by Oujib'we
Analysis. — This song contains a rhytliniic unit which is slightly varied in repetition. No variation m 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 ami began with the last note of the second measure. The tempo is slow and the drum and voice are in consonance. In general character 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 tlie melody. Dancmg, not marching, tliey left the scene of the feast, and followed tlieir leader toward the land of the enemy. Only one woman, usually the wife of the leader, was allowed to go witli tlie war party. Four women escorted the warriors as they left the village, walking back and forth in front of them and jommg in tlieu- song. These women had their faces whitened with clay. At last they divided, two standing on each side of the path, and the waiTiors passetl ])ctween them. There were no farewells and the song did not cease. AYith eyes turned toward the enemy's country the warriors went forth to meet their uncertain fate.
BUEEAU OF AMERICAN ETHNOLOGY [bull. 53
No. 17. Song of Departure ^ (Catalogue No. 3«2)
Sung by Odjib'we
(1st) (1st)
Bi-ma-ci-wtig ni-mi-gwfui-tig e bi - ma-ci-wug ni-mi-gwto-(ig e
bima'cTwug'. they are sailing on the breeze
nimi^wiinug^ my feathers
Analysis. — The words of this song ])robably 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 differmg in the division of the first tw^o. Each unit occurs twice, its repetition being followed by a triple measure. Thus the first unit followed by a triple measure constitutes the fu"st part of the song, and the second unit, steadier and stronger in rhythm and follow^ed 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 i)imctuated many of the war songs. He placed two crotched sticks upright in the ground, wdth a crossbar between them, on which rested the stem of his lighted 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.-
1 See No. 150, Bulletin 45.
2Cf. George Earl Church, Aborigines of South America, London, 1912, p. 284: [Among the Pampas Indians the wizards] " used the maracA [rattle], which they said told them many secrets and made all they said oracular."
The following; soiijj; was said lo have been suii^ hy (he leader every night while on an exjjedition.
No. IS. Song of the Leader (Catalogue No. 343)
Sung by Odjib^we Voice J_104
1 r
SiS^ti^SP^iiip^.ife^
A-ni de -ba - biln-da-man a - ki
a-ni de
ba - bfui-da-
•- -•- -g' -^- -•-
mau a - ki we na
ni - kl en
go - kwag ga - ki
a!gigg^^;j^si-|Eg^^E|^g^pE[
na a - ni de
ba - bfiu - da -man a - ki
we a - ni de
-itzt
zatzMz
I
btin-da-man a - ki we
a - ni de -ba - btn-da-mau a - ki we
anr
deba'bundaman'
aki'
gaki'na
en'igokwag'
thf earth ■th(! whole compasK of it
Analysis. — The transcription of this song is from the first of fonr 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 (r Hat. There is an evident intention to lower slightly the next to th(^ last tone of the rhythmic unit, but the interval is not definite. The close of the last j)hrase is given with more accuracy than the ])receding, although the low j^itch 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
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'w3fs 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"
Sung by Oujib'we
Voice
Drdm J= 112
( See drum-rhythm below )
r
ong a
nin-ga - dl - ja ca - wtin - ong nin-ga - di
-^- ^ ^
m^m^^mm^mw^^^sm^
^=t=f:=^
c nin-ga-di-ja ca-wim-oiig nin-ga - dl ca - wtin-ong
Drum-rhythm
=1^
=^^^ — i'^^ — '^-^ — p — ^^— H^ — r 1 p— ^
etc.
nin^gadija' I will go
ca'wunong^ to the south
nin^gabidon' I will bring
ra'wunino'din the south wind
Anahjsis. — This song was recorded twdce, an interval of two weeks elapsing between the making of the two records. On the first occasion 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
DK.V smoke]
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 sLx times and is slightly varied near the close of the song. Each grou]) 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 lowereil a semitone. In form the melody resembles Nos. 4, 5, 33, 34.
Many songs were used in the dances at the nightly cam])s, the warriors fre(iuently singing of their former victories. The following two songs are characteristic of this class.
No. 20. "A War Bird'
Sung by Odjib^we
(Catalogue No. S32)
Ja- wGu-i - bi -si
ii^^Pii^
ga - ka-na-wa-ba-mid
=9a
^--=S43=J
ja^wunibi'si
ga^kana wa'bamid ' .
a war bird
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 tliroughout the renditions, but several unimportant note-values are altered. The rhythmic unit is short and occui"s in both double and trij)le measures; the song as a whole has an interesting comjileteness or unity of rhythm. The melody is clearly in the key of G, although the tonic does not a])])ear until the eighth measure. 67990°— Bull. 53—13—7
[bull. 5o
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 tlie drum in a low muttering tone, ''Be faUhful, 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 tlie leader's rattle. A Chippewa war party frequently traveled 25 miles in a day, stopping at intervals to rest and smoke. 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 ])reparations for actual warfare, chief among whicli was the singing of their medicine songs. It was a custom among the Chippewa warriors to di]) the heads of the war arrows in red medicine, the followmg song being sung while this was being done.
No. 21. Arrow Song
Sung by Odjib'we
Dkom J =: 84 ( Drum-rhythm shnilar to No. 2 )
__ r,^
^ • ^ ^
:Lt
--I ! —
-^-
-^— ^~
0-
na-mfm-un
i debwan
— ^
o-namfin-0.n
- ^
i
de-b\vaii
10 a hi
^#3=^-
*^~9^
P^^s^
3i=^
=1
J
SE3
yii hu ya
wa hi yu wa hi yu hu u - ua-m finfin 1 de - bwan o-na-mfiu - fin / de-bwan yu wa hi yu hu ya
o'namunun' scarlet
de^bwan is its head
dknsmuue]
CHIPPEWA MUSIC-
Analysis. — The rhythiuic unit of this song is short and A'igorous. Tlie molody 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 res])ect.
The ])rincij)al war medicine carried by the Chi])pewa was the hi'jikiwuck' ("cattle herb medicine"), which was said to ''make men strong," and to be a powerful healing medicine (see p. 63). It was the A\arrior's custom to chew this medicine and spray it from his lij)K u])on liis body and Ids equipment. The following song was sung while preparing the medicine.
No. 22. Oiisriii (»( the Bi'jikiwuck'
Smvj; })y Odjib^we
f-^- -f- :•; If: -^- -#. ^.^ ^
:Bzri2.-to,l3:
I n
Mo - ki
de
^^
-*- -0-
m
±=q
yan nin - de mo - ki - yan
mo - ki - yan
dji - wa-uun mo-ki-yau e mo-ki-yau niu-de mo - ki-yan e
mo'kiyuTi'' I arisini.
nindc' 1 mysel
mokidji'wanun' I'roiu th(
flowing; spriii<r is. — This is the first of a large number of songs based
Analysis. — This is the first of a large number of songs based on I interval of a fourth or in which that interval is esj)ecially ])rominenl. This grouj) includes 11 songs in Bulletin 45 and 25 songs in the })resent volume, a total of 36, or 11 })er cent of the entire collection. The interval of tlie fourth is usually (in its first occurrence) a descending interval and, exce])t at the close of a song, is rarely if ever followed l)y the interval of a thml, completing the chord of the sixth. It occurs in three ways, which form a basis for a closer observation of the grou]): First, two continuously descending fourths form the framework of the
melody; thus Nos. 6 and 9 in Bulletin 4.5 are based on tlie descending intervals D-A, A-E, ending with the descending tonic tria<l T)-B-G in the closing measures. No. 3 in Bulletin 45 and No. 82 in the i)resent volume are based on the intervals C shari)-G shar]), F sharp-C sharjx 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 fiat-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, aU 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 ''I sit here thinking of her." While the idea of motion is not expressed therein, it can not be considered entirely absent from the mind of the singer.
The numbers and titles (or words) of this group of songs are as follows :
(a) SONGS CONCKRNING MOTION
"I am raising my pipe"
"A bubbling spring comes from the hard ground"
"You are going around the Mide^ lodge"
"The shell goes toward them and they fall "
"The flame goes up to my body"
"To the spirit land I am going, I am walking"
"The big bear, to his lodge I go often "
"The women are enjoying it [the dance] with us"
ae:
"I arise from the flowing spring"
"The prairie land whence I arise"
"The Sioux women gather up their wounded"
"Odjib'we brings back our brother"
"Go with me"
"Now I go" No. 110. "I go aroimd weeping" No. 111. "Come, let us sing" No. 121. Ca^vuno'ga dance
No. 162. "The sound of his approaching footsteps"
No. 170. "Work steadily, I am afraid (hey will take you away from me" No. 174. "You shall depart"
Bulletin 45:
No.
No.
No.
No.
No.
No.
No.
No.
Present
volu:
No.
No.
No.
No.
No.
No.
DENSMOREl CHIPPEWA MUSIC II 101
(b) SONGS CONCERNING ANIMALS (USUALLY REPRESENTED AS IN MOTION)
Bulletin 45:
No. 3. "Ill form like a bird it appears" No. 121. "I am afraid of the owl" No. 19(>. " Romid-hoofed had pity on me" Present volume:
No. 23. "Strike ye our laud with curved horns"
No. 28. "My bird-skin charm is my tru.st "'
No. G4. "The ravens are singing"
No. 82. " Riding on my horse "
No. 85. "I am walking in the sky. a l)ird I accompany"
No. 95. Song of the deer (a)
No. 9G. Song of the deer (b)
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 (Tawlish cringes"
Songs ill praise of bi'jlkiwuck' were sung in the war dances. When singing these songs the warriors imitated the action of wihl cattle, holding their arms above their heads to simulate horns and pretendhig to paw the ground; they imitated also the calls of various wild animals, tliese being calls which they intended to use hi decoying the Sioux.
BUREAU OF AMEPJCAX ETHNOLOGY [bull. 5:5
No, 23, Dauoina: Song of the Bi'jikiwuok' (Catalogue No. 382) Suiii? by AIaix'gans ("little wolf'")
Recorded witliout drum
r-#- -#- -#- -m- ^-
"1r.
iSi:
'^^-^^^^l^^fl
^—n—P—»^
H
m^^
Bi - ti-go-cka-mok
^-»
gi - ta - ki - mi-iiau
bi - ti -go-cka-mok
P—^—P
1:^=!?-
-i=i^=^-
'-^^^^^^^
a;i - ta-ki-mi - nan e bi - ti-go-cka-mok
ta-ki -mi-nan
^
^ ^ ^ 1^
i^^^g^3^i
bi - ti - go - clva-mok gi - ta - ki
?^l^
;£=EEE
^-^
we-wa - gi - wi - ni bi - ti -go-cka-mok gi - ta - ki - mi-nan e
1 1
bi - ti-go-cka-mok
n - ta-ki - mi-iian
we - wa - gi - wi
lirU:
EEEE
^=d=;
m
=tl:^5=t.-
bi - ti - go - cka-mok
ki - mi -nan
bi'tig(/ckamok' strike ye
gi^takiminan^ our land
wewa'giwini' with curved horns
Analysis. — The descending interval of the fourth is especially prominent in tliis 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 tlie song to produce an effect of rugged strengtli.
During the ])reparation of mi'nisino'wiick ('island herb medicine") and also l)efore a battle the following four songs were sung by the
DKXs.MOREl CHIPPEWA MUSIC II 103
warriors to iiuike the medicine eirectual as a charm. This grouj) of songs was rendered by Xa'waji'big(/kwe (''woman dwelUng in the midst of the rocks").
No. 24. Firs< S«nii,'(>ftho Mriiisinowfick
iSuiig by Na'waji'bigo'kwe
(Catalogue No. 'M'.i) Drim J— 108
r
.^. ^.. .^. ^. .0.
agii^=^i|^^ll^^^=i^
Ka - ga - gi - wi - wan nin - dau ba - on
m^^^s^^m^^w^^^^
loi - ^('-yan ka - ga -gi-wi- wan uiu-dau ba-on - dji - o-non-ge - wi - yan
kaga'giwiwan^
nindan
ba^)udji'(mongeyan'.
[Free translation] light as a raven's iV'athr
is my flight
Analysis. — Tliis melody was siuiii; very slowly with a rapid drnmbeat. Tlie song is harmonic in structure and contahis the tones of the fourth five-toned scale. The rhythmic unit does not vary in the four renditions of the scmg, but there is a slight variation in unimportant melody progressions. Attention is directed to the register of the woman's voice. Several other ])h()nographic records made by Chippewa women show the same register.
All the songs of this series close with tlie ejaculations We ho lio ho, which characterize also the Mide' songs.
No. 25. Second Hon^ of (he Mriiisiiio'wuck
Suns; by Na^waji'bigo'kwe
Dhum J = 92
y*,-^_
m^^^^^^
gi - jig e-jo-ho-ne - he
he gi - jig e - JO - ho-ne - he
gi - jig g- yo-ho-ne -he gi - jig e -yo- ho-ne -he gi - jig ti-jo-ho-ne - he
gi'jig the heavens
e'yoyan' ' I use
Analysifi. — The words imply tliat 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 mdependence 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 restmg places for the voice.
1 See footnote 2, p. 89.
DEN SMOKE I
No. •_»(;. Third Soil!,' of Uio >Ii'iiisIno'wn(k
SUIIK l)- NA'\VA.ll'Hl(io'KWK
Voice J .^'G Recorded without drum
, u I ~
(Cutalo-iKiNo. 375)
n^^^^^^^m
^^-=tt=^-t±
Ga-mi-Qo- gi - we - pfi- ya -ya- lie Ac ga - iui-110- gi - we - pfi -ya - ya - iie
1 r
tij==1:
X^XzX
^i
•9 •— •- -• <9
ii^^
■4r -s^- -It -it -4- -z^- ga - mi-no- gi - we - pu-ya - ya -iie ga - iiii-iio gi - we - pCi - ya- ya - ue
ga'tninogi^wcpiVyane' I will return (o my homo in safety
Analysis. — This melody contains no tones except those comprised in the rhythmic unit, which was steadily maintained throughout the six renditions. Owing to the ra])id tempo, the measure is a more convenient metric unit than the individual count in the measure; thus the metronome indication is for a dotted lialf instead of a quarter note. The song is liarmonic in structure and contains the tones of the fourth five-toned scale: it was recorded without the drum.
[uvu.. 53
No. 27. Fourth Sonj? of the Mrnisiuo'wuck
Sung by Na^waji'bigo'kwe
Recorded without drum
' -0- -0- • -•- • ^ -«r -7=1-
Na-mundj -ge - do-gwen e ba - on -dji - o - nan -
a#
^» ^-
:t=t:
-« — ^-
•- -• •- •- -•- -^ -^ ~^~~^- '
1^1
na-mfindj-ge - do-gwen ba- 6n-dji - o - nan- ge-yan
mM
7-^ ^— F=
1 — I^F
na-mfindj-ge - do-gwen e
.•^
x=t
p—^
X=-t
. - on - dji - o - nan - ge - yan
:t=t=F=t
ttEEg
na-mdndj-ge - do- gwen bu - on -djT - bfi - si - gwi - yan
;^fej
i3E
:i=l=l=l=d:
Wi^m
na-mundj -ge - do- gwen bu - on - dj i - bfi - si - gwi- yan
namiindj^gedogwen'. it is uncertain what will happen
baondji'onan^geyan' to the one from whom I fly
namundj'gedogwen' it is uncertain what will happen
bilondji'busigwiyan' to the one from whom I rise
Analysis. — This melody is unusually irregular in form. The principal 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 fii-st rentlition the singer omitted part of the last phrase, closing vdth 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 structure 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
ClIIl'l'EWA MUSIC II
old man whose duty it was to carry an extra su])})ly of niodicuio and of w<ater; he did not ^ht l)iit held himselt hi readhiess to attend those in need of assistance. The feather flag (see ]>. 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 durmg the contest by one of the wari'iors, who also sang to hispire the men. This duty likewise required si)ecial courage. Before entering a fight the leaders arrayed themselves in brilliant trappings. Each wore a band arountl the head in which were bright feathers; this rendered them consi)icuous and showed their fearlessness. The neck was usually encu'cled by a cluirm consi*iting of the dried skui of a bird, whicli contauied a medicine known oidy to the wearer (see p. 77). This charm was wrapped hi bii'cli bark but before a battle the warrior tore oft" the cover, exposing the bird skin, and also sang the song which should make the (harm efl'ectual. The following song was used for this purpose.
No. 2S, Song of a War Charm (Catalogue No. 369)
Suui,' by Odjib'we
Drim J =92
( Drum-rhythm similar to Ko. 2 )
-•-
f
-•-•
-9-
f"
-^- -f-
-t.
We - go - nen -
i -
wi
i:
- ne
- he
- he
- ne e -
pe -
—3
ni -
mo -
N-
-i
^■-f-
[_-=
i
— "^
h^^V:^-«T7=^
^'=— :
^ i
z^-^
ya - /la-hau e we- go-ueu - i - wi - ne - Ae - Ae - ne e - pe - ni - mo
ya - Aa-han niu- bi-nes - i - wa-yan e ht he
e - pe-ni-moi=^^^i
ya- Aa-han e we-go-nen-i - wi -ne - h^-M-ne e-
WOIJDS
wegonen^iwinen' ' in what
ope'nimoyan' i.s my trust?
ninbines'iwayan^ my bird-skin charin
epe'nimoyan' is my trust
ni - mo-yan e
' See footnote 2, p.
BUREAU OF AMERICAT^ ETHNOLOGY
[RtTLL. 53
Analysis. — This sou*]; is traiiscfibed in the key of D flat, though the third of that key does not ai)})ear in the melody (see analysis of No. 53). In broad outline the framework of the melody may be said to be the descending uiterval of the fourth — E flat-B flat, and D flat-A flat (see analysis of No. 22). The song is regular in form, the rliythmic unit occurring four times; the fu-st two occurrences contain the words of the question while the last two contain the answer.
According to OdjibVe the Chippewa always sang, if possible, before attacking the enemy. If the attack were to be made at daybreak, tlic Chippewa crept stealthily to an ambush near the village, the drum was beaten very softly, and tl\e followmg song was sung in subdued tones. Then came a piercing yell as the warriors dashed on the sleepmg 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 liavc been suggested by the muffled throb of the drum, which im])ressed itself indelibly on the min<l.
No. 29. Drum Song (Catalogue No. 341)
Suug by Odjib'wk Voice J = 9G
( Drum-rhythin similar to No. 15 )
"1
Ga-ki-na - ni -ui - ini-ag o - gl - tcl-dag e en-da-ci - wad e
ga -kl-na- ui -ni-mi-ag o-gi-tci-dag e en-da-cI
s^^m^M
isi
E?E£
wad e ga-ki - na-ni-ni-mi - ag o-gl- tcl-dag tsu-da-cl - wad e
WOK us
gakina'ainimiiig' I make them dance
ogT'tcidag^ ^ those brave men •
en^daciwad' 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 fiftli of that chord, a similar ap])roach to the liarmonic tone being found in the fourth and fifth measures from the close of the song (see analysis of No. 53) .
' The full form of this word is Abwan', phiral Abwan'Hg ("Roasters"), but the contraction is the form in common use. (See Warren's History of the Ojibways, in Colls. Minn. Hist. Snc, vol. v, 188.5, p. 36.) 2 From Siou.x aki'iita + g {ug), Chii)pe\va plural ending. See also ])p. 7G, 180, 190, 230.
CllIPI'EVVA MUSIC II
Tho tone material (•(>in])rises only the first, second, third, fiftli. and sixtli tones of the minor scale, the second beino; lowered in one measure. Although the song is minor in tonality it is found that S of the 17 intervals (47 per cent) are major thirds. (See Nos. <S3, 99.) The reverse of this, namely, prominence of minor thii'ds in songs of major tonality, is considered in the analyses of Nos. 140, 141, 151, 161, 163. The rhythmic unit is re})eated 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. Tlie metric unit of voice and drum is the same, the voice slightly ])rcceding the drumbeat.
Three renditions of the song were recorded; these are identical hi every respect. After a la])se 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 nund)er might inspire the others to bravery b}' nuiking himself a target. Throwing aside his weapons and divesting himself of all clothing, he rushed toward the enemy. If the Sioux failed to kill liim at the first shot, it was permissible for him to attempt to escape. It is said that a man namecl Ogima'wudjiweb' ("chief of the mountahis") liad an experience of this kind and made his escape.
No. 30. Song of a Man Who Rushed Toward the Enemy
Suug by Odjib'we (Catalogue No. 329)
Voice J_^76
uiu zoii-gi - de-e
iiidjiki'wr-idog' my friends
ge'go do not
o'jimoke'gun ' flee
nin I
zon''gidee' am strong-hearted
' The first syllable of this word was omitted because the previous word ends with the same vowel. See footnote, p. 90.
Analysis. — The rliytiiniic 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 tlie fourth from the last measure the progressions vary slightly. It is worthy of note that this is the only, measure whose princi])al tones are not those of the chord of F minor. Tlie melody is strongly harmonic in feeling, although classified as melodic because of the accented B flat.
The difference hi intonation between the first and second E fiat in measures 1 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). As a rhythmic whole this song is particularly complete and satisfactory.
During a fight a man frequently sang his (U"eam song or a song which he had composed concernmg a former victory. Odjib'we stated that m time of great excitement a man would sing louder but ])robably no faster than was his usual custom. It is said that the following song was composed and smig 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 Chipi)ewa women use the scalping knife, although they carried the scalps in the victory dance.
DE.NSMUUE]
No. 31. If I Had Been a Man
SuIISJ: hv ( )l)jiB'WE
Drcm J rz 92
gi - ta-bi - bi - na
api'duc at that time
inini'wiyaiiban ' if I had been a man
keg(?t' truly
ini'ni a man
nindagi'tabibina' I would ha'e seized
Analysis. — The first ])rogressioii of an ascending o(■ta^'(•, 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.
Tliree renditions of the song were recorded. In eacli the tem])o was more ra])id and loss 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 i)art is the more interesting if considered in connection with the words and origin of the song. Other songs comj)osed by women are Nos. 39, 40, 112, 127, lot, 177, 178.
\Mien a Chippewa shot a Sioux he shouted, "I 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 fisrht the
' A syllable Is omitted to make the words conform to the music.
names were remembered, and tlie warriors were given proper credit. In the old days each warrior marked his arrows, hence it could usually 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'gwun, who was present on one occasion when OdjSfb'we was recording songs on the phonograph. Niski'gwun was with Odjib'we in many of the contests with the Sioux. Niski'gwun stated that on one occasion Odjib'we went into a fight without his "medicine." 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'gwun rushed to him and given him medicine from his own bag, mixing it with water. Niski'gwun also si^rayed the medicine on Odjib'we's feet and limbs with a wisp of brush. This re^^ved him and enabled him to rise. Soon he was entirely himself and the fight was won, the Sioux village being captured.
Niski'gwun stated that he sang the following song when he applied the medicine.
No. 32. Song of Help In the Fijjht (Catalogue No. 385)
Sung by Niski'gwun VoiCK J= 144 Dkum J=: 108
«- -^
^■fZ' .fL ^ ^. PL
igg^jg^^gggi^igEijiEi^
Mfic-ko
de
a - kin we-yan-e
^ ^-
:p==t
ba - si - gwi-yan
gig=EK^=^^gg=^^jg^gg-^
itic - ko
de a - kiii we-yan-e - ba - si -gwi-yan e
^-^-
#=P=
^«=t
mtic- ko
de
-P «-
a - kill we - yan - e
=t=tl:4=^=F
:t=
- SI - gwi-yaai e
mlickode'' akin' ....
the pi-airie hmd
weyan'oba'pigweyan' whence I arise
DENSMORE] CHIPPEWA MUSIC II 113
Analysis. — Four renditions of this song were recorded, in all of wliicli the final word was mispronounced, this license ])eino; allowed in Chi])- pewa songs. On the octave and fiftli tlie intonation is fairly correct, and these tones were sung firmly; the other tones are variable in pitch, and tlie transcri])tion should be understood as approximate. The signature is that of tlie 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 tlie singer's recollection of the song was not quite distinct. The rhythmic unit contains seven measures, and its repeti- tions comprise the entire song. Tlie framework of the melody is the descending interval of the fourth, a peculiarity which is fully considered 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 w^ar expeditions 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'miwM ("lake in the valley"), which was located on the upper waters of the Minnesota Kiver; its chief was known among the Chippewa as Manda'mlnes (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 outnumbered, the Chip])ewa 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'bines' (Little Carp), a leading warrior of the Chippew^a, 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'bines' shot a man. With ebbing strength he gave his last war whoop and his friends heard him cry, "Men, I have killed a Sioux."
When Name'bines' was laid in the bushes lie 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." 0791)0°— Bull. 53—13 8
No. 33. Death Song of Name^biues' (Catalogue No. 335) Sung by Odjib'we
Ni - ma - ji-man-dls ni - ma - ji-man-dis nim - bi - dji-man-dis nim
bi-dji-man-dis nim - bi-dji-man-dis e - na - su-mi - ka-yau e
nima^jiman'dis the odor of death
nimbi'djiman'dis I discern the odor of death
gna'sumi^kayau' 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 intonation 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 Xos. 4, 5, 19, 34.) In these measures the length of the tones is imusually 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 foUows 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.
No. Si. "The Sioux Woinon (iaUior I p their Woiiiulod'
Snug l)y Odjih'we
VOTCE J— 100
( l)rum-rh3^tliui similar to No. 3 )
(Catalogue No. ;^36)
O -ma-mi-kweg o ya ne pa-ba - ma-de - mo-wfig e o-na-dji
=9^2=
::^S^-
m^^^ii
^^m
b==4:
da - ba - ma - wfm e o - di - ni 1 )
111 - mi-wuu e a-ni-mu-
SEiEE^:
:P^=ik:
^^=L
^^^^^^^^1
de - mu - wlig e
Oina''mikweg' (he Sioux women
paba'made^niowug' pass to and fro wailing
onaMjida^bamawun' as they gather up
o'dinini'miwun their wounded men
aui^miide'muwug^ the voice of their weeping comes back to
Us
Anolysis. — Six renditions of tliis song were recorded, the transcription 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 'S-illage" is used in one rendition and the order of the words is sometimes changed. The tonality is minor but, as in many smiilar 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 excejit 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 tlie fourth is es])eciallv ])romiiient. (See aualvsis of No. 22.)
On tlieir homeward journey the Clii])pewa composed another song. Rememl)ering the tread of the pursuing enemy, they sang of war as a game with the bodies of the dead as its score.
I HULL.
No. 35. "They are Playing a Game" (Catalogue No. 342) Sung by Odjib^we.
Ga - bi - mi - bi - di-kweg mUc -ko-defig bi - mi - a - ta
m^E^^m.
F^EEgE^Eg^&^EEg
ga-bi- mi - bi - di-kweg mfic-ko -
1 I
£B±
-•— •-
Si
deiig bi- mi - a - ta - di-wfig e i - ni - ni-wdg e
bi-mi - bi-di
m
E:
:«:
Jh=3t
^— ^— ^
kweg mtic-ko-deiig bi-mi - a - ta - di-wfig e i - ni - ui-wug e
gabimi^bidikweg^ Iho noise of pa.ssing feet
muc^kodeiig' on the prairie
bimi^atadiwiig' they are playing a game as they come
ini'niwug^ 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 progression; 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.
Odji])'we stated that on one occasion a warrior sank exhausted as the war party was returning home. Tlie other warriors, reluctant to leave him a prey to some wandering enemy, stayed witli liim. It seemed impossible for him to rise. However, he used his medicine, and after a time sprang to his feet, smging this song, which he composed at the time. The war party resumed its journey, and he accompanied them, still singing his new song.
DF.NSMOUE]
No. 36. Son?; of (lie Exhausted Warrior
(Catalogue No. ;5S7)
lia - ba - pi - ul - si - wa - gun ge - iion -de - ci - nan
e ba
pi - ni
SI - wa - gun
ge-non-de - ci-nan
^ -9-
m^^Sm^
e nm -
- a - da - woTi- ge - yen
ge - on - dji- da-go
ge-on- dji- da -go
baba''pini''si wa^'gun alas
genonMecinan^ I can not t ravol
ninga'ada''wongen^2 bu t I will borrow that
geondjiMago^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 rliytlimic unit is long and iiTeguhir; it occurs three times without variation. The remamder of the song contams fragments of the unit, but no complete repetition. The song is minor in tonality and is characterized by the shar])od seventh, which is found but rarely in the mmor songs under analysis. By this accidental the song is more fully identified with what is commonly termed the muior 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 bemg contrasted with the more regular rhythm of the latter part.
I Where no words appear in the music above, meaningless syllables were sung.
- A .syllable is added to this word to make it conform to the music.
118 BUREAU OF AMERICAN ETHNOLOGY [bi'll. 53
Songs on the Return of a Victorious War Party
On returning, ii 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 concernmg the victory and arrayed themselves m their finest apparel. Then began the final stage of the journey. As they approached the village they fu^ed guns as a signal and the women came out to meet them. One w^oman led the party, to wdiom 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 pi. 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, beadw^ork, and tobacco bag's, and even their guns, none of which were they required to return. Then the women led the procession, the scalp bearers m 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 wdiich was carried a large quantity of food — dried meat, w-ild rice, and maple sugar. The poles bearing tlie Sioux scalps were stuck in the ground beside the pile of food, and the feast was called "feasting the Sioux." There w^as no song connected wdth this feast. After the feast a simple ceremony in praise of the warriors took place. The victors were seated in a row and then- friends brought gifts, which were laid before them. Often the following song was sung at this time. The words of this song requu-e explanation. Accordmg 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 opposite of their dnect translation. Odjib'we stated that the wonls 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 renditions. 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" ami the meaning of the words remamed the same.
jMi-.
iJt^
^>^''>^^
jhI
Li
i^l
mm.'^^"' ^K^ii^^H
^1 w '^KS^ '^.S^^'I^^^b
'jj^^HeP
my-mM^Ui^^Bal^miS\W^
^'-^^^^1
liB
I'mllll
'^9BI' ^^^^hb
' %
FRONT BACK
SCALPS ATTACHED TO HOOP
CHIPPEWA MnsiO II
No, 37, (Jifl Song
SiiiiLT bv ( )l)jiu'WK
Recorded without drum
■Tf.--
1=
mM^^^^
m^mm^^
^
ga'gayac'gonpikag' at Gull Lake
manoga^yana'wenimigo'inin. . let them speak lightly of us
Analysis. — This song was transcribed from the first of three renditions. The melody consists of four parts. Tlie 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 accordmgly, but the trend of the melody remained the same. The song is harmonic m 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 tliat this song was composed by his brother and sung in the victory tlance. His brother had been on a war l^arty with his fatlier and Ilole-in-the-day and had cut off a Sioux woman's head, bringing home the scalp.
No. 3S. Scalp Song (Catalogue Xo. 3(jG)
Sung by Odjib'we Drdm J = 104 ( Drum-rhytlim similar to No. 2 )
Go - ui
- ta - gi - na
ga- den - da-mo - dog o - ma - mi-kwe
"1 r-
9i,
=P==^
m
:i=t
:t3t
we gi - kic - ki-gwe - jfig
gonige'tagina'' I wonder
agaden'damodog^ if she is humiliated
Oma'mikwe' the Sioux woman
gikic'kigwejug' that I cut off her head
Analysis. — This is a song of derision, and in tliat respect it resembles 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. Xo. 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 indi'iduality 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 warrior'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.
DEN.SMf>KEl
Tlic iioxt ovoiit was tlio viclorv (hiiicc, which often conliinuMl until ‹hiylif›:ht, by the li<i:ht of torches und boniires. At this dance the Sioux scal])s were carried and sonj2js were sung in honor of the warriors. (See Nos. 80, 83, 165.) This is illustrated by the following two songs, which w^ere composed, respectively, by the wife and the mother-in-law of Odjib'we and sung in recognition of his ])rowess. 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 ex})edition was to attack a certain Sioux \allage located on an island in Sauk Kiver, 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'ktim (''across"), who held it aloft in the victory dance as she sang the following song.
No. 39. The Song of De'kuiu
Sunu; bv Oi'jib'we
P^il^
i=tFt
O-djib-we gi - sai-ye-nan o-bi-nan
Odjib^we Odjib Ve
gisai'yenaii our brother
obi'nau brings bark
Analysis. — The five renditions of this song recorded are uniform in all im])ortant respects. The rhythmic unit is interesting; this occurs three times, comprising aU 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 l)y the descentling 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.
BUREAU OF AMERICAN ETHXOLOOY
rBULL. 53
When De'kiiin had linishcd tlio song, hor mother, Djihgwa'kumigo'- 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. Sons of Rejoioint? (Catalogue No. 365)
Sung by Odjiu'wk
I
Mi - sti - na dji-min - w6u -da-man niii-gwi - zis a
aa^iigi^EiSi^.^E^NE^E^p
gi - sai - ye
- pi - da - ma - wi - yan nifi - gwi - zis e.
m^^:
:^3=f
E^
ml - sti - na dji - mln-wen - da-man
i
s
niS - gwi - ZIS
ye
mi^stina' it shall be
djiminwen'daman^ that I rejoice
niiigwi^zis O, my son
gisai^ye your elder brother
gipi^damawiyan^ you have brought back
niilgwi^zis 0, my sou
mi'stina'' it shall be
djiminwen^daman^ that I rejoice
nifigwi'zis O. my son
Analysis. — The rhythmic unit of this song, which occurs 3 times, is })articularly interesting and ins])iring. The song is divided into four parts, the words changing in the thii'd 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 chissified as "melodic with liarmonic framework" instead of purely
CHIPPEWA INU'SrC — IT
lianuonic in striiclurc. 'J'lic four rciulilioiis of (he sons; rccoi-ded are i<lonticai in every res])ect. Other songs coni])ose(l by women are Nos. 31, 39, 112, 127, 151, 177, 178.
Odjih'we state<l that lie took ])art in a severe fio;lit with a hand of wSioux led by the famous, chief Gaga 'gins (Little Crow). The circumstances were as follows: Little Crow's band was in camp on the west side of the Minnesota liiver a few miles below the site of the present St. Paul. The blind warrior accurately described a level tract of land west of the iirst bend in the river. A large war party of Chippewa l)repared to attack the Sioux ^^lIage ami sent two scouts in advance, who killed and scalped a Sioux woman coming out of a tijn. Thinking that the scouts were unj)rotected, the Sioux warriors ])ursued them and soon met the entire force of the Chi])pewa. A terrible fight followed in which the Chip])ewa were victorious. The following song, which relates to this "snictory, was composed by Hole-in-the-da}', leader of the expedition. (See p. 61.)
No. 41. Victory Song
Suiiii liv Odjib'wk
^- -fL. ^ m ^.
^#
7C=p:^
4=^
1^*1
I
4^-\—^
do
ge - wa - wi - ui - go - yau
WORD.S '
aci^doka'nia surely
gewa'winigoyan^ I will have greal praise
Analysis. — Seven renditions of this song were recorded, the transcription 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 several renditions recorded, while that of the latter part varies with the I)resence or omission of words. The melody moves freely along the
Where no words appear in the music aljove, meaningle.ss syllables were .sung.
intervals of the fourth five-toned scale. The first three measures constitute an interesting rhythmic jjhrase hut it is not repe'ated and the song as a whole lacks rhythmic unity; it is, however, inspiring and joyful in general character. Attention is directed to the discrepancy 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 thi-ough the storm the Chippewa made their escape. After reaching home the leader sang this song at the victory dance. (Compare Xos. 63, 64, 66, 85, 87, 94, 140, 141, 145, 147, 148, 150, 151, 152, 153.)
No. 42. "A Cloud"
Sung by Odjib'we
Drdm J =96
tt: ~ — 7
Ge - bi - mi
go - o - yan a - na - kwad ge - bi - mi
3EiEE
r^ • ^ -pl:^
go - o - yan e ya
ge - bi - mi
- go - o -
yan a - na-kwad ge - bi - mi - a - go - o - yan ge - bi - mi
a - go - o - yan a - na-kwad ge - bi - mi - a - go - o - yan
ge'bimia'gooyan^ circling above me
a'nakwad' a cloud
DKXSMdKEj
CHIITEWA MUSIC — II
Analysis. — This sontj contains three acoidentals — the second, third, and sixth lowered a semitone. The F natural was im])erfectly o^iven at the openino; of tlie son^ but accurately suno; in tlie 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 hetweer. ■^''" 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 Odjib'we Dkdm J= 116
(l.st phra.se)
r
Na - na - wa - gam ki - tci - gam -ing e ( 3d phra.se )
nin- on - do-mip:
r T:r~" r + ~ — 1
ma-ui-do e
naua^wagam' from the middle
ki'tcigam^iiig^ of the great water
ninon^domig' I am called
manido' by the spirit
Analysis. — Four renditions of this song were given, with a ])ause 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 tiiis tone was raised slightly, less tiian a semitone. The ascending ])rogression 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 ])hrase, marked "1st phrase"; instead of repeating this,
however, tlie 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 measm-es, divided into tliree parts, each part makmg "rhythmic sense," the three forming a rhythmic whole.
The tones of the song are grouped about the chord of E mmor, the tone A in the ninth measure being the only accented tone not belonging 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 prmcipal 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 fii'st 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 wTapped and kept mitil the next dance. When one village was tired of dancing with the scalps they w^ere sent to another village, w^iere similar dances were held. !Mrs. English (the writer's interpreter) 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 witli the taking of the scalps.
Wlien aU the villages had finished dancing the scalps were brouglit back to the fii'st village, where speeches were made and the poles were set m a grave. This was frequently the grave of the man whose death was avenged by the war party. There tlie 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 w^illmg to join hi a peace pact, the messenger returned to the enemy wdth 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 nmch
other songs of the war dances are Nos. 83-93.
CHIPPEWA MUSIC
poni]) and ceremony. The warriors arrayed themselves in their gayest attii-e. In each camp was the sound of singino; and of shrill war cries, excitement was in the air, and it seemed that an encounter instead of a truce was in ])re])aration. Amid shout big the o])posing 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 behmd 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 l)resence that prevented violence, the fire of battle burst uig forth afresh as the warriors drew near their recent enemies. All sang as tliey came forward. The melody was the same in both tribes but the Chippewa sang the names of the Sioux leaders and the Sioux tlie names of the Chippewa leaders, each praising the valor of the other. Odjib'we recorded the song, first as it was sung by the Chi])})ewa, the transcription being from the first rendition which contained the name of Ga'gagins' (Little Crow), who is mentioned m connection with song No. 41. Without a pause he continued the song, introducing the names of the folio whig Sioux leaders in the successive renditions: Ca'gobens (Little Six), Bi'nicons', and Wa'- bacons'. He then stated that he wished to record the song as it was sung by the Sioux. The melody was the same but the folio whig names of Chippewa leaders were introduced: Bti'gonegi'jig (Hole-inthe-day), Wa'bejic' ("marten"), and Zon'gakiini'ig ("strong earth").
No. 4:4. Song of the Peace Pact
Sunj; by Odjib'we
i '.
huii - ga
hun
Ga -
ga - gins
m^i
^ ^
:t:=t:
EE
eE'
huii - ga
=E^
huii - ga
liun'ga ' leader
Ga'gagins' Little Crow
"'gima chief
' From Sioux hunka'. See S. R. Riggs, Grammar and Dictionary of the Dakota Lanjmagc, Smitltson. Conlrs., vol. iv, Washington, 1852.
Analysis. — This melody is characterized by directness and simplicity. It begins on the tonic, an unusual beginning m 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 m 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 in 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 wheu Offering the Peace Pipe
Sung by Odjib'we
Voice J ^ 72 Recorded without drum
—^r^- — ^
ft-^fm^^^m
Nin - do-kldj an nin-
(Ei:
:p=pc
do - kidj an nin-do - kidj an
^=1=
:i=i:
iiindo^kidj 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 containmg 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 produces an effect of dignified action well suited to the occasion of its use. The melody tones arc those of the fourth five-toned scale. The four renditions recorded are uniform in every respect.
When the smoking of the peace pipe was finished, the opposing warriors sliook hands, and the Sioux were offered the hospitaHty of the Chi])pewa camp.
After the formhig of a peace pact the two tribes camped near each other for some time and social dances were hekl every night; these were called ca'wdno'ga (southern dance). Odjib'we stated that only ca'wuno'ga songs were sung at the peace (hmces and that these songs were sung at no otlier 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'wtjno'ga songs were particularly pleasing and that the people were so carried away with the excitement that the dance often lasted all night.
Tlie origm of the ca'wuno'ga was thus described by Na'waji'- bigo'kwe: f
The ca^wuno^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^a because it came from the South Manid(/, and the people who first used it were people living south of the Chi])])cwa 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'wiiiK/f?a Soiij? (a)
Sung by OdjibVe Voice J^ 88
( !
-^ -.- I -.-.
Analysis. — This song should be regarded as one of those fugitive melodies in which the signature indicates the pitch of the tones rather 67990°— Bull. 53—13 9
than an established key. The six ren(htions of the song i-ecorded 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 repetitions of the song, there circles a succession of measures so uTegular 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'wuno'ga Song (b) (Catalogue No. 355)
Sung by Odjib'we
( Urum-rhythm similar to No. 2 ) (1)
giiig=s^ggg=^E^-^glj£=r^^^
o ga- yan i
hi ca- wtin -o ga - yan i
)lr
m
m
^^^-ft
^^
j"^>-.-i-
-^ — I
ca'wuno' south
ga'yan dancing
Analysis. — The four renditions of this curious song show no variation. The general effect of the song is jerky, yet the rhythm lias an element of indefinite continuity; it is a rhythm which faschiates ant! could be kept uj) for a long time. The principal rhythmic unit occurs four times at the opening of the song, and is followed by a shorter rhythmic unit, which likemse 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 Xos. 123, 147, 152, in Bulletin 45.)
War Songs Concerning Women
The incident concerning the first of this group of songs was naiTated to the writer by Mr. John W. Carl (see pp. 83, 303) . Mr. Carl, who is a
dexsjioue]
CUIPPEWA MUSIC^II
tjraiKlsoii of Blca'<i;anal), said tliat in his childhood lio oft(Mi heard the following story:
There, was once a Hiulson's Bay trader wlu' 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 bom 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 household 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 hand^. 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 bonnet, and made a great pack of blankets, guns, and beadwork; then she painted her face and went to the Chippewa camp with her trophies.
Blca'gaual), one of tho bravest of Chippewa women, died in 1892.
No. 48. Song Concerning a Brave Woman
Sung by Odjib'we
^^If.E^:^E^t:E^s^^^^=^E^^^,^
E - ni - wek we* win ja - wa - so
wm gi - ]a - wa - so
min - di
mm^^^^m^^^M^
ja-wa-so - no-da-go -nan ya
fie
e'niwck' greatly
win she
gija''waso defending her children
minMimoyan'' the old woman
gigiiawa'sonoda''gonan' fought for us all
' 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 ETHKOLOGV Ibi ll. 53
Analysis. — This melody presents an interesting study of rhythm. It contains 19 measures and is divided into three parts, the first containing 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 m 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. C'loud, 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. 3G4j Sung by Odjib'we
Drum Jirr 92
:*: f^f^-f- . -/•- -^"^^ -^ -^ ^ ^- ^ -•- -^
m^mm
t=t
Ne - ta - gi - ca-wa - so - sig Wa-pe-ton bi-a-pi- si - ka - dug go-
^mmim^^^^0^^^
ca-win bi-gi - ca-wa-sud
neta'gica'wasosTg' onco careless of her children
Wape'ton ' (Sioux word) she of the Wapeton Sioux
biapi'sika'dug now comes in haste
go'cawin' surely
bigica'wasud' to their defense
Analysis. — The five renditions of this song recorded are singularly uniform. Not only is the rhythm identical, but slight variations in
1 See footnote, p. 70.
CIIIIM'EWA MUSIC — II
tempo are (hiplicaU'd. The molody 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 fi^ht 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 Odjib'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. 60. Senior of the Captive Sioux Woman
(('ataloguo No. 334) Sunt,' by OnjiB'wE
gite
m^
•-^-•.
ii=gii
Ka - ka-ta-wQ wi he
ya-t
-gin go -flji
ma he kenin- ]a - we
ni-mig e
Kaka''taw<i * any Chippewa
waya'bamagin' ^ whenever I see
nin^aodji'ma I will greet with a kiss
keget' truly
nin'jawe'nimig' he pities me
Analysis. — Five renditions of this song were recorded. The metric unit varies slightly in these nniditions, 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 being sung more rapidly than the preceding part of the song. The upward progressions in the second measure are uncertain ui intona-
Word used by the Sioux in designating the Chippewa.
'The first syllable of this word is omitted and the following word Is changod in order to adapt the words to the music.
flifLL. 5"
tioii, the ii|)])('i' tones not being clearly sung but i-endered with what might bo termed a "toss" of the voice. The song contains no rhythmic unit, yet the melody as a whole has a complete and satisfactory 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 ]:)rogressi()n in recorded Chi|)])ewa songs although found also in songs Nos. 9, 85, 100, 119, 124.
After an interval of eight months three renditions of this song w^ere 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 — WJiite, Earth Reservation Melodic Analysis
TONALITY
Numbers
Per cent.
Serial Nos. of sonKS
Major
4'>
2 3 5, 0 7 S 13 10 IS IQ 20 21 2'' 23 ''5
Minor
26, 27, 28, 31, 32, 33, 37, 40, 41, 42, 47, 49 1 4 9, 10 11 12 14 15 17 24 29 30 34 35
3(i, 38, 39, 43, 44, 45, 40, 48, 50
Total
BEGINNINGS OF SONGS
Beginning on the—
Numbers
Per cent.
Serial Nos. of songs
r,
6'
Sixth
Twelfth
1 2 3 7 12 10 22 27 40 41 42
Fifth
Tenth
8 10 11 17 21 20 33 34 35 30 49
Ninth
Octave
4 14 30 32 37 38 43 44 4S "JO
ENDINGS OF SONGS
Ending on the—
Numbers
Per cent.
Serial Nos. of songs
31 6$
14 ■ S8
5| 10
Fifth
27, 29, 30, 31, 32, 33, 34, 30, 37, 40, 41, 42, 47, 49, 50 5 13 14 15 17 21 Zi ''S 35 38 43 44 40 18
Third
IS 20 22 39 45
Total
50l
OEN'SMOKEI
CHIPPEWA MUSIC
Mkix)1)1c Anai.vsis conlinued TONIC MATERIAL
Numbers
Percent.
Serial Nos. of songs
C
'
1, 17, 24, 30, 34, 44
3, G, 8, 16, IS, 19, 21, 22, 23, 2f., 31, 40
45.47 33,37
29,35 10, 12
2, 7, 25, 27, 32
14, 15
9, 39, 46 13, 20, 48
4,50
M inor triad and seventh
Minor third and fourth
Octave complete except seventh
Octave complele except seventh and
sixth Octave complete except seventh and
second
Octave complete except fourth. . ..
Octave complete except fourth and third
Octave complete except fourth and second
Octave complete except second
Total
ACCIDENTALS
Songs containing—
Numbers
Per cent.
Serial Nos. of sonj/s
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
Sixth raised a semitone
Second, third, and sixth lowered a semitone
Second lowered a semitone and fourth rai.sed a semitone
Total
STRUCTURE Numbers! Percent.
Harmonic
I'urelj' melodic
Melodic with harmonic framework. Total
Serial Nos. of songs
3, 4, 5, 10, 17, 24, 26, 33, 35, 37, 50
1, 2, 6, 7, 9, 13, 1.5, 16, 20, 21, 22, 2:5, 25,
29, 32, 34, 36, 38, 39, 42, 43, 4<), 48 8, 11, 12, 14, 18, 19, 30, 31, 40, 41, 44, 45
27, 2S, 47,49
13G
Melodic Analysis— continued
FIRST PROGRESSIONS
fBCI
1 Numbers
Percent.
Serial Nos. of songs
Downward
iO
1 2 3 4 5 6 8 12 14 15 17 19 21 22 23
Upward
24, 27, 28, 29, 30, 33, 35, 36, 38, 39, 40, 41, 45, 47, 49 7, 9, 10, 11, 13, 16, IS, 20, 25, 20, 31, 32, 34, 37, 42, 43, 44, 46, 48, 50
Total
Rhythmic Analysis
PART OF MEASURE ON WHICH SONG BEGINS
Numbers
Per cent.
Serial Nos. of songs
On accented part
2G
4S ; 2 3. 5. fi. 8 14 15 16 17 2n 2:? 2."; 26 97 SI
On unaccented part
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
Total
RHYTHM OF FIRST MEASURE
Beginning in—
Numbers
Per cent.
Serial Noa. of songs
32, 33, 34, 35, 37, 40, 41, 42, 45, 46, 48, 49 1, 3, 4, 7, 8, 10, 12, 15, 19, 20, 22, 28, 36, 38, 39, 43, 44, 47, 50
5-4 time
17 25 26
Total
CHANGE OF TIME
Songs containing—
Numbers
Percent.
Serial Nos. of songs
U
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
No change of time
Rhythmic Analysis — continued KHYTHMIC UNIT
Songs containing—
Numbers
Per cent. Serial Nos. of songs
A rhythmic unit
1, 2, 3, 4, 5, 6, 8, 11, 12, 13, 15, 16, 18, 19, 20,
21, 22, 23, 24, 25, 20, 27, 28, 29. 30, 32, 33, 34, 35, 36, 37, 38, 39, 40, 42, 44. 45, 40 17, 47
7, 9, 10, 14,31, 41, 43, 4S, 49, .V)
Total
COMPARISON OF METRIC UNIT OF VOICE AND DRUM i
Numbers
Percent.
Serial Nos. of songs
Unit the same
Unit different
U
5, 15, 16, 17, 18, 19, 22, 29, 33, 42, 48, 49
2, 3, 6, 7, 8, 9, 10, 11, 12, 13, 20, 21, 24, 25, 28,
Kceorded without drum
Total
30, 31, 32, 34, 36, 38, 39, 40, 41, 43, 44, 4<.. 47,50
- 4, 14. 23. 26. 27, 35, 37, 45
' For more detailed analy.sLs .see Table 20, p. 30.
Children's Games of War
The childron as well ns 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 tlie two tribes contended with each other. War was the chief interest and even found its way hito the play of the children.
Odjib'we statetl that lie remembered an instance which happened when he was a Httle boy. The Chii)pewa 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 stmg mflicted by these was ])ainful, 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 o])ponents, as otherwise serious injury might have resulted, but the fight was waged riglit lustily and blood flowed freely.
No. 51. War Song of ()(ljil)'\ve'!s Childhood
Sunij; by Odjib'wi
'^^^^^^^^^^
Niu - do-kldj a nin ■
do-kidj a nin-do-kldj a
iiindo'kidj my ])ipostem
Analysis. — This song contains tlie tones of the fifth fivo-toned scale according to Helmlioltz (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 characterized 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 followmg song was used as a prelimuiary to a sham battle between Chippewa and Sioux boys. The combatants, divested of clothing, were ranged in facmg Imes. The men of each tribe stood behmd the boys and sang the song with them. Wlien 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 dilferent 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 feU before the sturdy kicks of the Chippewa, and a whoop arose from the Clup])(nva ranks. The battle was weU fought and in it many a l)()y received his first training for the sterner ganu> of tribal warfare.
1 This and the two songs next following are included In the tabulated analysis of White Karth songs, p. 306.
No. 52. Sonj? ItcJon' (he Hoys' Flight (CaUilosue No. 279) Sung l)y Odjib'we
VoicK J — 63 Recorded without drum
-K- -i ^
^'^ -^.-^ -f- -#^-#- ^-. -#--#.
Analysis. — This melody, like tlio ])ro('e(lin<r, is based on the fifth five-toned scale with D as tlie tonie. The sono; is minor in tonality and very slow hi tem])o. The subdoininant triad ((}-B fhit-D) is promment in the middle section while the minor third on the tonic (D-F) characterizes the first and last sections. A slow metric unit in sono:s of controlled excitement is noted also in Nos. 30, 51, 10.3, 1 (il .
No. 53. Little Girls' War Song
Sung by ODjib^we
S^iS
Uecorded without drum
E
^— f»-
^
(Catalogue! No. 2.S0)
^ -#-
:Uif=t=KF
^=t
4-SB^
^=1
^S^Si^^SiiEi[liE^^E=i=g^l
Nin-a-bem ga-mo-kwa-na-wind
nina^bem my husband
ganK/kwanawnur who was woundod
While the boys lield tlieir sham battles tiie lidle p;irls mimicked the woman's share in war. The aged warrior remem])ered 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 Imgered a trace of the boy's condescension. OdjTb'we said merely that "tlie little girls were dancing aiul jum])ing around."
Analysis. — This melody contams 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 4.5 are Nos. 132, 142, 149,
140 BUREAU OF AMERICAN ETHNOUXiY [btu.. r,."!
150, 170, 174, 197; those in the present volume are Nos. 53, 112, 125, and 127, the last being another version of No. 149 m Bulletin 45. Of tliis 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 entertainment of children. Second, it begins with the upward progression 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 pecuUarity, the song here considered being the first of the group hi this volume. The serial numbers of the entire group are 45, 49, 60, 91 m Bulletm 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 constitutmg half the group. Three of the remainder are songs of the Mide'wiwin, to which women as well as men belonged, 1 is a beggmg dance song, 1 a war song, and 1 a 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 (Bulletm 45), the octave complete except the seventh and third; No. 28 (herem), 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 m 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 hereui, these songs are major in tonality. A brief analysis of them for comparison is given herewith.
Bulletin JfO
No. 4^. — "1 can tame the shell;" Mide' song; key of B mmor; tones comprised in melody, 1, 2, 5, 6; trend of melody, 2-1, 6-5.
No. 49. — "Do not speak ill of a woman;" Mde' song; key of A flat major; tones comprised in melody, 1, 2, 5, 6; trend of melody, 2-1. 6-5.
No. 60. — "Weasel, thou art callmg me;" ]\Iide' song; key of G flat major; octave complete except seventh and third; progression 2-1 occurring frequently in the melody.
No. 91. — "I am walking to the spirit land;" Mde' song; key of B major; melody tones, 1, 2, 5, 6; trend of melody, 2-1, 6-5.
DENsMuuL] CHIPPEWA MUSIC II 141
Present work
No. 28. — Song of a war charm; key of D flat major; octave complete except thiixl and fom-th; trend of melody, 2-1, 6-5.
No. 53. — Little girls' war song; key of F major; melody tones, 1, 2, 4, 5; trend of melody, 5-4, 2-1.
No. 112. — Song of an ambitious mother; love song; key of E flat major; melody tones, 1, 2, 5, 6; a free melody with the ])rogressions 6-5 and 2-1 occurring frequently.
No. 113. — Love song; key of E flat major; octave com})lete except thii-d; the progressions 6-5, 2-1 emphasized in melody.
No. 116. — Begghig dance song; key of G major; melody tones, 1, 2, 4, 5, 6; progressions 6-5 and 2-1 promment m melody.
No. 121. — Song of ca'wlano'ga dance; key of A flat major; melody tones, 5, 2, 1; trend of melody, 5-2-1.
No. 178. — "He is going away;" love song; key of F major; melody tones, 1, 2, 5, 6; progressions 6-5 and 2-1 promment hi melody.
No. 180. — Song of the crawfish story; key of C sharp major; melody tones, 1, 2, 5, 6; trend of melody, 6-5, 2-1.
In examining these outline analyses we note that 2 and 6 occur as tones of approach to 1 and 5. This characteristic allies the group under analysis with another group in which the harmonic tone is frequently approached by the tone above, this group consisting of Nos. 29, 45, 51, 53, 65, 137, 139, 141. It will be noted further that the tones 1, 2, 5, 6 (in a song of major tonality) are the tones of tlie fourth five-toned scale lacldng the third; another form of the incomplete fourth five-toned scale consists of the tones 8, 6, 5, 3, 1 occurring as given in descending order. This is the major tonic triad and sixth, which constitutes the tone material of 42 per cent of the 340 Chippewa songs under analysis. (See Table 6.) It has been noted that in songs contammg this tone material the sixth is usually a pre])aratory tone to the fifth; the present group, however, may be considered the more primitive as both tonic and dominant are approached from the tone above and the mtermediate third is absent. Tlie emphasis of the fifth suggests a particularly strong feeUng for that interval. The fifth is absent from only 2 (Nos. 51, 52) of the 340 Chl})pewa songs. The prominence of the octave and twelfth (or fifth) in the begmning, as well as in the range, of these songs is shown in Tables 2-5. In this connection it is interestmg to note that these are the prmcipal "overtones" (see p. 4) of a fundamental tone.
DRUM-PRESENTATION CERE]\IONY
In October, 1910, the wTiter witnessed the ceremony accompanymg the presen-tation of two drums by the Lac du Flambeau Band of Chippewa in Wisconsm to the Menomhiee Indians in the same State. Part of this ceremony was enacted on the Lac du Flambeau Reservation and part on the Menommee Reservation. It is called by the Lac du Flambeau Cliippewa DevM'igun omi'giwen' ("a drum is given away") or the Drum-presentation Ceremony and is described by Barrett under the title of the Dream Dance.^
Durmg four days before their departure the Chippewa danced on then- own reservation, the Menominee dancing the same length of time before then- arrival. There were also four days of dancing on the Menominee Reservation when the drums were presented and four days of dancing together after the ceremony.
So great is the veneration in which the drum and its ceremonies are held that there has sprung up what is called the "drum religion." This does not supplant the Mde' (Grand Medicuie), but mtroduces a new element. The Mde'^ has regard chiefly for the mdividual; its aim is to secure health and long Ufe for him, and its mstructions concern his own character. Its precepts regarding the relation of man to his neighbor (so far as observed) are connected with the cure of illness and general rectitude of conduct. The "religion of the drum" mculcates a developed and broadened sense of responsibiUty and con- cerns peace between peoples who have been at enmity. The ceremonies of the Mide' are not marked by extreme ritual exactness and some latitude is allowed the leaders in the choice of songs as well as in the text of their discourses, but m the ceremonies comiected with the drum certain songs and no others must be sung, and dancmg once begun must be continued the prescribed length of time regardless of conditions. The central idea of the " drum religion " is that of peace, yet mingled with this idea is law, rigorous and mflexible. The Chippewa say that the drum and its "religion" came to them from the Sioux many years ago, but it came to them also through development of character, as a step m the progress from the childhood toward the manhood of a race.
1 S. A. Barrett, Dream Dance of the Chippewa and Menommee Indians of Northern Wisconsin, in Bulletin of the Public Museum of the City of Milwaukee, \o. 1, art. 4, 1911, pp. 251-371. Cf. also section entitled "The Dreamers," in The Menomiiu Indians, by Walter James Hoffman, M. D. {^Fourteenth Ann. Rep. Bur. Ethii., pt. 1, pp. 157-101.
2 See Bulletin 45, p. 13.
DBNSMORE] CHIPPEWA MUSIC II 143
No attempt has been made herein to analyze this "drum reli<!;ion," but the attitude of the Indians toward it is indicated by the following statement of Wis 'kino ("bird"), the Menominee chief to whom one of the Chippewa drums was given. Referring to his position as owner of a drum, Wis'kino said:'
T will keep this dniin in my lunise. There will always l)e tobacco beside it and the drum jnpe will always be filled. WTien I smoke at home I will use the pipe that belongs to the drum. My friends will come to my house to visit the drum. Sometimes my wife and I will have a little feast of our own beside the drum, and we will ask the drum to strengthen us in our faith and resolution to li\e justly and to wrong no one. When my wife and I do this alone there will be no songs. Only special men may sing the songs of the drum, and my part is that of speaker.
Wlion asked liow often his friends canic for this ])ur])os(', he said:
We visit the drum about every fourth night and sing a few songs. Any persons who desire may come and each brings a gift of tobacco. The owner of the drum is the only speaker at these small gatherings. He speaks as representative of those who come, and presents the tobacco to the drum, after which it is given to the singers who sit at the drum.
It Ls said that many generations ago tlie Sioux gave to the Chi])- pewa a large drum similar to the one used at the present time in the ceremony here considered, taught them the "songs belonging to the drum/' and related to them the tradition concerning its origin. It Ls believed tliat permanent peace between the two tribes was a result of this presentation of the drum. Following this presentation, in accordance with the instructions which accomj)anied it, the Chippewa made similar drums, which they afterward gave away, with the proper songs. In presenting a drum it is customary for the giver to relate his individual dream to the recipient, thus adding to the value of the gift and strengthening the bond between the two men.
Tlie tradition concerning the origin of the drum was a subject of inquiry among the Lac du Flambeau Chippewa, the Bad River Chippewa on the La Pointe Reservation in northern Wisconsui, and also among the Menominee. Ten or twelve informants agreed on the principal features of the account, all stating that a woman was the means used by the manido' ^ in giving this type of drum to the
1 This and other speeches by WIs'kIno were interpreted by Mr. Frank Gokay, a prominent member of the Menominee tribe.
2 The word manirfo' (spelled also manito) is defined by Baraga as "spirit, ghost." The following explanation ofthe vvonlinsoineof its compounds was given liyRcv.J. A. GilfiUan: Ki'j'ic' mamdo', literally, "he who has his origin from no one but himself, the Uncreated God"; Men'idowenda'g wUk, that which is so astonishing as to l)t' considered superhuman; Manido' wab, the name of a man, meaning, "he looks through the thing as God does, or with superhuman insight"; Man'idoka'zo, he tries to make people believe he has superhuman power, but he is an impostor. The same authority states that a small wild animal is called man' idow ens', meaning "a poor, miserable little spirit," the explanation being that the little animal is not a clod of earth, as is shown by its nmning around, but has life, or "spirit."
Na'waji'ldgo'kwe, a member of the MIde'wIwIn, said that the Chippewa believe in many manido', or spirits (see Bulletin 4.5, p. 21), the highest of all being called Ki'jie' manido', and that there are four manido' connected with the MIde', each being regarded as dwelling at a cardinal point of the compass. Four MIde' manido' arc mentioned in songs Nos. 16 and 21, Bulletin 45, as " living in the four layers of the earth." The word is applied to animals in the MIde' (songs Nos. 34 and 41, Bulletin 45), and a man who sees an animal in his youthful vision calls that animal his manido' and wears some part of the animal on his person as part of his "medicine."
Indians, thus securing peace between the Sioux and the Chippewa. They agreed also in the statement that the woman hid in the water four days, her face being concealed by a broad lily pad. In minor details the accounts differ somewhat. The first part of the following account was given by a Lac du Flambeau Chippew^a and the remainder by one of the Bad River Band living at Odanah, Wisconsin. These two narratives were the clearest and most authoritative secured by the writer, and they are given, combined, as nearly as possible in the words of the interpreters.
When the Sioux were fighting the white men a party of them were closely pursued, and one woman, unable to keep up with the warriors, hid in a pond of water. There she stayed four days, submerged in the shallow water at the edge of the pond, with a lily leaf over her face. At the end of four days she heard a voice say, '' The people who have been killing yom* friends are about to eat; come and share their food." The woman was afraid to leave her hiding place. Soon she heard the voice again, saying, "Come; I am calling you to come." At last she believed the voice and came from the water. The voice said, " Keep right on this path and I will see you after a while." The next the woman knew she was among soldiers and eating with them. She could see them, but they could not see her. After eating she started in the direction her people had taken. Then she saw the person whose voice she had heard. He was a manido' and appeared in the form of a white man. He gave her directions for making the dmm, taught her the songs which should be sung with it, and told her that by means of it the Sioux would make friends with all their enemies. He told her that the women could sing with the drum, but that only the men could dance around it; he also told her that when the first drum was finished he would come down to it and that two men must be offered to him in return for his gift of the drum.
The woman told the men how to make the drum. When it was finished and the singers had learned the songs they all gathered around it. The instant that the drummers struck the drum for the first time ' the manido^ appeared again and the two men who had made the drum fell dead beside it.
It is said that the drums now given by one tribe or band to another are similar to the one made at the direction of the manido', and that the same songs are stiU sung. Thus the songs used at aU important points of the Drum-presentation Ceremony witnessed by the writer were Sioux songs and were credited to the Sioux. When a drum is transferred the proper songs are carefully taught to the members of the new drum party by the leading singers of the party ])resenting the drum.
During the dancing which precedes and follows the presentation each tribe sings its own songs, the Chippewa using certain of their w^ar songs on these occasions. In accordance with this custom, typical Chippewa songs are interspersed with the Sioux ceremonial songs in the following narrative, but the songs of the two tribes are considered separately in the tabulated analyses.
Drums of two types may be given in this ceremony. These differ slightly in size and in elaborateness of decoration. The larger is
' A certain formality attends the first stroke on the drum made by the person to whom the drum is given (see p. 171).— F. D.
DRUM AND STAKES USED IN DRUM-PRESENTATION CEREMONY
PEXSMOKE] CHIPPEWA MUSIC II 145
called o'gima dewe'igun (chief drum) ii\n\ the smaller ogl'tclda dewe'igHn (warrior drum). The chief drum, as the name implies, is usually given hy one chief or leader to another and the warrior drum is presented hy one niemhor of the tribe to another. The word ''chief" as used in this couiicctiou refers to the leadmg man of a village or settlement and throughout the description of the ceremony the word "warrior" refers to any of the men of the assembly.
At the ceremony witnessed by the writer the chief drum was presented to Wis'kino, chief or "speaker" of the West Branch Settle- ment of tlie ^Menominee tribe, by Bi'jikens ^ ("small ox"), a ])r()minent member of the Lac du Flambeau Band of Chi])j)ewa, and the warrior drum was presentctl to a Menominee from another ])art of the reservation by a Lac du Flambeau Chippewa.
The chief drum (pi. 18) presented on this occasion was seen by the writer in the house of Bi'jik6ns. It was placed on a low box in one corner of the room; the box and the floor around it were covereJ. with a clean white quilt. Beside the drum were the various articles belonging to it, the pipe filled and ready for use, and the drumsticks hi neat cloth cases. The drum and all that pertained to it were treated with greatest respect by Bi'jikens and his family. After some hesitation he gave his consent to the photographing of the drum and it was carried to the dancing circle by his son and his son-m-law (pi. 19), two of the men officially intrusted with its care.
The curved stakes supporting the drum were more than 3 feet in lieight and when in position were about 6 feet in span (pi. 18). The drum was 27 inches in diameter and about 12 inches in thickness. It had two heads of untanned hide decorated alike — one half painted blue and the other half red, with a band of yellow near the edge of t he blue segment. The sides of the drum were concealed by a strip of I'cd flannel edged with blue, which hung below the rim; this was decorated with pierced silver disks. Ai'ound the upper rim was a band of otter fur 2 inches wide, with four loops of fur which served as handles for Ufting the drum and also as a means of suspendmg it from the stakes when in use. Below the band of fur was a broad band of beadwork edged witli a deep frmge of beads terminating in tassels and metal thimbles. Four ornaments of heavy beadwork decorated the sides of the drum. The stakes support mg the drum were com- ])letely covered with beadwork and bands of otter fur. In a socket on the top of each were placed two large feathers, and each stake was ti])])ed with the tufted entl of a cow's tail and several ribbon streamers, blue on the stakes at the west and north and red on those at
• This name is composed of two words, "fti'jTfci," meaning originally "buflalo"and later applied to "cattle" (see pp. 63, 203), and "em," a diminutive termination. The meaning of the name was given as "small ox," this being the more common translation of bi'jlki.
07996°— Bull. 53—13 10
Im'Li,. 5o
the east and south. Beside the <hum were the foui- (Iruiusticks used by the leading drummers, each covered with soft l^rown deerskhi and decorated with a band of otter fur and long ribbon streamers. There was also a longer stick used only by the owner of the drum in a particular part of the ceremony (see p. 171). This stick was more than 3 feet long. Over the curved end was slipped the skin from the neck of a loon, its glossy black feathers dotted with wliite. The pipe belonging to the drum had a flat stem decorated with geometric drawings, with a tuft of red woodpecker feathers sunk in the wood (fig. 3) . (The second pipe belonging to the drum, Imown as the warrior pipe, is not shown in the illustration, as it had been sent to Wis'kino in anticipation of the ceremony.) Beside the pipe are seen also a turtle shell, which contained apak'osigun' (tobacco mixed with the inner ])ark of the red willow) and a wooden box having three compartments; those at the ends contained, respectively, tobacco and red willow and the middle one contained matches. In a similar box are kept the feathers which decorate the stakes of the drum. There are also 8 or 10 ordinary drumsticks used by the drummers.
Four years ago this drum was given to Bi'jlkens by a leader of the Bad River Chippewa. Although he has parted with it, Bi'jikens retams the right to make duplicates and to give them away at any time. In connection with this right thefollowmg incident came to the writer's notice: A few weeks before the presentation of the drums to the Menominee a drum was given by Mec'kawiga'bau to a Chippewa at a neighboring settlement. Mec'kawiga 'bau stated that he intended to make a duplicate of the drum during the coming winter and to give it away the next ^ ^ summer. According to him there are no songs or cere- 3b monies connected with the making of a drum, but the
songs used in connection with the new one must be those he received with the origmal drum. He did not receive the drum in the usual manner. It had been given to Me'dwcya'slin (see p. 249), the chief of tlie Lac du Flambeau Chippewa, whose advanced age rendered him unable to discharge the obligations associated with it. A few months before his death, therefore, he gave a dance at which he made a speech saymg that he was very feeble and wanted the drum to be in safe keepmg, but that he was not strong enough to visit some other settlement in order to present it to the pe()])le. As he did not want to impose that duty on his children in the event of his death, he publicly transferred the drum to Mec'kawiga 'bau, who was willing to assume the responsibility.
Fig. 3. Stem of the drum pipe.
I'KNs.M.mi;! CHIPPEWA MUSIC II 147
]Jrums of similar (l('sio;u huvc Ixm'u seen by tlio writer on the White Earth, Leech Lake, and lied ]^ake Reservations in Minnesota. These, which were said to have been received from the Sioux, were used in tlie social dances. At Waba'cifig settlement, on the lied Lake Reservation, the drum was sus])ended from crotched sticks (see p. 252); in all other instances it rested on the ground. No decorated drumsticks were used, there was no pipe l>elonfjjing to the drum, and its significance as a peace symbol seemed to have been lost. It is reported, however, that occasional ceremonies of drumpresentation are still held in remote parts of the Minnesota reserva- tions. The Chippewa of Minnesota are in frequent contact with tlie iSioux, the two tribes advancing side by side in civilization. In Wisconsin the contact is less recent and more of a glamor is thrown around the past, the old men telhng how in former days the war canoes of the Sioux came u]) the Chippewa River from the Mississi])})i.
A drum party originally consisted of 29 persons and it was not customary for a person to "belong" to more than one drum. At the ])resent time, howevei-, it is necessary for each of the good smgers to l)elong to more than oiie and even for the same person to hold more t han one office in a drum ])arty. The complete personnel of such ])arty is as follows: The chief of the settlement; the owner of the drum; the s])eaker; the aid (oc'kabe'wis) ; the manager of the dancing hall or cir(de; five men who take care of the drum; the man who takes care of the drum ])il)e (used by the drummers) ; the man who takes care of the warrior's pipe (used by the dancers) ; the chief drummer and singer; four leading drummers and singers (one being seated at each ''leg" of the drum) ; four leading women singers (seated belund the leading drummers) ; four assistant women singers (seated between the leading w^omen singers) ; four leading dancers (said to be "one for each 'leg ' of tlie drum ") . There are also other singers and drummers.
During a ceremony the chief drummer is usually seated at the western side of the drum and at his right hand are placed the drum ])ipe, the turtle shell filled with aj)dk' osigun (tobacco mixed with red willow bark), and the other articles belonging to the drum, lie it is who starts the songs and leads the singing. The leading drummers are seated by the four stakes, or "legs" supporting the drum, and between them are the singers and drummers of less importance, who have no ])ermanent seats. The women form a largo outer circle, sittuig with bowed heads, their mouths covered l)y their hands or shawls. The singuig of the women, which is entirely through the nose, gives the melody with clear intonation, an octave above the voices of the men. The octave appears to be a natural interval between the voices of men and women when singing together. It is possible that the perception of the octave as a pleasing musical
interval may liave come to the Indians from this source. The prominence of the octave in Chippewa melodies is noted on page 4.
The chief of the band, owner of the drum, speaker, and the four leading dancers sit on the long seat which surromids the dancmg hall or circle. The aid sits alone at a little distance, ready to act as messenger. Those who take care of the drum and the pipes have no official duties during a ceremony and are usually seated with the drummers.
As the gift of a drum involves the return of gifts supposed to equal in value the drum and the presents bestowed by the original drum party, it is customary for the man presenting the drum to ascertam from the one to whom he wishes to present it whether the latter desires to assume the obligations associated with its acceptance. This is done several months before the drum is to be given. It is the duty of the recipient to see that a suitable quantity of gifts is presented to the drum party at the ceremony, that one or more feasts are provided for the guests, and that their cam}) is supplied with food during their entire stay. At some later date he must return a full equivalent of gifts to the donor of the drum. A year or two may elapse before he is prepared to do this. When he is ready he sends a messenger to the donor, and shortly afterward visits him with a large party carrying the gifts.
About 10 days before the presentation of the drums by the Lac du Flambeau Chippewa to the Menominee two messengers were sent with the warrior pipes belonging to the two drums. Before they left Lac du Flambeau a dance was held, the final song being the Sioux song of departure sung at the close of all the gatherings connected with the Drum-presentation Ceremony.
All the ceremonial songs given in connection with the following narrative were sung by Mec'kawiga'bau (pi. 20), one of the prominent singers of the tribe. As he was the leading singer of the drum j)resented by Bi'jikens, these songs rej^resent those of a chief drinn; the songs used (ku'ing the presentation ceremony of the warrior drum were difl'erent, although they have the same general characteristics.
MEC'KAWIGA'BAU
DENSMOKK]
No. 54-. Sonj? of Departure (Catalogue No. S. 1)'
Sung by Me'ckawiga^bau Drum Jr=76
isi^^^.i^ii^e^is#pirg
^^i^l5^^=^?=?^
BS^I
0 rn
:^t::
IH^
qczpizzLTc
Analysis. — The three renditions of this song reconhnl are uniform tlu'oiighout. The time is not rigidly maintained, but varies in corresjionding measures in the several renditions. The intonation of the I) flat in the opening measures was faulty in the first two renditions, but practically correct in the thu-d rendition (compare Nos. 129, 133, 146, 164). A faulty intonation on the interval of a second occurs also in Nos. 55, 61, 64, 145, I66.2 It is noted that tlio rhythmic unit occurs in both double and triple measures.
The two messengers smoked the pipes with tlie two jMenomin(H> who were to receive the drums, and said that they would return with their people after a certain number of days and smoke the pipes again. This numljer of days was supposed to allow adequate time for the messengers to return and the peoj)le to make the journey.
When the messengers reached Lac du Flambeau, active preparations for departure were begun. It was the custom for each tribe to dance four days on its own reservation, and during this period t h(^ Chippewa held a ceremony called the Restoring of Mourners, and, if occasion required, a Ceremony of Divorce.
Catalogue numbers preceded by S. refer to phonograph reoords of Sioux songs.
2 As this concerns manner of rendition and not structure of melody, the reference includes Iwili Siou.K and Chippewa songs.
[bull.
At the presentation of the drum the tribes dance together for four days, and on the fourth chiy a Dog P^ast may be hekl for the further cementing of the ])eace bond. This feast was not hehl on the Menominee Reservation, but tlie writer witnessed it on the Leech Lake Reservation in Minnesota during the celebration of July Fourth, 1910 (see p. 173). A Dog Feast may be held independent of a Drum-presentation and is of somewhat frequent occurrence on the Wisconsin Reservation.
On the first day of dancing on their own reservation tlie Chippewa sang a series of five songs, called, respectively, the Song of the Chief, Song of tlie Speaker, Song of the Owner of tlie Drum, Song of the Warriors, and the Song of Giving Away the Drum. These were also sung at the opening of the ceremony on the Menominee Reservation, and if the final four days of dancing had been held at Lac du Flambeau these songs would have been repeated at the beginning of that period of the ceremony.
No. 55. Sons of the Chief
'Sung bv Mec'kawiga'bau
(Catalogue No. S. 2)
_^ .0. -a- -or-
-^^^^
Analysis. — All the renditions of this song show faulty intonation on the interval of a second in the opening measures, in some instances the upper tone being flatted and in others the lower tone being sharped. This uncertainty suggests that it may be difficult for the singer to adapt his voice to so small an interval (see Nos. 54, 61, 64, 100, 145, 166). The interval of the eleventh was sung with reasonable accuracy in beginning the repetitions of the song. In the first two meas- ures the harmonic tone is approached by the tone above, which is accented; this characteristic leads to the classification as melodic w^ith harmonic framework of a song which otherwise would be classified as harmonic in structure. The song contains only the tones of the minor triad and fourth.
DKN.SMDKKl
No. 56. Song of the Speaker (Catalos^ue No. S. 8)
Sunt; 1)V Mec'kawu.a'bau
i^
a^
-f^ -m- -m- -•- -•- -f5>-
:t=Ft
£=Eq
:!?; ^ .^. .^ ^f-
S
£^
I — rr
«r-&
i
j^A^ ^
s^s
t=t
is^^^^B
Analysis. — This song is transcribed as it was sung in three ren(U- tions. The first part of the song is distinctly major and the last part minor in tonality; therefore it is transcribed in the keys of D major and D minor. The F in the opening measures is clearly sung F sharp, and the F in the latter part is as clearly sung F natural; the C in the twelfth measure is sung C sharp in the first two renditions, C natural in the thu-d, and between the two tones in the last. The rhythm does not var)^ in the several renditions, A half note followed by a quarter note occurs frecpiently but can scarcely l)e said to constitute a rhythmic unit. The metric unit of the voice (indicated by J = 184) is very rapid. If each drumbeat were regarded as a cjuarter note the tempo of the drum might be indicated as J = 160, but the drumbeats are in groups of two; it is more convenient therefore to regard each drumbeat as an eighth note and indicate the tempo as J =80.
No. 57. Song of the Owner of the Drum
Sung by Mec'kawiga^bau
( Drum-rhythm similar to No.
(Catalogue No. S. 4)
«i^
Ajialysis. — This is an instance in which the sharps at the beginning of the transcription should ])e regarded as indicating the pitch of certain tones rather than as implying an established key. Thus the song is transcribed as in the key of E major although the third of that key does not appear. The principal chords of the key of E accompany the melody in a satisfactory manner and the tones F sharp, C sharp, and D sharp are found in the melody.
No. 58. Song of the Warriors (Catalogue No. S. 5)
Sung l)y Mec'kawiga^bau
■P=F=P=P^
i=1
S=tf=
SI
Analysis. — This song is characterized by the approach to an harmonic tone by means of the tone above it. The melody tones are those of the fourth five-toned scale and the trend of the song is an almost unbroken descent. Four renditions were recorded, which are uniform in every respect.
No. 59. Sons of Giving Away the Drum (Catalogue No. S. 6)
Sung }>y Mec'kawkia'bau
^ • ^ -^ jt. ^.
m=^
f^
P' ,w
^^^^^^^^^
DENSMOBE] CHIPPEWA MUSIC II 153
Analysis. — Tlio iiitoiiatiou of the ojx'iiiiig measures of this son"; was faulty in all the renditions. Tli(> melodic tones are those of the fourth five-toned scale and the trend of the melody is steadily downward. .\lthough strongly rliytlimic iu cliaracter, the song contains no unit of rliythm.
Ceremony of Restoring the Mourners
Tlie ceremony called Restoring the Mournei-s, usually lield <luruig the preliminary days of dancing, begins on the first day, if ])0ssible, in order that those whose period of mourning is fornuilly (muIcmI may joui their friends in the remainder of the dance.
This ceremony was witnessed by the writer at I^ac du Flambeau October 16, 1911. It was held in the dancing inclosure of the Lac du Flambeau Chippewa, which is situated on a knoll overlooking the Indian village; tliis inclosure is surrounded by a high board fence (see pi. 19). Four drums were placed at intervals around the circle and beside them were seated their respective drummers and singers. E'niwub'e ("sits farther along"), leader at one of the drums, liad pamted the lower half of his face black, as a token of mourning.
At this ceremony the period of mourning of four persons — a man who had lost his wife, two young women who had lost children, and an aged woman who had lost her husband — came to an end. AU these deaths had occurred since a similar gathering of the tribe, the ])eriod of mourning usually lastmg from six months to a year. During that time a mother who has lost lier child carries a cup tied iu a cloth around her waist. This she frequently fills with berries or some other dehcacy and places beside her "for the child." After a little while she gives the food to some needy person and replaces the cup in the cloth.
The mourners were seated in the center of the circle. The women were newly arrayed in bright dresses and gay shawls. Tlie man wore a bright blue shirt with beaded sash. Even the aged woman was dressed in bright colors and her hair was tied with a gay ribbon. These brilliant colors contrasted shar]:)ly wdth the evident safhiess of the mourners, who sat with (lo\vaicast eyes. At intervals some one stepped forward and hung a bead cham around the neck of one of them or laid a bright garment or shawl at his side, but tlie gifts were received without res])onse.
It was a strange scene. Looking beyond the inclosure one saw the towering pines, majestic m outline but wondrous in soft shadows; to the right lay the scattered cabuis of the Indians grou})ed on the shore of the lake, and at a little distance was another hillside on which were the smaller cabins of the dead. Above aU was the bluest of October skies. Some said the ceremony was pagan, yet hi it was
[BPLL.
mingled all that is deepest and most tender in human life.
The leader of the ceremony was White Feather, who is highly respected by both Indians and wliite men. On being asked his "Indian name" he gave, not the Chippewa equivalent of Wliite Feather (Wa'bickigwiin'), but Odja'nimwe 'wegijigons'.^
At the openuig of the ceremony a woman brought water and soap, which she placed before the man who had lost his wife. He washed liis hands, drying them on a towel which she offered for the purpose. A man then parted his hair and combed it very smooth, while the following song was sung at one of the tlrums.
No. 60. Song of Restoring the Mourners
Sung by Meg^kawiga'bau Voice J^=: 176
r;
(Catalogue No. S. 7)
^'
r-0- -•- -•- 1-0-' -0- -9- -*- m ^ ^ I ,
9^sfc^^f=l
^ I —
±=t
3g;
-.^^^0^tW=W
^^^
m
^=w
:t=t:
■^^
:^:
t^
=1=^
^'
^^i2:&q7-=S-
=f=
=^=
—0-
—0-
zp-
4- +
-•' T 0
0 ' 0 0
\f — ^11
^^^
W=^
'
„>.
iit
=E=
Ah-
E£^^:£=L.
ii=
==L^^
r^F— II
Analysis. — This song is characterized by a very rapid tempo and by measures containmg five counts. A few measures m quadruple time break the monotony. It is worthy of note that the mterval of an octave and a fourth is compassed in tlu-ee measures.
After a short time a woman brought water and offered it to one of the women who had lost a child, this being done also for each of the women while the same song was sung at one of the drums.
When this was finished White Feather rose and said:-
1 The meanings of the component parts of this word are as follows: odja'nim signifies a disturbance; wcwe is a root implying a swaying motion (see footnote 2, p. 241); and gi'jig in proper names is usually translated " sky." The last-mentioned part of the word is found also on p. 249, with the prefix ki'tci, " large." Hence the name as analyzed thus far may be translated " sky in commotion." The termination ons in some cases indicates that the bearer of the name was small in stature, but more often that his father bore the same name. (Cf. pp. 76, 145.)
2 This and other speeches made by White Feather were given the wriler at a later date by White Feather himself and are transcribed in the words of the interpreter.
A person who believes in the drum and has lost friends can not go to a dance unless he is invited, but I asked that these mourners be invited. I came myself and spread my own blanket on the ground for them, and I asked the warriors that they be invited and their mourning ended, ^^'hen I did this I knew how this ceremony should be conducted. I thank my people and Manido' that the warriors are so generous as to bring these mourners here to share our happiness.
A woman then stepped forward and ])ainted a row of dark blue dots l)elow the eyes of the man who had lost hLs wife. Before the ])aintmg of the two yomiger women White Feather made another speech somewhat similar to those which are here recorded. There is no prescribed pattern for the pamtmg. The yomiger women were pauited with a horizontal red line below the eyes, and on one the parting line of the hau- was painted red. It was said, "Red means blood (life), and the red paint is for long life." WliUe the faces were being painted the follo\ing song was sung.
No. 61. Song of Painting the Faces (Catalogue No. S. 8)
Sung by Mec'kawiga'bau
^-T-^^^^EE^i
Analysis. — This melody contains a peculiar grace and charm. The E in the opening measures was smig slightly below pitch (see Nos. 54, 55, 100, 145, 166). After the opening measures the song flows smoothly along the mtervals of the second five-toned scale, with s])e('ial emphasLs and feeling of re])0se on the tonic. There is no unit of rhythm, yet the rhythm of the song as a whole is pleasing and well defined. The metric unit of the drum is slightly more rapid than that of the voice and seems constantly urging the voice forward. Four renditions were recorded, which are uniform in every respect.
[BrLL. 53
The eldest woman among the mourners was Wliite Feather's mother, who mourned the death of his father; for this reason it was deemed not fitting that he should make the speech which preceded the painting of lier face, so he asked that one of the old men speak in his stead.
An old man arose and, leanuig on his staff, said that he had fouglit ill tlie Civil War, He told of his bravery as a soldier and said that he would give to this mournmg woman the strength and power which upheld him on the field of battle. He then handed pauit to a woman, who, kneeling before the aged mourner, traced scarlet lines on her thin face.
It is said that a man who has distinguished himself in war may give the full result of his prowess to a friend in this ceremony, and j^et by so doing not lose it himself. If he is entitled to wear a feather, he may give his friend the right to wear a similar feather, and even to pomt to it saying, "7 was as brave as that." Sometimes the right thus generously shared was won at the risk of tlie man's life.
The following song was sung during the ceremony.
No. 62. Mourners' Song
Sung by Mec^kawiga''bau
-H h f_ ^ ^
(Catalogue No. S. 9)
^m
M^m
Analysis. — The metric unit of this song is unusually slow and was not maintained with absolute regularity. The tlii-ee renditions recorded show no variation. The rhythm is less interesting than in many songs of the present series, but was clearly marked and accurately repeated. Tlie song is minor in tonality and has a range of 12 tones.
DBNSMORE] CHIPPEWA MUSIC II 157
When the pabitmg of the faces was finished, White Feather tlius addressed all the mourners:
Lift up your eyes. Look at your friends sitting around you so gaily arrayed. If you still look down your sorrow will not leave you. Do not think so much about your sorrow and that you, too, will soon die. It is true that we all must die, but we shall meet afterward. You must not cling to your sorrow nor hold an unkind feeling toward anyone. Have faith in yourselves and people will think more of you and Manido^ will help you. There are no enemies around you. Think only of what is good.
The mourners were then hnl to their respective seats, those who belonged to one of the drum parties being seated at the drum and the others bemg placed with friends at the edge of the circle. From time to time additional gifts were silently laid beside them, but they made no response, sitting with downcast eyes or sadly touching the gay little trmkets.
On the evening of the day following the ceremony of Restoring the Moin-ners the \Titer went again to the Lac du Flambeau village. The Imlian village is about 4 miles from the Government school, but the drum could be heard distinctly and, as there was a full moon, it was thought ])Ossible that the Indians were dancmg outdoors. On arriving at the village, however, the bright light in E'niwiib'e's window and the sound of the drum indicated where the Indians were gathered. The house is small and in beating the drum the Indians make little difference whether they are beneath a roof or the dome of the sky. The fom* or five drummers, seated around the warrior drum which would be presented to the Menominee, played and sang right heartily. A drum of similar type was on a table, the decorations of the two mstruments forming spots of vivid color. A few women were seated on the floor behind the drummers, with heads bowed and their shawls held over their mouths as they sang in a weird, high falsetto. From time to time the men sittmg in the room rose, and danced in their places with a bending of the knees and a rhythmic shiftmg of their weight from one foot to the other. There were soft brown tints of unpainted wood, duU colors of weatherworn garments, and a bit of briUiant green where E'niwtib'e's familiar blanket hung against the wall. The dark faces were grave with the import of the dance and the lamplight cast strange shadows. It was a scene long to be remembered. Chi])])ewa war songs were sung during these dances. It was stated that all war songs could not be used, but that the following three songs were frequently sung at the dances precedmg or folio whig the presentation of a drum.
No. B3. "The Sound Comes Pleasingly"
yuiig by E'niwub^e
[BULL. 5o
Ge - bi - o - dja- min - we - we gi - jig e
bi - moc
i±Ei
ki - ne
ci - yan
^^3i
gi - jig e
gebi' odja' mmewewe'.
gi'jig ••■--
gebi' mockine' iiciyan'
the sound comes pleasingly across the sky filling the air
Analysis. — This is the dream song of a man who had a vision of the thunderbu'd. On liearing thunder he took tobacco in his hand, and, holdmg it toward the sky, said to the storm, ''Go around that way," tcssing the tobacco in the direction he wished the storm to go and singing this song. The three rentUtions recorded show no variation. The melody contams the tones of the fourtli five-toned scale and is melodic in structm'e.
No. 64. "The Ravens are Singiuj,'" (Catalogue No. 424) Sung l)y E^NiwuB^E
Voice Jr= 120 ( Drum-rhythm similar to No. Ifl )
Ka-ga - gi-wGg e ka-ga-gi-wfig e na-glim - o-wfig gi
HgE^
g^ijgjgjgfPjE^PI
kaga'giwug the ravens
na'gumo'wug are singing
gi'jigufig^ in the sky
Analysis.^The rhythmic unit of this song is short, interesting, and repeated frequently. In the five renditions recorded the only difference was that in one rendition the tone G in the sixth measure was sung as a quarter instead of as a half note. This exact repetition of the rhythm is interesting because the intonation in the first part of the song was very uncertain. It appeared difficult for this singer to keep correct intonation on small intervals (see Nos. 54, 55, 61, 100, 145, 166). The song is minor in tonality, melodic in structure, and contains all the tones of the octave except the seventli. The interval of the fourth is prominent in the structure of the melody (see No. 22).
No. 65. War Song
Sung by E'niwub^e
-fr ^^
^-•-
feggg^l^Sigig^gl
gte^E^
ffi^^ii
iiifei
^
?TP=P^
:L^
qvciiszizz^:
^^[=a^
^^-=^[14:
Analysis. — In structure this song is classified as melodic with harmonic framework. It begins on the twelfth and ends on the tonic, the descending intervals of the tonic chord being varied by a frequent occurrence of the tone above the harmonic tone, which is accented and forms an important part of the melody (see No. 53). The rhythmic unit is long and occurs only twice. Five renditions of the song were recorded.
DKN.SMUUK]
No. 66. "I am Small"
Siuig ))v Mkc'kawig.v'bau
VOICK J: 88
( Druia-rhytlim similar to No. 10 )
mm:
-0- -m- ^ -^ -f- -•-'-•-
igg^BjEgE^EJI
Wen
dji - a - ga - ci - ya
weu - dji - a - ga - ci -
ya - an
wa ca-wfl.n-o - nang don-dji-ba a
-^f-lru-r^f-^T^- H r— p — r^ — |-^--IHH- J— 1^- ^^^- — \ — \
-2-H^'-=-r^.h:-p— P— 1-4 — ^-^-----i^J-J— J— 1-
dji - a-ga-cl - ya - an
wendjiii'gariyan'. I ain small
ca'wfmonang^ from the south
don'djiba' I cohk'
Analysis. — Tltis melody, which contains seven sections, is based on a rhythmic unit, although that unit does not a])pear at either the beginning or the end of the song. The opening phrase has a rhythm of its own, and the closing measures were slightly hurried in tempo, as though the singer were in haste to roach the final tone. The song is major in tonality and comprises the tones of the fourth five-tone(l scale, Tn structure it is melodic with harmonic framework;.
After listening to a number of s.o^igs in the hause of E/niwilb'e the writer passed into the o])en air. The lake was white and glistening in the inoonlight and tl\o pines were outlined dark,ly against tlio sky. A ])arty of Indians, carrying a drum, wero cimiing down the road,, and in the distance a light shone froniBi'jTkens's window. On inquiry it was learned that the party beh)nging to tlie chief drum had been dancing at Bi'jikens's house and that they were bringing that drum, to E'niwiib'c's, where they would sing with botli drums. (iTomr— Bull. 53—13 11
Ilemembering tlio sound of tlio lesser drumin the house of E'niwub'e, one (lid not wish to return and hear the chief drum. Far on the road through the pine forest the throb of the drum was heard, and one knew that in E'niwub'e's lamplight the dark figures were dancing as the Indians danced before ever a white man came to their shores.
Ceremony of Divorce
A Ceremony of Divorce is sometimes held on the last day of one of the periods of dancing. There are four songs for this ceremony; these are similar in character, and only two are recorded. The ceremony is said to be very simple, the man or woman desiring the divorce merely going through the motions of throwing something outside the dancing ch'cle as these songs are sung.
No. 67. Divorce Song
Sung by Mec'kawiga^bau
IJbum Jizr 80
ii^^iEE£g
«"-;^=?c
i^^a^^^
Analysis. — This melody consists of four parts, two of which are major and two minor in tonality. The song opens with a particularly bright and happy strain in wliich the rhythmic unit occurs twice; a few measures later this unit is used (without the tied notes) in the minor tonality. It does not appear wdth the return to the major tonality, the rhj^thm of these measures being direct and somewhat
DENSMOUK]
CHIPPEWA MUSIC-
-II
(Mnj)hi>ti(', hut is us(m1 in llu> recurring minor j)assa.ii;o and is su<::;^(>st('(l in the triple moasuro near the close of the son<;, as though sung in a lingeruig fashion. (Other histances of a change in tonality are Nos. 1S9, 192, in Bulletin 45.) Jt is of interest to compare this melodic form with the content of th(> song. The rhythm was clearly given and the important tones of the song were accurate in uitonation. The three renditions recorded are uniform ui cveiy respect.
No. (JS. Divorce Song
Suiig by Mkc'kawkja'rau
(CaUiloguo No. 12!))
VoicK J 84 ( Drum-rhythm similar to Nn. 2 )
I
^fe
=^=&:
it^^Si:
Analy.ns. — The rhythmic unit of this song resembles that of the precedmg, but is in triple instead of double time. This unit occurs five times, comprismg practically the entire song. The interval of the fourth is emphatic at the close of the song, but can not be said to characterize it as a whole. In this connection the frequent use of the fourth in songs concerning motion (see No. 22) should be noted. The six renditions of this song recorded show no variation.
Ti\ere was a controversy regardhig th(> day for leaving Lac (hi Flambeau, some maintaining that if they started on the day after the dancin.g they would reach the Menominee Reservation before they wer(^ expected. A certain number of days were to elapse between the presentation of the pipe to the Menominee chief and the arrival of tlie Chipj)ewa drum i)arty, but it was uncertam whether the day on which the pi])e had ])een given should be included in the count. It was finally decichnl that the start should be deferred a day. As a result the Menomuiee awaited their arrival with some anxiety.
The Chi])])ewa v'dlage is about 7 miles from the railroad station at Lac du Flambeau. Thither the Indians drove their shaggj^ ])onies and then turned them loose to forage. On Tuesday morning, October 18, 1910, a party of about 70 Chii)pewa took the train, carrying the two drums, tents and camp eqiu])ment, rolls of l)lankets and matting, and huge packs containing the gifts intended for the
164 BUREAU OF AMERICAN ETHNOLOGY [bill. 53-
Menominee. The distance to the Menominee settlement by rail, the route taken by the writer, was about 150 miles. The Indians, however, left the train at Antigo, a station about half that distance from Lac du Flambeau, and walked eastward 20 miles across the countiy. This })art of the trip was carefully planned — they would walk 12 miles the first day, camp at night, fmish the journey the second day, and, after camping overnight, would be ready for the ceremony.
From the car window at Antigo they were seen starting gaily on their way, strange figures on the streets of a prosperous little city. They walked in groups of two or three. The packs did not seem heavy nor the clutter of small articles a burden. The bearer of the large drum walked alone, not forgetting his dignity, with the drum fastened on his back. From ^'ithm the shawl on many a woman's back there peered a grave little face with blinkmg eyes. The older children trudged sturdily along and the women jested together. The road was hard and firm beneath the feet and the sweetness of the autumn was in the air. Surely it was good to go to the country of the Menominee.
After a circuitous journey, the writer arrived the following day at Neopit, a town on the Menominee Reservation. The place of the ceremony was reached by drivmg westward about 5 miles through the pine forest. There the Menominee were found dancing. They had completed the four days of preliminary dancing and, while awaiting the Chippewa, they spent part of each day in their dancmg circle (pi. 21). The place selected was near a vacant Government day school, the house intended for the teacher and two or three cabins occupied by Indians completing the settlement. An open area of several acres afforded ample space for a camp. The Menominee who came to attend the gathermg did not use this ground but left it for the Chippewa. The dancing circle was about 30 feet in diameter and was outlmed by a bank of earth which served as a seat for the dancers. The bare earth within the circle was pounded hard, but the seat for the dancers was turfed. There were three openings in the circle, located approximately at the east, south, and west, but only the one nearest the east was used; the others were narrower and had been closed by logs. An American flag on a tall pole was placed near the eastern openmg, where the man was seated who took the toU of tobacco, each person who entered the inclosure giving him a small piece. Two drums were at the right of the entrance, resting on rush matting similar to that made by the Chii)pewa.
Wis 'kino ("bird"), the chief of the West Branch Settlement of the Menominee, received the writer with courtesy and said, tlirough an interpreter, that the Chippewa were reported as on the way and grtnitly wearied with their long journey. He had requested his people to go to meet them and to brmg the women and childi^en ui their
nBNSMniiKl CHIPPEWA MUSIC II 165
wajjjons. Some liud ;ilr(>a<lY iroiic and he was hourly cxjx'ct iii^ tlicii- I'otuni. Sov(>ral mil(>s westward the iirst Chij)]){>wa were foinid I'cstiii<; ])y \\o roadside, whilo in the dislanco others ai)])oared, toihn<^ and sta<j;^erm^ beneath tlieir ])acks. Coukl these l)e the same men who had set forth so bravely the day before ? Footsore, dusty, tired, and bedraggk^d, theyliad reached the country of the Menominee.
Tlie next morning the Chij)p(nva were much refreshed. A temporary cam]) had been established about a quarter of a mile from the dancuig cu'cle. The tents, which were close together, shone white beneath the pine trees; camp fires burned brightly, kettles were steaming, and a pleasant, cheeiy atmosphere pervaded the scene.
Meantime the Menommee assembled in the dancing circle and danced at mtervals- for about two hours. Shortly before 12 o'clock on the 20th of October Wls'kmo summoned his messenger and said: ^ " We are now ready to receive our visitors. You will go to them and tell them to proceed to this place. They will inform you what we are to do."
Wis'kino's messenger was a tall, finely built Indian. His headdress was of stiif moose hair and erect feathers and his gai'ments were bright w\i\ beads and scarlet trimmings. He was a picturesque figure as lie ran do^^l, the wmding road hi the dnection of the Chippewa camp. In a short tune he returned and said, "They have accepted your mvitation and are on the way."
Wis 'kino then directed the messenger to take up the American flag and cany it before him. Preceded by the flag, Wls'kino left the danchig circle, the members of the tribe followuig liun in single file, antl took his position about 50 feet from the entrance of the cii-cle, Avith the flag bearer beside Mm. The men of the tribe formed a line which extended almost to the circle; behind this w^ere two Imes of women and cliildren, a space of about 6 feet being left between the lines. Thus the ^lenominee stood ready to receive their guests.
vSoon a wagon was seen at the turn of the road, heaped to its highest capacity with the camp equipage of the Chippewa. Beside the swa- hig load walked Na'ganac' (Head Flier), who might be termed the " man of affahs" among the Chi])pewa. At a short distance followed the drum parties, each consisting of a flag bearer, a pipe bearer, the ()wn(>r of the drum, an aid, a man carry-^mg the drum, and others earning the supports and drumsticks; these were followed by the singers and drummers, while other members of the tribe, wdth the women aiid children, bi-ought up the rear of the procession. All were arrayed hi their brightest garments and gayest decorations.
The Chippewa paused a short distance from the Menommee and planted their flags in the ground. White Feather then advanced.
' This and all the other speeches of Wl.s'kino were given the writer by hini a few days later and were interpreted by Mr. Frank (iokay.
166 BUREAU OF AMERICAN ETHNOLOGY [bill. 53
followed by the pipe bearer of the chief drum (pi. 21). When about midway between the two tribes, White Feather made the following speech (see footnote 2, p. 154):
This is the day which the warriors named for our meeting. Manido' commanded us to meet here to-day. We meet in order to have a happy time together. Manido^ gave us this happy time that we might be at peace with each other. We will use a pipe as we meet before Manido^. After we smoke we will all shake hands and enjoy ourselves in the sight of Manido^.
In response to this speech the Menominee aid ste])pod forward, shook hands with Wliite Feather, and returned to his place. The Chippewa pipe bearer then advanced and made a somewhat similar speech. A Menominee pipe bearer then came toward him, the two presented then pipes four times to the circle of the sky, and lit them; the pipes were then crossed, each man puffing the other's pipe. The Cliippewa pipe bearer then approached Wis 'kino and offered him the pipe. Wis 'kino puffing it as he held the bowl. The pipe bearer then passed down the lines, offering the pipe to each member of the tribe.
Meanwhile the company of Chippewa approached Wis 'kino. First to shake hands with him was Bi'jikens, from whom he would soon receive the chief drum. Others followed rapidly and greetings were exchanged. Wis'kino had an especially cordial welcome for many whom he had met at previous gatherings (pi. 22). After shaking hands with Wis'kino the Chippewa passed down the tln-ee lines, each member of the Chippewa party shakmg hands with each of the Menommee.
When this was finished Wis'kino led the way to the dancing circle, preceded by the flag of the IVIenominee, which was returned to its former place, the two flags belonging to the Chippewa being set in the ground outside the circle at the left of the entrance. The two drums brought by the Chippewa were placed within the circle, the chief drum at the left of the entrance and the warrior drum next to it. The drummers seated themselves in their proper places and the drum pipe was laid at the right of the leading drummer, with the tobacco pouch, the turtle shell, and the other articles belonging to the drum (see p. 147).
Wis'kino then made a speech of welcome in Chippewa:
My relatives, the Chippewa. 1 thank Ki^jie^ Manido^ [see footnote 2, p. 143] that we join in peace where we were once at war. We leave all differences behind us as we shake hands. Ki^jie^ Manido^ has seen us shake hands. Let us remain in peace as we are now. My relatives, the Chippewa, when the Indians of one tribe present a drum to those of another tribe they perform that ceremony in the sight of Ki^jie^ ^lanido^. To-day Ki^jie^ Manido^ sees all that we do. I thank you all. Now I shall wait to see how you will proceed. I hope that you will proceed at once and that we may finish this ceremony by to-morrow. I have work undone. The product of my farm is not gathered, but I prefer to serve Ki^jie' ^lanido^ before I finish gathering my harvest. Then 1 shall return to my work with good spirit. Of coui-se I may expect success by serving Ki'jie' i[anid(/ before 1 finish my harvest.
^ j^^<^'.
r- "^W'''
if'.
^^^HhHHIk'^'' ''^ 4
Mr '•^^^^^^^
MENOMINEE AWAITING APPROACH OF CHIPPEWA
APPROACH OF CHIPPEWA
PARTICIPANTS IN DRUM-PRESENTATION CEREMONY
CHIPPEWA SHAKING HANDS WITH MENOMINEE
MENOMINEE LISTENING TO SINGING OF CHIPPEWA
PARTICIPANTS IN DRUM-PRESENTATION CEREMONY
DENSMORE] CHIPPEWA MUSIC II 167
The Monomiiioo boat tlifir diunis and sang and danced around them, the Chi})])e\va then san<; the songs used ni the oj)enuig of the four days of dancing at Lac du Fhimbeau, the series containing th(> sjiccial songs of the various officials of tlie drum party (see p. 150). The Alenominee listened as the Chippewa sang, the women sitting with heads bowed, in a position similar to that assumed when they were smging (pi. 22).
At the conclusion Wis'kino rose again and said, "Aly relatives, the ('hi])pewa, you must be tired and hungiy after your journey.' We will set before you whatever cooked food we have. I will send sonu^ of my men to my own house and to the houses of my people and they \t11 bring the food here to you."
Wis'ldno asked the Clii])})ewa aid where the food should be placed and he directed that it be j)iit at the left of the entrance. Soon both men and women appeared with kettles and pails containing A\ild rice, white rice, squash, and tea, while others brought pans heaped with fried bread. Each Chippewa took out his cuj) or pan and spoon and the Chij)j)ewa aid supermtended the distribution of the food. Thus the Chij)])ewa enjoyed the hospitality of the Menominee, none of whom partook of the feast. When the feast was finished the kettles, ])ails, and pans were placed outside the entrance where, a few hours later, the Menominee women were seen identifymg their own by familiar dents or by colored strings on the handles.
During the remainder of the day the two tribes danced together. Meantime Na'ganac' had piloted the swaying load of equii)age to the place assigned for the camp, the white tents had sprung up, and that night the camp of the Chippewa was fully established.
The next morning a C(dd, dismal ram was faUmg. The water was deep in the little hoUows of the dancing circle. At the Chi])i)ewa camp a few fires were smoldering and most of the tents were tightly closed. It was evidently impossible to proceed with the ceremony and that day was not counted as one of the four days of dancing. It was stated that this was permissible because the actual })resentation of the drums had not taken place.
With the sudden changes of weather which characterize the autumn season the next mornmg dawned bright and clear. Preparations were begun at once f(+r the presentation of the chief drum. Every one was in good spirits. Gala trappings were brought out, faces were carefully painted, and long braids rearranged. The men in chai-ge of the drums cut branches of pine trees and laid them in the dancing cu'cle, spreading them thick where the drum was to rest and the drummers and sing(>rs were to sit. These circles of fresh green added effectiveness to the picture, setting ofl' th(> l)right shawls of the women and the beadwork worn by the men.
1 The Chippewa were supposed just to have arrived after a fontiiiuoiis journey from their own reservation.
168 BUREAU OF AMERICAN ETHNOLOGY [bull. r.'S
By about half-past 10 in the morning all the C'hippcwa and Menominee were in the dancing oirclo. Wis'Mno, ihis aid, and his le:ading dancers were seated on the farther side, o^i^xjaite the entrance. On llie right of the circle were two Menominee drums; at the left, next to the entrance, was the chief drum, wliich was to he giviem away that •day, and next to it was the warrior drum t(^ he given away the following day, while nearest Wis'Mno was a Menominee drum. Thus there were five drums m the circle. Only a few persons were seated around the Menominee drums, but the full quota were around the two Chippewa drums, where most of the singing was to be done. The aid of the chief drum sat on a low seat at the entrance and received a toll of tobacco from all who entered the circle. He was elaborately attired and as a badge of his office wore a garment received from the Sioux, called by them warrii'liina'Tca. The wiiter has seen a similar garment worn by the Teton Sioux in their social dances and also by the Chippewa at Leech I^ake, Minnesota, July 4, 1910, who said they received it many years ago from the Sioux. This garment consists of a piece of cloth about 18 inches wide and 40 inches long, on which large feathers are closely sewed, being lightly fastened by the quills, so that they move with eveiy motion of the wearer. The garment, which is attached to a belt, hangs behind the wearer, reachmg to his anldes (pi. 23). In order that it may not be injured, it is customary among the Chippewa and the Menominee for the wearer to spread a blanket over the box on which he sits, allo\ing the garment to rest on the grovnid behmd him. As he sits down he spreads the feather garment carefully on this blanket, so that it may not be injured. The four leading Menommee dancers wore these feather garments, resembling a row of brilliant birds.
The officials of the chief drum sat at the side of the circle, on the left of the entrance. Their faces were painted, and they wore ornaments of beadwork and many streamers of bright-colored ribbon.
Presentation of the Drum
Bi'jikens opened the ceremony with a formal speech, after which the tobacco which had been placed before him was distributed to the enthe assembly. As cliief of the band, he gave what might be termed an ''invocation," standmg wdth right hand extended toward the drum and speaking with dignity, and then repeated it as owner of the drum, dancing three times around the drum with right hand extended over it and pausmg after completing each circuit (pi. 23).
The leadm^ drummer then started the Song of the Pipe, and the pipe bearers of both drums rose in their places and, after presenting the i)ipes to the circle of the sky, lighted them and offered them first to the drummers in order of importance, then to the entii'c company.
OWNER OF DRUM (DANCING)
PROMINENT CHIPPEWA ACTORS IN DRUM-PRESENTATION CEREMONY
the Song of the PiX)c Ixniig siin<^ continuously. In pivscnlin<^ the pipe to tlie sky the (h-umnier stood fachig the east, hokluig the pipe :ah3aost horizontal and tiirnuif; it lour timers hi a cu'cie above his head. This was done four tunes durhig tlie day, at intervals as nearly equal as possil)le, tlie last offerhig of the pipe ])emg near the clos(> of the da}^. By reason of its frequent repetition this song hecanie particularly familiar to those attending the ceremony.
No. 69. Song of the Pipe
Sunt,' hy MKC'KAWKi.v'BAU
Drdm J =92
( Drum-rhytlim similar to No. 2 )
(1)
(CatalogueNo. S. 10)
^f -^ -•- -• ^
ijtegga^^^^^^^
:«fe£
ai
-^— •
3l:i=t-E_t=E
gfelE^E^gg
(2)
^^ f-m- -m--m--0- -»- -•- ^ ^ 1
<=s,-— p-i — ^ — I — I — I 1 — ,^-»—
:-t=L^=P^:
&
^-•-
lli^iil
Analysis. — This song consists of two distmct parts, each of which is characterized by a rhythmic unit. These units are somewhat shnilar in divisions of the count and form answermg phrases. It should be noted that the melodic feeling of the song seems to rec{uire a break between the first and second measures of the repetition of the second rhythmic unit, a feature showhig the extreme freedom of native nuisical expression. The effect of the triple measures is interesting, as they add character and effect to the rhythm of the song as a whole. The song is minor in tonality and contains the interval of a whole tone between the seventh and tonic. (See No. 9.) The accidental was uniformly given in the several renditions.
There were many si)eeches, and the ceremony, so briefly described, lasted many hours. At noon a feast was held similar to that of the l)recedhig tlay. Certain delicacies had been " presented to the drum " ; these were placed beside the drum until the time of the feast, when they were divided among the singers and drummers.
It sometimes happens that the untanned head of the drum becomes loosened during a ceremony. When this occurs, the Song of the
Drum is started l)y one of the drummers. At this signal the five men wlio liave charge of tlie drum rise and dance around it. When theii* special dancing is finished, they take the drum from the mclosure and hold it neju' a fire until the desired resonance is restored. The fastening of a drumhead is rarely disturbed, tightenmg being accom- })lished by exi)Osing it to the heat of a fire or of the sun.
No. 70. Song of the Drum (Catalogue No. S. 11)
Sunu; by Mec'kawkia'bau
( Drum-rhythm
■"77-
ilar to No. 2 )
isii*
J2-
^^^^m
Analysis. — This melody is major in tonality and contams the tones of the fourth five-toned scale. The rhythmic unit, which is short, is found m both double and triple measures. The song is somewhat awkward m. both phrasmg and progressions.
The actual presentation of the drum began about 3 o'clock in the afternoon. Bi'jikens crossed the dancmg chcle, and, taking Wis 'kino by the hand, led hhn to a seat beside the officers of the chief drum. Standmg before Mm, Bi'jikens then made the presentation speech, askmg him to select those among his people whom he mtended to intrust with the care of the drum. Removmg all his beadwork, Bi'- jikens hung it around tlie neck of Wis 'kino, even besto%\iiig on him his coat and vest. A blanket was then spread on the ground before Wis 'kino, and the Chippewa proceeded to heap gifts upon it. Among other articles women brought strips of cloth or garments they had made and shawls and quilts, wliile the men brought blankets and shhts. There seemed no end to the variety of gifts, some new and some well worn. I\Iore than one woman, takmg the shawl from her shoulders, laid it on the pile and walked away with no protection from the chilly autumn ^vhid. Even little children added then gifts to the constantly growing store.
When the pile of gifts was considered complete, the drum was lifted from its supports and allowed to rest on the matting, the supports wen^ taken down and laid beside the drum, the shigers and drummers
DEXSMOUK] CHIPPEWA MUSIC II 171
retired, and the sinojino; was done by the party at the other Chippewa drum. Only lii'jTkens and the ])ipe l)earer remained near tlie chief drum.
Wis'kino then crossed tlic cii"cle, and taking a young man by the hand, led him to a seat on the ma-tting beside the drum. This was the man whom Wis 'kino had selected to have charge of the pipe belonghig to the drum. It would be his duty to see that the })ipo was always filled and also to be present whenever the drum was taken from Wis 'kino's house for use hi a general assembly. The pil)e ])elonging to the drum was then i)resented to Wis'kino by the Chippewa pipe bearer.
The drum was then considered transferred to Wis'kino. lie brought Menomhiee men and women and seated them beside it, and his aid took the seat next to the entrance, whei-e the Chippewa aid had been seated. All the gifts bestowed by the Chippewa were divided among the ]\Ienonmiee, Wis'kino hhnself superintending the distribution. Wliile this was bemg done the Menominee erected the supports oi the drum and put it m ])()sition: then they sang, drummbig lightly on the edge of the drum.
After this song Wis'kmo stood beside the drum, holding m his hand the long drumstick with the loon neck at the end (see p. 146). With this he pretended to strike the drum three times and as many times drew back. The fourth time he touched the clrum lightly, and at the same time each of the four leading drummers struck it a sharp blow with his decorated drumstick. The Song of the Owner of the Drum (No. 57) burst forth, signifying that the drum belonged fully to the Menominee. The strikmg of the clrum by Wis'kino was done with great dramatic effect; his feints at striking held the people in suspense, and the final tap was welcomed as a relief from the tension. The Menommee drummers took up theu* task with right good will, smging a number of ^Menominee songs.
It was then tlie turn of the Menommee to present gifts to the Chippewa, though it was not expected that a full equivalent would l)e given at that time. A l)lanket was spread on the ground, and on it were laid articles similar to those which the Chip])ewa had given to the Menominee.
Wis'kino made a sjK^ech concernmg the drum, saying that he would take good care of it and that the persons whom he had selected as his drum party coukl use it whenever they desired to do so. He presented Bi'jikens A\ith three or four new blankets and added several crisp bank notes which he took from his wallet. The two then shook hands and sat down side by side.
The day was wearing to a close. Kisuig iu their })laces, the j)ij)e bearers again presented their pipes to the circle of the sky, lighted them, and ]>ass(Hl them from one to another hi the assembly, each person j)u([iiig the pijx'.
tUREAlT OF AMKIUCAX KTl 1 XOI.Ocn'
(nri.i,. f).-?
In a sl\ort '\mo \\o U^.-uliiii!; sitij^or stjuicd (he Son^j; of Departure, n sii^nal that \\c day's (HM-cmony was at an iMul. Tlu^ Chii)i)(>\va ri^tnrncd to their canij) \ith()ut th(> chicd" ih-nni. This Avas j)la(HMl Avith all the accustonuHl rospoct in llio houso of tho MouoniiniT chicl" and hosido it ns of old was the ]>ipo, lUlod and roady for usi\
(^n tho following:: day took })lacc tho ])rosontati()ii of th(> warrior drnni. This was *j;ivou by a Chij^powa to a inonihor of the ^lononiinoo triho from another ])art of tho I^fcMioniinoe Kosorvatiou. Tho coroniony, which M'as not so iniprossivo as that iov the chief drum, lasted about the same time. Tho dilYorences between the ceremonies wore but slight. For instance, tho drum was lifted from the ground and placed on the pile of gifts, all being jn-osentod together; and when tho new possessor of tho drum was about to strike it with tlio long drumstick, two of the loading drummers stood u}), hohUng the drum.
Tho fourth day of tho ceremony was occupied entirely with dancing, durhig which tho Chippewa prosontocl to tlio Menomuieo all thoir adornments, consisting (^f beaded bolts and l)ags, gay headdresses, and other articles. On this day tho Song of the Closed Door was sung, after which no one was allowed t(^ leave the inclosure without ])aying a fo(> to tht> aid, wlio was seated at the enti'aiu'o.
N<». 71. Sons;: of the Closed Door (('alaluguo Nd. .S. 12) Sung- by Mk(,''k.\vi(;a'hau
Voice
( Drum-rhvthm similar to No. 2)
lgg_^g£[3g^.g~f=^^Eg^^l=^^^
m
^^^Mj^m^^
m^mm^^^^^^s^m^^m
Analysis:. — This song begins on the seventh and the opening measures do not suggest the chord of F, which characterizes tho close of tho song. It is interesting to note, therefore, that the several renditions wei'o l)ogun on thosainc" lone, the transition from lite close of the
Cini'j'KWA Mt;sic — ii
son^ to \(' f)r'^iriniri<^ hciiij^ nui<l'' with no fiicuk ii) tho lim<! mikI no apjcijcnt (liffiftuJty. Tlu^ last ton*; in the. first and fourth inctisiirfs ufis slij^htJy |>rolon;^('(l, wliilo </thf?r tones aLs*) won; j)rolong('fl hut for ])f'riofls too srnuJl fo ho indicated. AJJ these variations from exaet lime were uniform in t}ie several rerxUfions. The H<)n<^ is major in tonality, mr-JorUc in strueture, arul eontains all tlie tones of the or-tave.
Dor; I'KAS'i
A I)o^ Feast Issometimesiiehl on the h^irth flay of a drnm-j>ieHenf ati(»n. Sueh a feast was not held on tlu; Menominef; Jleservation, hut the writ(!r witnessfid on*; on tlie I>e(!ch Lake Jteservatif^n, Minnesota, durinf^ the celehration of the Fourth of July, 1910. Ordy Chippewa took jjart in this ceremony, two of them enacting the j)art f;f Sioux who were said to he "teaching them tyie ceremony." It was stated that the cen^moiiy ?iad })een received from tlu; Sioux and that the featlier j^arments worn hy the four leadei-s were ^iven to the Chij)- ]»ewa l)y th(! Sioux ahout fifty years aj^o. The sfjngs of the Dog P'ast (^siing hy .\h;c'kawiga'hauj were recorded at Lac du Flamheau in Oftoher, 1910. Jfls descri])tion of the ceremony as given on that i-eservation corres[)onded with the ceremony witnessed in Minnesrjta, and it may Ije assumed that the song-, he furnished are the proper ones.
Th(5 four chief actors in thf; ceremony were two Chippewa representing respectively the oc'kfihe'wis Caid or mess(;nger) of the entire Drum-presentation Ceremony and the oc'kahc'wls of the Dog Feast, and two Chip])ewa representing the Sioux, These men wore elahorate native costumes, and feather garments of the kind descrihed on j)age 108. The ceremony was }ield lat(! in the afternof)n. A largf; niniihcr of Chip])ewa were seated around the dancing circle, many having come from other reservations to attend the ceremony.
The first song was sung as the messenger of the Dog F(!ast hrought in the kettle containing the cooked df)g. Ife placed this k(;ttle near the entrance of the circle and danced during the song; when the s<jng was fhiished he removed the kettle to the western side of the inclosure.
No. 72. First Son;? of th« ]>o{j Feast
•Suiif,' by Me(/kawu;a'bau
(('iiUilogui: No. S. I'.i)
VoiCK J 80 I)ki:m J -88
r:
mm
iv^—r
^-^lll
#- -•-
^^
■M^^ma^J
BUREAU OF AMEKICAX ETHNOLOGY
[BILL. 5.3
Analysis. — This song was sung with great vibrato. The rhythm, which was clearly given, was uniform in all the renditions, but the time was not maintamed with absolute regularity.
The following two songs were sung with no pause between them. During the first song the four men knelt on the ground, the two oc'kabe'wis on one side, and the two men representuig the Sioux on the other side, of the kettle, at a distance of about 6 feet. As the song was sung they raised theu' arms liigh above their upturned faces, then lowered them until the palms of their hands almost touched the ground. This was repeated five or sLx times, the sweeping do%\mwtird motion of the arms being simultaneous. Then the second of the group of songs was sung, the men rising and dancing around the drum, led by the oc'kabe'wis of the drum, mth theii" hands extended in turn toward the north, east, south, and west.
(Catalogue No. S. 14)
No. 73. Second Song of the Dog: Feast
Sung by Mec'kawiga^bau
Drum Jr=88
(1^
(2)
r:pL
(1)
(2)
^^M^Mm^M^^^
s^
(2)
-f •-
1^:
S:
(1)
I
-JtJIZil
I
Analysis. — This song contams two rhythmic units, the first occurring four times, the second three times. A pleasing effect is pro- duced by the succession of these units in the middle and latter part of the song. The rhythmic unit of No. 77 (S. 18) is similar to the second unit of this song and with one exception forms the only instance of duplication in either the present volume or Bulletin 45. The tempo of this song is slow: the song beguis on the twelfth, ends on the tonic, and is melodic in structure.
DENS MORE]
No. 74. Tliird Son^,' <»f the Dog Feast
yuu'-; 1)V Mec'kawicia'bau
(Ciitali)gu(' Nu. S. 1"))
Voice ,'z= 120 Drum J:,^ 104 ( Druin-rlivtliiu similar to No. 1!))
CD
.^r:i-i5rTi
PMi
■■t^=^
-P=f:
Ej= — F-
f=F
(2)
1 r
1 r
m^^^^^^^^smm
=iifi^^?±
M
^
m
iii^i
m
gi^g^i|3^:
^ai
1-4 •-•-•-•;
§1
Analysis. — This song, like the preceding, contains two rhythmic units; the last measure of these is the same while the first measure is in double time in the first unit and in triple time in the second. In the latter part of the song the division of the closmg measure of the second unit is slightly changed, and the sixteenth note followed by a dotted eighth is transferred to the measures mtervening between the units. The two renditions of the song are exactly uniform, a fact which shows that the rhythmic structure of the song was clear hi the mind of the singer. The song is minor m tonality and contams the tones of the second five-toned scale. The tempo of both voice and drum is more rapid than in the next precedhig song.
After dancuig around the drum the four men side by side, with arms ui)lifted, advanced toward the kettle containmg the dog. As they approached the kettle they lowered their hands, cxtenduig them over it. This was done several times, the men forcibly ejaculathig ho ho ho ho, as described in connection with the Mide' ceremony.^ The last time they lowered their hands rapidlj^, as though about to strike the kettle. This motion was the signal for the drumming aiid singing to cease. The following song was sung during this ]);u-t of the ceremony.
See Bulletin 45, p. 44.
[BILL. 53
No. 75. Fourth Song of the I)oj? Feast
yiing by Mec'kawiua'bai; Voice J_88 Drum J r : 88
r"
Catalogue No. S. IG)
m^^^
IS
Analysis. — The three recorded renditions of this song are uniform in every respect, the repetitions beginning with correct intonation and without break in the time. The openmg measures in 5-4 time contam no secondary accent and are readily distinguishable from the triple measure followed by a double measure, which occurs later in the song. Attention is especially directed to the progressions in the fifth measure; these intervals were correctly sung, the accidental being given firmly and accurately. The song is transcribed in the key of C muior, but the fifth of that key does not occur in it.
This song was followed by a dancing song, the oc'kabe'wis signalmg all to rise and dance.
(Catalogue No. S. 17) No. 76. Fifth Song of the Dog Feast
Sung by Mec'kawiga'bau Drum Jr:96
ft- ^- -^-
9^11
iPLipi
fi~0-
• 0 1. — •-V- 1— •-r-
^^r^&
t=C=t:
i3=^=F^pfe6=l@
Analysis. — A 5-4 measure characterizes this song, the only change of tmie being at the close, where tliree measures in double tmie occur. (Compare No. 78.) The tempo was strictly maintamed in these
UENSMUUE]
double measures and the repetitions of the song began wathout a break in the time. It should be noted that the phrase which occurs on the fourth and fifth counts of the third measure is used on the tliird and fourth counts of the following measure. Three renditions of the song were recorded, which are uniform m every respect. The song is based on the fourth five-toned scale and is melodic in structure. After the song was ended the oc'kabe'wis of the Dog Feast took a small piece of meat from the kettle. It was said that he selected the piece nearest the head of the dog and that he took it on a small spoon fastened at the end of a long stick. After dancing around the drum he presented the piece of meat to the owner of the drum, who accepted and ate it. The following song was svmg as the oc'kabe'wis danced alone around the drum.
(('atalogue No. S. 18) No. 77. Sixth Song of the Dog Feast
Sung by Mec'kawiga^bau
DrIM Jrizl04
^-
t:-
-n- -#-,
W
mm
gj^g^
i^-#-
, ^ 4
m
13-^
.,^,^^^^_f_fVr-^-» ^
m^
m
-^S
n
:^^-f_,-
'^S^^
Analysis. — The rhythmic unit of this song is the same as that of No. 73. The four renditions of the song recorded show no variation. All the tones of the octave except the seventh are found m the song, which is major in tonality and melodic in structure.
At the conclusion of the song the head of the dog was taken from the kettle and i)laced in a pan at the eastern side of the dancuig circle. The oc'kabe'wis of the entire Drum-presentation Ceremony tluMi danced several times around the drum, after which he seh^cted four men from the assembly, leading them forward one at a time and seating them beside the pan. These were warriors of the tribe who had distinguished themselves by deeds of valor. They ate the meat from the dog's head as the following song wa,s sung at the drum, G71)9G°— Bull. 53—13 12
178 BUEEAU OF AMERICAN ETHNOLOGY [bull. 53
(Catalogue No. S. 19) No. 78. Seventh Song of the Dog Feast Sung by Mec'kawiga^bau
Analysis. — This song begins in 5-4 time and ends in double time. (Comj)are No. 76.) Four renditions were recorded. There was no break in the time throughout the entire performance. The song is based on the fourth five- toned scale and is melodic in structure.
When the four warriors had finished eating, they returned to their places, and the following song was sung.
No. 79. Warriors' Song
Sung by Mec'kawiga^bau
(Catalogue No. S. 20)
pi~S
^-•^^--^r^--^
r:=h==t:
:p=P=P=^
i^i=Eib^=.
^e
^1
m^^^^^mws^^^
gj-^g^gg^^^ais^te^j^Bgiii
Analysis. — The rhythmic unit of this song occurs four times in a double, and once in a triple, measure. Four renditions were recorded.
The ropotitions woro oxact, hut the lime was not iiiaintaincd with a])S()liito regidarity. The song heghis on the sixth ahove tli(^ tonic and ends on the fifth in the lower octave; thus about half the melody is above the tonic and half below it. The song is melodic in structure and contains the tones of the fourth five-toned scale.
After this song the warrior who was first selectetl danced around the dog's skull, which had been taken from the pan and laid on the ground. After dancing he made a speech regarduig one of his most (Ustuiguished victories and sang a song commemorathig the event. A similar course was followed by each of the three oth(^r warriors who had eaten of the dog's head.
The following song is tyj)ical of this class of war songs. It was recorded by Mcc'kawiga'bau, who learned it from the C(mi])oser, a prominent warrior among the Lac du Flambeau Chippewa, ^femen'- gwa (Butterfly) by name.
No. SO. The Song of Butterfly
Huivj; by Mec'kawiga^bau Drum Jzi:84
I -•- -•- ^- ^iT ~
(Catalogue No. 4o7)
Bi- gi - ja - te gi - jig e tci- bi - na - ni - ba - wi - yan
&!£
m^^
^m
-^
t~t:
^5^
-jLzmz
bi^gijatc/ in the coming heat
gi'jig of the day
tcibinani'bawiyan^ I stood there
Analysis. — In this melody it is interesting to note the influence of the rhythmic unit on parts of the song in which it is not re})eated. Thus the sixth measure from the close of the song resembles the first measure of the rhythmic imit, the fifth and third measures from the close are similar to the last measure of the unit, and t\w measure next to the last is similar to the second measure of the unit. Obs(>rvation of many of these songs wiU detect separation of the rhythmic
180 BUREAU OF AMERICAN ETHNOLOGY [bull. M
unit into phrases, one or two of which are comhiiiecl with other measures to form the rhythm of the song as a whole. This song is chissi- fied as meh)dic with harmonic framework. The metric miit is unusually slow. Four renditions of the song were recorded; these show no important variation.
At the ccmclusion of this song the kettle contauiing the remainder of the dog was passed to the women of the company, some of whom ate small pieces. The kettle was then passed to the men and in a short time the feast was concluded.
Returnmg to the narrative of the Drum-presentation Ceremony, as witnessed on the Menominee Reservation — the day after the drumpresentation was completed the writer went again to the place where the Indians were assembled. The j\Ienominee had proved most gracious hosts, and the Chippewa had decided to remam four days longer. Custom requhed that each tribe dance four more days, and it was decided that they should dance together. It was a hospitable suggestion on the part of the Menommee, which promised much pleasure, but a gray cloud lay close to the horizon, and in a day or two the snow came, falling steadil}^ in large, soft flakes. Several inches of snow covered the ground, but still they danced, as custom required that the dancmg, once begun, be fuiished.
More difhcult than the dancing was the weary tramp of 20 miles which the Chippewa must take in order to reach the railroad. Their packs were lighter than when they came, for the gifts they then carried had been given away and the Menominee had not yet returned the fuU equiA''alent, and, further, quantities of provisions had disappeared. The shawls which seemed a burden when the sun shone so warm were but a scanty protection from the keen north wind.
It was a rather forlorn company that returned to Lac du Flambeau; yet it was something to have been for a little while on the heights and to have given two drums to the Menommee.
rJlONSMoKKl
CIITPPRWA MUSIC — II
SI011.1: SoiKjx of Ihu m-})i<'S( iitdt'ioii (h luiiioiiy
Melodic Analysis
TONALITY
Numbers
Pfir cent.
Serial Nos. of songs
Muior
11 55 9 i5
56, 57, 58, 59, 70, 71 , 72, 7tl, 77, 7>s, 7'J 54, 55, 60, 61, 62, 69, 7:5, 7-1 , 75
Total
BEGINNINGS OF SONGS
Niimlwrs
Percent.
Serial Nos. of .songs .
oiiiiKiiwcirih
On the fiflli
:;
A
02, 7:5 57,69. 7(i
On the tenth
74,75
On the ninth
72, 78
- 5(5, fiO, 61. 70, 77
On the seventh
58, 59, 79
Total •
NoTK. -Thi' ( hiiiijcwa war songs occurring in the Drum-presentation Ceremony (Nos. 63, 64, 65, fUi, 80) are inchulcd in the lal)ulatfid analysis of war songs on p. 195, and the divorce songs (67, <i8) are included in t he .songs analyzed on p. 242.
ENDINGS OF SONGS
Numbers
Per cent.
Serial Nos. of songs
55, 56, 60, 61, 62, 69, 70, 71, 72, 73, 74, 7.''),
54,57,58,76,78,79
On the fifth
On the third
Total
TONE MATERIAL
Serial Nos. of songs
Second five-toned scale
Fourth five-toned .scale
Octave complete
Octave complete except seventh
Octave complete except .seventh and .second
Octave complete except sixth
Octave complete except sixth and fifth
Octave complete except fifth and second. . .
Minor triad and fourth
Other combinations of tone
Total
69,73,74
58, .^.9. 70,
54,71
72,78
56,61
BUBEAII OF AMERICAN ETHNOr.OnV
Mklodic Analysis — conf iiiueil ACCIDENTALS
Numbers
Per cent.
Serial Nos. of songs
Songs containinj; no accidentals
54, 55, 5fi, 57, 58, 59, (iO, 01, 02, 70, 71
74, 70, 77, 78, 79
72,73,
Songs containing seventh raised a semitone . . Songs containing sixth raised a semitone
STRUCTURE
Numbers
Percent.
Serial Nos. of songs
None
54, 50, .57, 58, .59, 00, 01, 02, 09, 70, 71
74, 75, 78, 79 :5,76.77
Purely melodic
6'.5
79 7'?
Melodic with harmonic framework
:;
Total
-J
FIRST PROGRESSION
Numbers
Percent.
Serial Nos. of .sctigs
s
GO
54, 55, 58, GO, 02, 09, 71 , 73, 76, 77, 78, 56,57,59,61,70,72,74,75
Upward .
Total
Rhythmic Analysis
PART OF MEASURE ON WHICH SONG BEGINS
Numbers
Percent.
Serial Nos. of songs
On accented ])arl
S
^0 GO
54,56,59,61,62,70,72,79
55, 57, 58, 00, 09, 71, 73, 74, 75, 76, 7
On unaccented |>art
7 78
RHYTHM OF FIRST MEASURE
Serial Nos. of songs
Songs beginning in 2-4 time. Songs beginning in 3-1 time. Songs beginning in 5-4 time. Songs beginning in ,5-8 time.
Total
58,59,61,62,72,73.74,78,79 54, 56, 57, 62, 70, 71
55, 75, 70, 77
C 1 1 IPPE WA M USIC — II
PiUYTHMic Analysis — (•(Mitimiod ( HANCIK OF TIMK
1 Numbers
Per cent.
Serial Nos. of songs
Songs containing a change of time
Songs containing no cliange of t inie
54, 50, 57, 58, 59, 60, 61, C2, G'J, 70, 71, 72,73,
74, 75, 76, 77, 78, 79
Total
RHYTHMIC UNIT
Numbers
Percent.
Serial Nos. o/ songs
£4,58,60,62,70,72,75,76,78,79 69 73 74
Songs containing two rhythmic units
Total
COMPARISON OF
METRIC UNIT OF VOICE AND DRUM
Numbers
Percent.
Serial Nos. of songs
Metric unit of voice and drum the same Metric unit of voice and drum diflerent.
i
an
.'■.4, 59, 62, 71, 73, 7.'), 77
of), 56, 57, 58, 59, 60, 69, 70, 72, 74 , 76, 78, 79
■JU
SONGS OF THE LAC DU FLAMBEAU RESERVATION
In the north-central part of Wisconsm, about 80 miles southeast of Ashland, is the Lac du Flambeau Chippewa Reservation, formerly under the La Pointe Agency, but now in charge of the school superintendent. It is a beautiful region of pine forests and quiet lakes. A typical forest on the reservation is shown in plate 24. The pruicipal Chippewa village (pi. 25) is several miles from the agency. The ceremonies of the Mde'wiwin are held regularly and many other native customs are peri:)etuated. The gathering of vrdd rice forms an absorbing interest in autunm, followed by hunting expeditions. Deer are ])lentiful on the reservation and bears are not mfrequent trophies of the chase. With these native avocations is mmgled much that has been taught by the Government, many of the Indians cultivating little farms and even shippuig potatoes with due regard to their market value.
E'niwtib'e C'sits farther along'"), plate 26, the smger of many songs in the present series, is the owner of two houses, one m the Indian village, and one on his farm where he spends the summer. This farm of 4 or 5 acres is cultivated to the best of his ability. His house in the Indian village is ready for occupancy at any time, but he spends the long cold winter at his son's home near the agency. His own team of horses furnishes conveyance for himself and family when there is a gathering of Indians on a distant part of the reservation. He has never complained of being cheated by the white man, for he has been able to take care of his o\ti interests. In Ms contact with civilization he has conceded comparatively little and gained much, standing to-day as a ty])e of native manhood resj)ected })y all who know him.
Mec'kawdga'bau ("stands Ih-mly"), plate 20, another singer, has a house and a few acres of cultivated land near the Indian village. The phonograph was taken to his house for recorcUng many of his songs, which mcludo those of the Drum-presentation Ceremony. His wife, Dji'sia'sino'kwe ("deceiving woman"), also sang two love songs, naively insisting that her husband depart while she recorded them, to be recalled when they were played on the phonograph.
Seventy-five songs were recorded at Lac du Flam})eau. The personality of the other singers is described in connection vath the analyses of the songs.
PINE FOREST, LAC DU FLAMBEAU RESERVATION, WIS.
DBN'SMOUEI
chippewa 1\tttstc — ii War Songs
No. SI. A Song of Indecision
Sung l)y MiuK'wKii'jH; DiuM J- 96
wi - na - wa - nin - da - ci - mir
^- .0- -#- .». ^. I ^- -0-'^-
wi - na - wa - nin - da - ci - mi-gog
1 I
be - sT- na - si - wl-djig e wi -na-wa-nin - da - ci- mi-gog wi -na-wa - nin-
§^=£^-=pi^l=^-^|^^=£:
da- ci- mi-gog wi-na -wa - nin- da - ci -mi-gog wi- na-wa-nin - da- ci-mi-gog
Part 1
[Free translation]
winawa'ninda'cimigog' they are talking about me
besina'siwidjig^ saying "come with us "
This song was sung by the father of E'niwub'e, a man said to be 00 years of age, whose name is Mde'wigi'jlg ("Grand Medicine sky''). Ho is almost bUnd })ut remarkably active, feeling his way about the reservation witli a stout cane. His voice was strong and he showed no hesitation in singhig the song, saying that he remembered when the war i)arties went out to fight the Sioux and had heard the song at the preliminary dances. The words concern a man who is urged by friends to join the warriors but is not fidly decided to go (see song Xo. 14). After singing the song twice \ith the first set of words the smger repeated it with the second set.
Part 2
owinSn'dacnin'' i.s there anyone who
ge'niawiniTd' would weep for me?
nindikwgm^ my wife
ge^mawimld^ would weep for me
BUREAU OF AMERICAX ETHNOLOGY
Analysis. — This melody is piirticularly simple in construction. The rhythmic unit comprises two measures and is repeated with only one interruption — -the triple measure containing the change of words. (Sec Nos. 1, 8, 12, 13, 30, 39, 40, 105.) A generally descending progression carries the melody along the fourth five-toned scale, begimiing on the ninth and ending on the tonic.
No. 82. Song of the Sentry (Catalogue No. 409)
Sung by E'niwub'e Drdm J— 88
pm
:4EE
m^im^^m
Plii=^^^Sl
-*3=*z3?:
^S^^^^
Ga-ye - nin
gaye^'nin I also
mistti'dimoiig ^ on my horse
baba^momigoyan^ carried around
Around the camp of the warriors nightly rode the sentiy, singing this song. It was said that the pony seemed to know the song and galloped in time to the music. The song indicates that the Wisconsm Chippewa had horses when they were at war with the Sioux. Odjib'we stated (see p. 61) that when he first led war parties against the Sioux in IMinnesota the Cliippewa had no horses and that veiy few were used by the Sioux.
Analysis. — This melody is broadly outlined by two descendmg intervals of a fourth, C sharp-G sharp, and F sharp-C sharp. A similar prommence of the interval of a fourth has been noted in other songs which contain the idea of motion, either of animals or of persons (see analysis of No. 22). No rhythmic unit occurs in the song, but a sixteenth note followed by a dotted eighth occurs frequently
' ^f^f!tii'dim (cf. mistatim, in Lacombe, Dictionnaire de la Langue des Oris, Montreal, 1S74,) is a Cree word meaning "horse"; ong is a Chippewa ending meaning, inter alia, "upon." See also pp. 72, 76, 108, 190. 230.
r»EN.SMOnE)
on the lirst count of the iiu>asiiro. The slow tempo su<j;j2;eftts the leisurely gallop of the sentry's horse. There is no excitement in the idea of the song and none in the music. Tlu* phrase contained in the sixth and seventh measures is found also in the fourteenth, fifteenth, and sixteenth measures, one count being added, thus makhig the first part of the phrase in double instead of in trii)le time. Thn^e renditions were recorded, with one repetition of the latter half of the song. The first count of each measure was emphasized, but the time was not maintained with absolute regularity.
No. S3. Song oonroriilnj? (iwi'wizans (Catalogue Xo. 406) Sung !)>• K'niwCu'e Dkim J = 92 ( Drum-rliythm similar to No. 10)
^jt|E^|.?=fef±^E¥f^^||^
m=^,m
#-f»
Gwl - wig5^^=E^3gi^P^=^^gips^
zans gi - to - ta - ma - go - nan i - ni - ni - wfig
ga:
s
lalp-p
::i=dS!^:
S^S
•it
Gwi^wiziins Gwi^wiziins (man's name meaning ''boy'")
gigo'tama'gonan' by his presence made them afraid
ini^niwCig those men
This song was composed concerning a great warrior named Gwi'wizans (Boy). It is said that when he led his men on the warpath he took his arrows, but did not fight; he stood still, watching his warriors. His will was so strong that he could make them win a fight without taking any part in it himself. His warriors were very ])roud of their leader. On the way home from a successful expedition they composed this song about him and sang it in the victory dance. The Chi])p(nva words contain a i)lay on the name of the leader. The word im'nlwilg, "men," is frequently used to designate warriors (see ]i. 69).
BUEEAIT OF AMEBICAX ETHKOLOftY
[r.ri
Analysis. — This song is minor in tonality and contains the iirst, second, third, fifth, and sixth tones of the diatonic mijior scale, tone material occurring in only three other songs of the series of 340 (see Nos. 178 and 184 in Bulletin 45, and No. 125 of the present series). This is of special interest, as the omitted tones are the same intervals as in the fourth five-toned scale, which is major in tonality. The major third is a promment progression in the opening phrases of this song (see Nos. 1, 9, 34, 94, 120), constituting 52 per cent of the entire number of progressions (31), (See also Nos. 29, 99.) The tempo was steadily maintained and the music admirably expresses the idea of the song.
No. S4. " The Sioux Follow Me
Suiio; 1)V I'yNIWl'lj'K
ESi5#:
^^fite
Ma - gi - ja - go ic - kwe - yan Si - si - ta - wan bi -
t =- -^
s^^^^^^m:^
pi - si - ka - dog ic - kwe - yaii
iS^,^=g=^i=s3
1^=^=^^
-&
S=J:=3=:J:
:t=t=*zzH:2=H
ma'gija^go 1 think
ickwe^yan behind me
Sisi^tawaii (see p. 70) the Sisseton Sioux
biiipi'sika^og ^ is no doubt following
Analysis.— This song is leased on tlie chord of D major and would be classified as harmonic except for the presence of E flat as an accented tone. The phrases are of irregular length and the song contains Jio rhythmic unit, yet, as a whole, it has a certain rhythmic unity and completeness. The only tones used are those of the major triad and second.
The words of this and of the folhnvmg song suggest that the songs were comi)osed during dreams.
1 The syllable dog affixed to a verb iudicates lack of absolute knowledge, but confidence that the statement is correct.
DENSMOKE]
CHIPPEWA MUSIC n
No. s'). "Around the Sky'
Sunj,' by E'niwub'e
I ^
^-0-0
m^^^m^^^^^s^:^^^
-+-F — I-
Gl-ji-gung bi
S||E^
Li:
:f±^:
g^ii^g^g^
mu-se-yan bi - ne - si nl - wi - dji- wa
gi'jigung^ in the sky
bimu^seyan^ I am walking
bing^si a bird
niwi^djiwa' I accomjiany
Analysis. — The rliYtluiiic unit of this song occurs five times in the opening measures and is followed by a sLx-measure phrase, which is repeated at the close of the song. In this phrase we find part of the unit with a change of accent, the dotted eighth note falling on an unaccented instead of on an accented count. The melod}^ is broadly outlined by two intervals of a fourth, B flat-E fiat, and E flat-A flat. (See analysis of No. 22.) The song is minor in tonality and contains the progression 8-7-8; this is particularly effective, showing the interval of a whole tone, which is found between seven and eight in the second five-toned scale (see Xos. 9, 50, 100, 1 19, 124). The drum is slightly faster than the voice and seems constantly huriyhig it forward.
BUREAU OF AMERICAN ETHNOLOGY [BtLL. 5S
No. 86. "If He is a Warrior" (Catalogue Ko. 419)
Sung by E^niwub^e
Voice Jr:zl26
•^,-f_^^
^iiiiiii^iE^^gi^[iii^^^
^=L-^±F=w^=f=U-r=r=^^
:L^P=
t=t:
^^f(i^^-^_„_ff,-
li^E=E^[|
O - tri - tci-da-srwc'U na - lya ■ - wi-na-kwe - dag
^iiiiS^
1:4:
iii^^l
ogi^tcida'gwgn ' .• if he is a warrior
nawi^nakwedag^ he will answer me
Analysis. — This melody comprises the tones of the fourth fivetoned scale. It will be readily seen that the progressions of the first six measures are outlined by the descending interval A-E, the principal tones being those of the triad, with the second as a passing tone. The next twelve measures are outlined by the descending interval E-B, which suggests in musical terminology the dommant chord in the key of A. We note, however, that G sharp, the third of that chord, does not appear and that F sharp is used as a passing tone, similar to B in the opening measures. Thus the framework of the melody consists of two descending intervals of the fifth — E-A and B-E, in both of which the second is used as a passing tone, the third occurring only in the opening section. (Compare Nos. 23 and 28, based on the interval of a fourth.) The rhythmic unit occurs three times. A tri])le followed by a double measure is found seven times in the song ])ut the two unite to form a rhythmic imit only in the instances indicated bv the bracket.
iFrom Sioux dki'iita, "warrior," + Chippewa sufRx -gwen, subjunctive mode (with kishpin, "if," understood). See pp. 72, 76, 108, 186, 230.
DENSMORE] CHIPPEWA MUSIC II
No. 87. "In the South"
Sung by E'niwub^e VoicK J — 112
fct^'--^-'-
f f?3=*^
gg|^^^L^,^gE|£:=g
X=:t
^^±E
bi - ne - SI - wdg e
gg3^^S^^^^SE!l|ife^
ge - bi - non - da - go - zi - wa
ca'wunong' in the pouth
bine'slwug the birds
ge^binonda^goziwa' are heard singing
Analysis. — A i)eculiarity of this song is indicated in the second measure, the smger striking a tone above the proper pitch and descendmg glissamlo, apparently as an embellishment of the melod}^ The transcrii)tion is from the first rendition, the others differing m some unimportant note-values but not in the rhythm or in the embellishments. The song would be classified as harmonic in structure except for the accented E in next to the last measure. It is based on the fourth five-toned scale and contains no rhythmic unit.
No. 88. War Song (Catalogue No. 411)
Sung by E'niwub^e
r
r-#- -•--•- -m- 1 I
:t-t
-P— ^-fit:
Analysis. — This song is particularly definite in tonality and forceful in rhythm, seeming to retain some of the spirit of the warriors who sang it long ago. The song is characterized by syncopations, which are found but rarely in the songs under analysis (see No. 47 of the present book, and Nos. 123, 147, 152 in Bulletin 45). Attention is directed to the progressions above and below the tonic at the close of the song.
No. 89. War Song (Catalogue No. 412)
Voice
Sung by 1'7niwub^e
n r-
SS^i^iE
£^=p
d=F^=
1 r
^^^^"i^^^
:^5'
:s
t^:
Eh=^:
^=^
Analysis. — This song consists of eight three-measure phrases, the rhythmic unit being accurately repeated except in the third and the last phrase. So slight a change as the use of two eighth notes instead of one quarter note (ninth measure) swings the rhythm of the entire song clear of monotony and gives it character. Voice and drum have the same metric unit but the drum precedes the voice by
DENSMOKE]
CHIPPEWA MUSIC-
a porcoptible interval of time. The tonic chord is the evident framework of the melody. From two of the four renditions the last six
measures are omitted.
No. 90. War Song (Catalogue No. 416)
Sung by fyNiwuB^E
Voice -'= 116
Drum
r
^SiiSiii^=gil?^i^ilsPilll
Analysis. — The first measure of this song comprises a rhytlimic unit, which occurs only twdce but forms the basis of the rhythm of the entire song. (See Nos. 94, 96, 103, 108, 109, 115, 123.) The second measure contains the same division of the counts but is a double instead of a triple measure and the rhythmic unit is unfuiished. The fourth and oj)ening of the fifth measin-e contain the same (Hvision of the counts but with a change of accent. Five complete renditions were recorded with seven repetitions of the latter half of the song, the singer seeming to have no preference wdiether he began at the first or at the middle phrase in givmg the repetitions. This ])eculiarity is occasionally noted in the performances of Chippewa singers.
No. 91. War Song (Catalogue Xo. 417)
Sung by E^niwub^e
VoicB J =126
Drim J= 126
^. -#-#.^.. ^
ii^^i^^
»--^--#
^^gife^^jl^
^m^^^
^fc^;
^^^m^^j^MM^^^^m^mi
67996°— Bull. 53—13 13
Analysis. — A strt)nglY descending progression and a vigorous rhythmic unit characterize this song. A similarity between this and the next succeeding song (No. 92) suggests that they may have been composed by the same man, this being first in order of composition. It is a stirring melody, but lacks the smoothness and grace of No. 92. The rhythmic unit of the latter contams two measures instead of one, the division of the first measure being the same as that of the rhythmic unit of this song.
No. 92. War Song (Catalogue No. 418)
Sung by E^niwub'e Voice ^—-2& Drum Jr=126
Anahjsis. — This is a particularly inspiring melody. The rhythmic unit comprises two measures and occurs five times with two quarter notes in the second measure. A rhythm similar to that of the first measure occurs three tunes, but is followed by a measure containing time-values differing from those in the rhythmic unit. The melody tones are those of the second five-toned scale. This scale is usually associated with a pkiintive melody, but the present example shows it to be adapted as well to a stirring war cry. The similarity between this and No. 91 has been noted in the analj^sis of the preceding song.
CHIPPEWA MUSIC — n
No. 93. War Song
Sung by f/NiwuB^E
mm^m^im^m^^m
Analysis. — The effect of this song is rhythmic, yet we find no phrase repeated accurately enough to constitute it a unit of rhythm. The openmg measure of the rej)eated part contains a succession of notevaUies m triple timc^, which is twice repeated in double time, and which forms an interestmg example of freedom in rhythmic treatment. The song contains one accidental, which was sung distmctly in all the renditions.
War Songs — Lac du Flambeau Reservation
Melodic Analysis
TONALITY
Number of songs
Serial Nos. of songs
Major
SJ, 66, 80, 81, 84, 86, 87, 88, 91, 93
Minor
64, 65, 82, 83, 85, 89, 90, 92
Total
Note.— The following songs, included in this table, are found in the account of the Drum-presoutation Ceremony (pp. 158-161, 179): Nos. 63, 64, 65, 66, tsO.
BUEEAU OF AMERICAN ETHNOLOGY
Melodic Analysis — continued
BEGINNINGS OF SONGS
Number of songs
Serial Nos. of songs
On the twelfth..
64 65 66 80 86 87 89 93
On the fifth..
88 90
On the tenth..
On the octave.
63 82 84 85
Total
ENDINGS OF SONGS
Number of songs
Serial Nos. of songs
u
04, 65, 66, 80, 81, 82, 83, 85, 86, 87, 8
92, 93 63, 84, 88
On the third
Total
TONE MATERIAL
Number of songs
Serial Nos. of songs
Second five-toned scale.
82, 89 92
63, 66, 80, 81, 86, 87
Major triad and second.
Octave complete
Total
ACCIDENTALS
Songs containing no accidentals
Songs containing the seventh lowered a semitone Total
Number of songs
Serial Nos. of songs
63, 64, 65, 66, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92
drnsmohk]
Melodic Analysis— continued
STRUCTURE
Number of songs
Serial Nos. of songs
Purely melodic
63 81 8> 84 85 88 <H) 91 9''
Total
FIRST PROGRESSION
Number of songs
Serial Nos. of sougs
Downward
63, 64. 65, 66, 80, 81, 82, 84, 85, 86, 87, 88, 89
91,93 8:^.90,92
Upward
Total
Rhythmic Analysis part of measure on which song begins
Number of songs
Serial Nos. of songs
On accented part
63,64,80,81,82,84,87,88,89,90,92,93 65,66,83,85,86,91
On unaccented part . .
Total
RHYTHM OF FIRST MEASURE
Number of songs
Serial Nos. of songs
63,64,65,66,80,81,85,87,88,89,91,92 82,83,84,86,90,93
Songs beginning in 3-4 time.
Total
CHANGE OF TIME
Songs containing a change of time.
Songs containing no change of time. Total
Number i of songs
Serial Nos. of songs
3, 64, 65, 66, 81, 82, 83, 84, 85, 86, 87, 88, 90, 91,92,93
[Br LI.
Rhythmic Analysis — continued
RHYTHMIC UNIT
Number of songs
Serial Nos. of songs
91,92 82, 84, 87, 93
Total
COMPARISON OF METRIC UNIT OP VOICE AND DRUM
Number of songs
Serial Nos. of songs
Metric unit of voice and drum the same
64, 80, 81, 83, 84, 86, 89, 91, 92
63, 65, 66, 82, 85, 87, 88, 90, 93
Total
Dream Songs
The following is the dream song of a man who painted his face wiih charcoal and endured a fast of ten days. At the end of that time he dreamed that he saw clouds rising in the south. There were manido' in the clouds who spoke to him, saying, "Brother, come here with us." So the man went up into the clouds. There he saw the thunderbirds, who taught him this song which they were singing.
No. 94. Song of the Thunderbirds (Catalogue No. 394)
Sung by I'^niwue'e Voice ^'=116
r- :r
-^ ^
g5a^=E=ai^'^^£^5^gg
£
g^^g=£l^^r^^|.|g
|l=f±:^r±i=E
§_iifc
:^=P=
^1^^
li^
m
§i?J
ji^:*=qE
^mi^^m-
L.ENSMOBE] CHIPPEWA MUSIC II 199
Analysis. — This sent]; is vigorous and clear in rhythm and tonality. The first 12 measures are based on the triad G-B llat-L), these tones occurring in descending ])rogression in the tliird and eighth measures. The last five measures of the song are based on the descending chord G-D-B flat~G. The song is minor in tonality, yet the major tliird is the opening interval. (See Nos. 1, 9, 34, S3, 120.) The entire song is thus shown to be hannonic in framework. The song contsiins four phrases of five measures each. The first phrase comprises a rhythmic unit, which is repeated practically without change in the second phrase. The tliird plirase (measure 3) shows a reversal of the couplet and triplet division which occurs in the corresponchng measure of the rhythmic unit, the two following measures being practically the same as in the unit. The variations in the fuial plirase are readily discerned. The variation of a rhythmic plii-ase is a feature of special importance in the study of primitive musical development. (See Nos. 90, 96, 103, 108, 109, 115, 123.)
Other songs supposed to be the musical expression of animals are Nos. 34, 41, 58, 68, 88, 119, and 197, in Bulletin 45, and Nos. 95, 96, 97, 98, 99, 114, and 115 of the jfi-esent work.
The following song was heard hy a man when he was fasting and seeking a dream. As he was walking around he heard voices which seemed to come from beyond a hill. Stealtliily climbing this hiU, he saw a herd of deer standing in a circle. One said, ''Now we will dance. We always have a dance at tliis season, when the leaves have fallen from the trees." All the deer pointed to a little buck whose pointed horns rose somewhat higher than liis ears, saying he should be the one to sing; thereupon he sang this song. Thus the man learned it and afterward it became liis dream song. He sang it when he hunted the deer. There were two parts to the song: Fii'st, the little deer sang about liimself and then about the other deer. Only the first part is transcribed, as the second was not an interesting melody. Before singing tliis and the two next succeeding songs the singer "imitated the noise made by the deer." (See pp. 101, 203.)
BUREAU OF AMERICAN ETHNOLOGY [bcll. 53
No. 95. Song of the Deer i ai (Catalogue No. 398)
Sung by E^niwub^e
Drum Jr:Tl04
iiS^
I r^iTTiT
\M-±±±f=t
t=t:
Ki-we-wi-iia - ko-wi - ne
be - jig ai - ya - be
ki-we- wi-ua
PiESi^=^S2EEf|SE^E*E^=^=[|3=EfE
;iLfi!
ko-vvi - ue
be- jigai-ya - be
ki-we - wi-ua - ko - wi - ne
r^
mm^^:^^Mmm^^'^^
be-jig ai-ya-be
kiwe'wina^kowine'
straight-horned
aiya^be
buck
Analysis. — Although minor in tonahty this song is bright and full of action. The descending interval of the fourth, which occurs frequently, has been noted in other songs concerning animals (see No. 22). The rhythmic unit, which is clear and vigorous, is foun(] three times in this song.
No. 96. Song of the Deer (b)
Sung by E^niwuh'e
we-wi-na-ko-wi-ne be-jig ai-ya-be
Analysis. — This song, hke the preceding, was heard by the man in his dream of the deer. The words are the same as in the preceding song. The first two measures contain four descending tones similar to the successive tones of the scide, a progression rarely found in tlio
dexsmore]
songs under analysis. The interval of the fourth is prominent in the framework of this melody (see No. 22), the descending intervals D flat-A flat, A flat-E flat being snnilar to the intervals C shar])-G sharj), G sharp-D sharj) in the ])receding melody, yet this song is in the key of A flat and the precechng song is in the key of B, and the characteristics of the two melodies are entirely different. (See Nos. 105, 106.) Tliis song contains no rhythmic unit, but the treatmcMit of its opening plu-ase is worthy of observation. It will be noted that the ]du"ase contained in the first and second measures is repeated in the liftli measure and in the first part of the sixth measure, with a change of accent. (Sec Nos. 90, 94, 103, 108, 109.) The same phrase occurs with other changes in the tliird and fourth measures.
Similar to the preceding are two songs by another singer. The narrative concerning the first song is as foUows:
Long ago an old man made a feast and invited all the men and women. He did not tell them why they were asked ; he only said there would be a dance. When they were all assembled the old man who had asked them sang this song, which had come to him in a dream, and another old man l(>d the dance, acting like a deer. The men followed him, acting like the buck deer and tlie women acted like the doe. In old times the hunters had a dance like this in tlic evening •ind went out to liunt the deer the next morning.'
No. 97. Song of the Deer Dancing (Catalogue No. 433)
Sung by Mec'kawig.'bau Drum J_=r 112
r"
Ti - bi-wen - da
- no-gw6u ai - ya
ti - bi - w6n-da -
Sii^i^^iSiiiSlll
:S:
ba-uo'gweu ai-ya - be
be
ai-ya - be
ti'biweuda'banogwen' whence does he dawn? ^
aiya'be the buck?
Analysis. — The rhythm of this song is somewhat expressive of the dance and its pantomime. The interval of the fourth is j)rominent, as in many songs concerning animals. (Sec No. 22.)
1 Compare the dance of the warriors before a fight, imitating the action of the buffalo (p. 101); also the Imilation of the plover, in the pipe dance (p. 295).
2 This is an idiomatic phrase in common iwe among the Chipixnva. II is not unlike the expression, " Where did he spring from? "
202 BUREAU OF AMERICAN ETHNOLOGY [ bill. 53
No. 98. "My Shining Horns" (Catalogue No. 434)
Sung by Mec^kawiga^bau (Drum-rhythm similar to No. 19) ^
Wen-dji-we - a - sa-ko-nes-we-yan
wen^djiw-ea^sako''iiesweyan'' my shining honis
Analysis. — This song was said to represent the deer "walking alone, singing to himself, and proud of his shming horns." The melody is harmonic in structure and contauis a short rhythmic unit. In general outlme it presents a descending progi-ession along the intervals of the tonic chord. It is mmor m tonality and is based on the second five-toned scale. The six renditions recorded show no important variation.
Like the two songs next preceding, this song had its origin in a dream. A man who was fasting is said to have heard the buffalo sing and to have learned their song. As he was wandering about he heard sounds which seemed to come from some gathering of Indians. On gomg to the place he saw a herd of buffalo walkhig in a circle, knee-deep in mud, with swajdng heads and lashing tails; all were singmg as they walked around. The Indian joined the herd and thereupon became a buffalo. For this reason they gave him the song which they were smgiiig.
No. 99. Song of the Buffalo
Sung by E'niwCb^e Voice J _- 96
r:
ai^
-0. -0. -m-'-m- -•
-(f^-m
fSEEg=Fr=rig
^
Bi - ji - ki - wug
iigp
^E^^^Ugm^ig^^
we - ya - ka - ga - bQ - wi - wa - djTn
msi^mm^^mm
wa - do - ka - wa-gwa-nin
^^^^E^jEippB:l=f=f=g^P
e he wa ni e
loa ni e
wa - do - ka - wa ■
hVjI.Wwdg' the buffalo
we^yaka'gabuwiwaMjiii as they stand in a circle
wa'doka'wagwVnine I join with them
Analyns. — Except in the last nine measures, the piincipal tones of tliis melody are those of the triad of F sharp minor; the son^; is therefore transcribed in that key, although the second and seventh of the key do not occur. This is an instance in which "key" can scarcely })e said to exist, and the signature should be understood as indicating merely the ])itch of certain tones. The formation of the melody is essentially that of succt^ssive intervals, in a descending progression: First, C sharp-A, second A-F sharp, and lastly F sharp-D. As an example of interval formation this offers an interesting contrast to songs based on the interval of the fourth (see Xo. 22). Although the song is minor in tonality, it is found that 50 per cent of the intervals are major thirds, the song containing 18 intervals and 9 minor thirds (see Xos. 29, 83). Before the recording of this song, and also before the final word, the singer "imitated the noise made by the buffalo." Several renditions were recorded, interspersed with these peculiar "noises."
SONGS CONCERNING A BOY S FAST
This and the song next followmg are associated with the old Indian custom requiring 3'oiiths to hold fastmg vigils in the wilderness. These are songs which E'niwilb'e's grandfather sang to him when he was a boy and were secured only after the latter' s confidence hi the writer was fully established. The first song was sung when the boy had blackened his face and was ready to go forth alone from the camp. E'niwub'e said that he danced, and his grandfather sang the song. The meaiimg of the words is obscure. We can not understand what boyhood vision rose in the mind of the aged man as he asked a l)oon for the child whose vision was yet to come.
No. 100. Song Before a Boy Goes Out to Fast
(Catalosue No. 421)
Sung 1)y iVxiwuB^E
3^.
A - ni - nen-we-we a - ni - nen-we - we wa - zi-swfin nim-bi - zinda -go -ne
a'nin6n'wewe' the receding; .st)und
wa'ziswtin^ of the nest '
nim^bizinda'gone' I listen to it
Analysis. — The compass of this song is only four tones, comprising the first, second, third, and seventh of the minor scale; it begins on the third, descends to the second, and ends on the tonic. Eight renditions of the song were recorded; these are uniform in rhythm but uncertain in the intonation of the opening measures, the singer seeming to have difficulty hi giving intervals so small, with distinctness. (See Nos. 54, 55, 61, 64.) In contrast to this uncertainty as to semitones and whole tones, we find the accidental hi the tliu-d measure and A flat near the close of the song given firmly and unmistakably. The whole tone between 7 and 8 is promment in tliis song. (See Nos. 9, 50, 85, 119, 124.) The melody forms a good example
1 This may refer to the "nest" which a man built in a tree, in which he waited, fasting, for a vision (see p. 84), though the use of the word "sound" in this connection is obscure
DENS MOKE 1
of the entire song as a rhythmic unit, compU^te and homogeneous. The metric unit of l)oth voice and drum is slow and the general effect of the song is different from that of the majority of songs under analysis.
When the boy E'niwilb'e returned from his fasting vigil liis grandfather insisted that he dance before tasting food; he also talked with him, asking long life for him and saying that he needed water to drink. Other boys returned at the same time from their fasts and E'niwub'e's grandfather talked to them all. Near his door there was a medicine pole (similar to those described on ). 248), around which the boys danced while E'niwilb'e's grandfather sang the following song. There was a hole through the medicine pole just below the banner of deerskin. At the foot of the i)ole the old man placed a birchbark dish. As the boys danced and the old man sang a strange thing happened — water flowed from the hole in the pole and fell into the dish.' When it was full E'niwilb'e's grandfather stopped tlie dancers and gave them this water to drink. In this manner then- fast was broken. Both these fasting songs by E'niwilb'e's grandfather were "composed in his dreams," and the medi- cine j)ol(> was made to correspond. to that which he saw in one of his visions. (Compare Me'dweya'sim's medicine pole, p. 249.)
No. 101. Song After a Boy Returns from Fasting
VoiCK J = 144
Drlm J = 80
I
Sung by E^niwub^e
b-f-
... t>A -,rv-
SI
t--=X
^^^^^^^m^
:^=F=1:
^—4—4
:=l=P=i
^[|
Ta - ki - ga - mi
m
:i=jt
3=1=
4—^—4
-^t^-
^•-d
m
=j==^
I
nin da-min - a - Yg ma- ni- do wa - wa - b(\ - mit
' A similar practice is said to exist among the Assiiiiboin of Montana, a niedieine-man tracing a zigzag line on the Sun-dance pole, drawing his feather fan down thi.s line, and causing water to flow from the pole for the refreshment of those taking part In the Sun dance,
taki%ami' cool water
, ,' 'S ' ''. Hie will give me to drink
da'mina'ig J
manido' manido^
wawa'b limit where he sees me
Analysis. -The voice tempo is much more rapid in this than iii the preceding song, whDe the tempo of the drum remains about the same.^ (Com])are Nos. 103, 104; 121, 122; also No. 168.) The first measure forms a rhythmic unit whicli occurs four times and clearly influences the rhythm of the entire song. The flatted sixth is found twice and was given in all of the six renditions of the song; it is not correct in intonation, being somewhat less than a semitone above C. The song is harmonic in structure and contains the tones of the fourth fivetoned scale. Attention is directed to the very low note at the close of the song; this was sung softly but was clear and approximated accuracy of intonation.
GAME SONGS
It is the belief of the Chippewa that gambling was taught the Indians by a manido' in order to *relieve their distress from hunger and ill fortune. Three games were taught them for this purpose — the hand game {nmn'jiwatage'win) , the moccasin game {mnhizln' ata' - .diwm'), and the plate game (hugese'win). Songs were sung during the first two games, but there was no music with the plate game, as the play was very brief and the computing of the score requu'ed considerable time. All these games are played by the Chippewa of the present day and are commonly regarded as mere pastimes, but it is said that 'Hhe older Indians who understand the origin of the games and songs still hold them in reverence as a gift from the Manido'."
The following narrative concerning the origin of gambling was given by E'niwub'e (pi. 26):
Long ago there was a Chippewa who had two wives, each of whom had two children. The man was a great hunter and could kill any animal that he desired. He once took his family and went on a hunting expedition. They went far away from all other Indians. Suddenly one of his children died and the next day another died. He and his wives buried them. The third day another child died and on the following day the last of his children died. The fourth day one of his wives died and on the following day his other wife died. He buried them both. Then he wondered what would become of him. Should he kill himself with his knife or with his arrow? He decided not to do so. A death as certain awaited him if he wandered about the country until worn out with exhaustion, and he decided on this course. Day after day he walked continuously. If he saw- water he did not drink, for he was determined to die. He staggered on his way until at last he fell and could not rise. His clothing of skins had
1 In his description of Iroquois Music (in Archxological Report of Ontario 1898, p. 145) Mr. A. T. Cringan states: "The rate of movement in the melody may be accelerated or retarded but that of the accompaniment remains constant throughout,"
3UREAU OF AMERICAN ETHNOLOGY
E'NIWUB'E
DENSMouKl CHIPPEWA MUSIC— II 207
been entirely torn from him. He liaci lost everything— his family, his strengtli, his tattered raiment; at length life itself departed.
As he lay dead he heard some one coming toward him, stamping heavily on the earth. With returning consciousness he saw a man standing before him. The stranger was dressed all in black, even to his mittens. The stranger (who was a manido^) spoke, saying, " Brother, why do you lie here? " He who had been dead then rose to a sitting posture. The stranger said, "Brother, let us gamble." The man answered, "Very well," though he did not know what game was to be played. The stranger, seating himself opposite the man, took a skunk-skin bag from his hip pocket. In this were a piece of flint and a small screw-shaped piece of metal used in removing the wad from a gun.' The stranger tossed the flint to the man, saying, "You may use this;" he himself used the piec;e of metal.
The stranger showed the man how to play the hand game. Laying his coat across his knees, he concealed his hands beneath it; in one hand was the metal object. He tlieii passed his closed hands rapidly before his opponent. Skill in the game consisted in transferring this from one hand to the other while both were closely watched by the opi)i)nent, who attempted to guess in which hand the object was concealed. The man who liad been dead won the game from the stranger, although it had just been taught him.-
The stranger, though defeated by the man who had been dead, asked him (o try another kind of game. The stranger then took off his moccasins, and, laying them on the ground, taught the man to play the moccasin game exactly as it is played by the Chippewa at the present time.^ At this, as well as at the first game, the man who had been dead was victorious.
Then the stranger took from his belt a small shallow wooden plate, which hung there by a cord, and from his tobacco bag some tiny figures made of bone. Placing these figures in the ])late, he showed the man how to toss them in the air and note their positions as they fell. The former dead man was winner in this game also.*
After being defeated at the plate game the mysterious stranger rose and said to his opponent: "Brother, we will part now. Look, yonder is an Indian village. Go there and gamble as I have taught you. I will now tell you who I am. Watch me as I depart . ' '
The man looked up and saw a large black bear walking away from him. The bear turned and said, "Brother, do you know me?" and the man answered, "Yes, I know now who you are."
The man then went to the Indian village and began to gamble. According ^o E'niwub'e "the man won back his dead — that is, two women and four children were staked on the game, and he won; so he felt as though he had the same ones back again."
1 These spiral pieces of metal, ending in a sharp point, called "gun worms," were secured from traders at an early day.
- The hand game is probably the oldest and most widely distributed of Indian games. Culin states (in Twenty-fourth Ann: Rep. Bur. Amer. Ethn., p. 267) that, the game has been found among 81 tribes, liclouging to 28 linguistic stocks, adding : "This extensive distribution maybe partially accounted for by the fact that, as it was played entirely by gesture, the game could l)e carrinl on between individuals who had only the sign language in common."
According to E'niwilb'e, the hand game, taught by the manido', soon came intogeneralu.se among the Chippewa. The numerous players were seated in two long rows facing each other, while the pile of wagered articles, placed between them, was often so high that the opposing players could scarcely look over it. The spectators danced around the players, singing the hand game songs.
'Ibid., pp. 340-342.
- According to Culin, a game or games of this type exist "among 130 tribes, belonging to 30 linguistic stocks, and from no one tribe does it appear to have been absent." (Ibid., p. 4.5.) The plate game among the Chippewa received attention from Schoolcraft (.see Oneo'ta, or Characteristics of the Red Race of America, New Vork, 1845, p. 8.5), whose description of the game and its implements corresponds with ob$ervations made by the writer on the L^ech I-ake Reservation, in Minnesota, in 1910,
BUREAU OF AMERICAX ETHNOLOGY [bull. 53
No. 102. Song of the Hand Game (Catalogue No. 395) Suns bv I*yxi\vuB'E
VoiCK J= 120
( Drum-rhyihin similar to No. 19 )
-m- -»-w w- I I -m- -m~w- -w- ' ^ ^
=^^•1^ ^^^
gg^:
la*
3:^£EEE3
^Eg[^
Analysis. — This is said to be the identical song which was taught by the manido' to the man who had been dead. No words were recorded. Drum and voice have the same metric unit but the drum is constantly in advance of the voice, seeming to ulrge it forward. The rhythmic unit m the first phrase of the song is once repeated accurately, varied somewhat m the third phrase, and disappears entirely in the final plirase of the song. Oiily one tone other than those of the tonic triad occurs in the melody. The singer stated that when the players "make a guess" in the game it is customary for the song to stop at once and for the drum to beat rapidly while the score is counted. In illustration of this he interrupted the smging of the song with an exclamation and beat the drum very rapidly for several seconds; he then resumed the song, beginning at the first measure mstead of at the measure where he made the pause. This appears in the i)honographic record of the song.
DKNS.MOKK
CllIPl'EWA MUSIC II
No. 103. Moccasjii (»aim^ Soiifj (ai
Sung by E'niwOi/e
iift^^gg
— ^
£
£=S=EE
w=w
SI
ir^_^_fi fi-^^-^-
^=^
^.r
P=P=j*=p:
jtzt
SF
Analysis. — This ami tlio following moccasin game song were said to have been taught by the stranger (or manido') to the man who had been dead. The stranger taught him to sing these songs in order that he might play the game successfully. This song is in 5-4 time. The first measure constitutes a rhythmic unit, which is twice repeated accurately. The other measures show divisions which closely resemble those of the unit but are not complete repetitions. (See Xos. 90, 94, 96, 108, 109, 115, 123.) It is interesting to note these variations and also to observe the rhythmic effect of the song as a whole. The interval of the fourth is ])rominent in the formation of the melody. This is found in many songs concerning animals and it will be remembered that the manido' appeared to this man in the form of a bear. (See No. 22.) A slow tempo in songs of controlled excitement is noted also in Xos. 30, 51, 52, 161.
<»TS«)t> ° — B u 11 . oli— 1 15 1 1
[bull.
No. 104. Moccasin Game Song (b)
Sung by E'niwub^e Drcm J— 104
r ~i _
Analysis. — This song was said to be sung alternately with the one next preceding and was so recorded on the phonograph cylinder. The rhythm of the two songs forms a sequence, the first being agitated and irregular and the second confident and emphatic but closing with a rhythm resembling that of the first. This ending gives unity to the group. The drum has the same metric unit in the two songs, but the yoice is faster in the second song. (See Nos. 100, 101; 121, 122; also No. 168.) The structure of both songs is characterized by the compass of an octave and the interval of the fourth. (See No. 22.)
The Moccasin Game
This game is frequently played by the Chippewa at the present time, but has ceased to be a serious occupation and has become a mere diversion. The days are past when men sought success in dreams and lost or won fortunes in a da}^. Yet many of the characteristics of the game remain unchanged. In July, 1910, the writer saw a party of Chippewa from Bear Island playing the moccasin game with a party from the Leech I^ake Agency. One side had won 11 games and the other had not won a single game, yet from the faces of the players it was impossible to tell who had won and who had lost. Additional games were scored without change of countenance by the winners, while the losers met continued defeat with equal stoicism.
The following incident indicates the manner in which the game was formerly regarded :
It is said that one of the most successful players of the game at Leech Lake in the early days obtained the secret of his success from his wife, who returned to him in a dream after death. He had been a gambler for many years before her death and had been fairly successful, but after she died he met with nothing but failure until finally he lost everything. In despair he went into the woods to fast and "dream." After a
.Si^H
L ..jiii
"^ fli
■■f-:^ -^^
'mm
^^^B
HIDING THE BULLETS
GUESSING THE LOCATION OF THE MARKED BULLET
MOCCASIN GAME AT WHITE EARTH, MINN.
HIDING THE BULLETS
AFTER THE BULLETS ARE HIDDEN
MOCCASIN GAME AT WHITE EARTH, MINN.
UENSMoitE] CHIPPEWA MUSIC II 211
time his wife appeared to him and told him that somewhere in the woods were liidden four bullets, which would bring him success in the moccasin game, and that he must let them lie in the water before using them. Then the man began his search for the bullets. He had no further clew to their whereabouts, but he searched constantly, wandering in the woods day after day. At last he found four bullets and, as he had been directed, i)laced them in the water at the edge of the lake. He then announced that in a certain number of days he would have a moccasin game. By using the bullets which had been in the water he won everything and thereafter was always successful.
With this incident began the custom of soaking the bullets. Many players do so now, believing this procedure will bring them success hi the game.
It was stated that another successful player had a dream in which he saw a row of moccasins and that as he took them up, one after another, he found a piece of money under each. This dream gave him confidence in his playing of the game.
Two men may play the game, but the contestants are usually four men, two playing as partners against the others. Each side in tiu-n hides four bullets under as many moccasins laid in a row on a blanket (pis. 27, 28); one of the bullets is marked. Skill in the game consists in ])lacing the marked bullet in such a maimer that it can not be readily located by the opposing players.
Other implements of the game are 20 counting-sticks, each about <) inches long, and one slender striking-stick, about 36 inches long. The writer has seen a set of moccasin game bullets made of solid steel, which were very heavy. Such a set is valued at one blanket. In a<ldition to the bullets which aw hidden, it is customary for the guessing side to use four bullets in indicating its guess, as explained b(4o^^^ The qualities required in playing the game are self-control and keenness of observation; the prize is given to liim who conceals, not to him who discovers. The side wliich hides the bullets is the si(U^ which scores.
There are many involuntary signs which may indicate the placing of the marked bullet, and the mannerisms of various players are closely studied. Some affect many gesticulations and hide the bullets with great rapidity; with others a slight motion of the head, a change of facial expression, a slower or a more rapid motion of the right hand may accompany the liiding of the marked bullet. It is said that some players allow it to slip betw(>en the fingers wIkmi ])lacing it beneath the moccasin. Ki'ose'wini'ni ("good hunter"), a successful player of the game, said that he always "watched the chest of the man who hid the bullets," as a player who could control every other muscle would often hold liis breath for an instant when he placed the marked bullet. He said further that some players looked at the moccasin under which they had hidden the bullet, and that others as systematically looked at some other moccasin. Still others always hold the mai-ked bullet in a certain part of the hand,
212 BUREAU OF AMERICAN ETHNOLOGY [bill. 53
and a close observer learns to look there for a betraying muscular movement.
In preparation for a moccasin game a blanket is spread on the ground, beside which are placed the articles staked on the result of the game. A rifle is usually wagered on the result of six consecutive games, a blanket on tliree games, and a shirt on one game, while a beaded bag is staked on two or three games, according to its value.
Before beginning the game a knife is tossed to decide which side shall be first to hide the bullets. On the side which is to hide the bullets one player holds a drum; the other lays four moccasins in a row on the blanket and takes in his hand the four bullets wliich he is to hide. On the side wliich is to guess, one player holds the strikingstick with which to toss aside the moccasins, and the other, seated at his left, holds in his left hand the four bullets with which he will indicate his guess. Beside these ])layers are laid the 20 sticks with which the score is kept.
When all is ready the drummer sings a moccasin game song and beats the drum wliile his partner hfts the toe of each moccasin mth his left hand and slips a bullet under it with his right hand, his opponents watching closely to detect some change of manner or facial expression when the marked bullet is placed in position. (Pis. 27, 28.)
If the guessmg player who holds the striking-stick is sure that he knows under which moccasin the marked bullet is hidden and is willing to risk the score on his own judgment, he extends his right hand with two fingers spread. In this case his partner does not indicate liis guess, and if the leading player's guess is correct the score is the same as for a "double crack." This course is seldom followed, however, usually each of the guessing players decitling where he thinks the marked bullet is hidden.
The guesser holding the bullets sli])s the marked one into a position corresponding to the moccasin under wliich he thinks the other marked bullet is concealed. For instance, if the guesser thinks his opponent has hidden the marked bullet under the moccasin next to the right end of the row, he places the marked bullet in liis own hand between the first and second fingers, the position corresponding to that moccasin when his open hand is extended toward his opponents. The man holding the bullets is allowed only one guess. The man with the striking-stick is allowed three guesses; if he tosses aside two moccasins without disclosing the marked bullet, he ma}" turn another, on which the score is made. His partner then indicates his own guess; if correct, he opens his hand and shows the marked bullet in the right position; if incorrect, he extends his hand wdth the thumb down, meaning "I have guessed wrong " (pi. 29).
A correct guess by both players is called a "double crack," which entitles them to an additional turn at hiding the bullets, provided
SIGNAL I GUESSED WRONG
ARRANGEMENT OF BULLETS INDICATING A "GUESS"
MOCCASIN GAME AT WHITE EARTH, MINN.
PEXSMORE]
tli(>ir ()])])<>nonts do not mnkc a ''double crack" in the mcantiinc to counterbalance the lirst. The "double crack" is mentioned in the words of sonjjj No. 175, Bulletin 45. One side contiinies to hide the bullets until the guessing sid(> guesses correctly, after which the score is counted. The guesser who holds llie striking-stick in Ids right hand holds in Ills left hand the counting-sticks, at first 20 in nundx^r. From these sticks each side receives the number to which it is entitled by the score. When the counting-sticks which remain are three or fewer in number the man holding the bullets does not guess, the game depending on the player who holds the striking-stick. If the marked bullet is under either moccasin at the end of the row and he guesses right, the game is his; if it is under either of the middle moccasins and he fails to locate it, the game is won by his o])])onents.
The score is complicated, de])ending on the position of the moccasin under which the marked bullet was hidden — whether at the end or in the middle of the row, also on the number of guesses requii"ed by the man w4th the striking-stick in locating the marked bullet and on the agreement or disagreement of himself and his partner in their choice. For instance, if the bullet is under one of the nuddle moccasins and both guessers fail to locate it, the side which hid the bullet adds eight counting-sticks to its score. If the bullet is in the same location and only one guesser fails to locate it, the score is six.
At the conclusion of each game a stick about 10 mches long is stuck into the ground at the edge of the blanket. The stakes are settled after the playing of a number of consecutive games agreed on in the beginning.
Dream Songs — Lac du Flamheau Reservation Melodic Analysis
TONALITY
KiSs'j serial Nos. of songs
Major . .
96 101
Minor
94, 95, 97, 98, 99, 100, 102, lo:!, 104
Total
n
BEGINNINGS OF SONGS
Number of songs
Serial Nos. of songs
•2
(\u the fifth
95 99 102
On the fourth
On the third.
Total
Melodic Analysis — continued
ENDINGS OF SONGS
^--4- serial No. of songs
On the tonic . .
94, 97, 9S 99 100 101 ]0:-i 104
95, 96, 102
Total
TONE MATERIAL
Number of songs
Serial Nos. of songs
Fourth flve-toned scale
98 101
Minor triad and fourth
95 102 104
Octave complete except seventh
Octave complete except sixth
ACCIDENTALS
Number of songs
Serial Nos. of songs
Songs containing no accidentals
94, 95, 96, 97, 98, 99, 102, 103, 104
Songs containing the seventh raised a semitone
Songs containing the sixth lowered a semitone
Total
STRUCTURE
Numljer of songs
Serial Nos. of songs
Harmonic
Purely melodic .
3 97, 98, 101
8 94, 95, 96, 99, 100, 102, 103, 104
FIRST PROGRESSIONS
Number of songs
Serial Nos. of songs
94, 95, 96, 99, 100, 102, 103, 104
Upward . .
97, 98, 101
Total
DENS more]
Rhythmic Analysis part of measure on which song begins
On accenltHl part . . . On unacecnlcd part .
Number of songs
None
Serial Nos. of songs
94,95,90,97,98,99, 100, 101, 102, 10.i, 104
RHYTHM OF FIRST MEASURE
Number of songs
Serial Nos. of songs
Songs beginning in 2-4 time. .
95, 96, 97, 98, 99, 102, 104
94, 100, 101
Total
CHANGE OF TIME
Number of songs
Serial Nos. of songs
None
94,95.96,97,98,99, 100, 101, 102, 103, 104
Songs containing no change of time
Total
RHYTHMIC UNIT
Number of songs
Serial Nos. of songs
Songs containing no rhythmic unit
96, 100
Total
COMPARISON OF METRIC UNIT OF VOICE AND DRUM
Number of songs
Serial Nos. of songs
Metric unit of voice and drum the same
94, 95, 98, 102
96,97,99, 100, 101, 103, 104
Total
BUREAtr OF AMERICAN ETHKOLOGY [bi'll. 53
l>OVE SONdS ' No. 105. "Go with Me" (Catalogue No. 400)
Sung by E''niwub'e
Voice Jrr 72 Kecorded without drum
Ma - dja - ya - ni - ne
dja - ya - ni - ne ma -
mt
i^3=ie:
:p=idja - ya - ni - ne
glliil^li^^
dja - ya - ni
ne ma
pj^Pi
j^gagj^^^gjgL^
t:B:4:
;S:e£E:
dja - ya- ni - ne ma
dja - yaki - ga-mi-nin go-cfi
PSeE^
ill
t=t=
EE^
ga - bi - zi - ka-mfin ma- dja - ya-ni - ne
'm^^^^^'S^^
dja - ya- ni - ne
madja'yanine^ when I go
ki^gami^nin I will give you
gocu^ surely
gabi^zika^mun what you will wear
wi^djiwiyfn/ if you go with mo
Analysis. — This is the only love song in the present series that can be called a "courting song," unless the "Song of an ambitious mother" (No. 112) be included under this head. The last word was not sung, but was given by the singer as one of the words of the song. The progressions are characterized by the interval of the fourth, which has been noted in other songs concerning motion (see No. 22). In several instances the intervals were sung glissando, a feature which can be indicated only imperfectly in musical notation. The metric unit is slow and not rigidly maintained by the singer, all the Chippewa love songs being sung somewhat ruhato. The rhythmic unit, which is clear, occurs three times; it comprises the entire song except the third section, in which a change of words is found. (See Nos. 1, 8, 12, 13, 30, 39, 40, 81.) The melody is distinctly major in tonality and contains an indefinable element of pleading. After singing the song as transcribed the singer repeated the various
See p. 41.
DENSMOUEl CHIPPEWA MUSIC- — 11 217
phrases and sections in an iircmihir order, s(M'nun<i^ to sin<j; thcni as suggested by his fancy.
N(». Km. "Do not Weop" (Catalogue No. 401)
Suii<>- by J'/niwuh'e Kecorded wilhout drum
si-^iiiii^iiiilii^iiii
Ca-i-g\vfi ni-iiia - dja ca - i-gwfnii-Lua - dja ca-'i-g\vu iii-ma-dja
gwti iii-ma - dja ke- go- .sfi ina-wi - ken ke-go-sQ ma-wi
i?g|iEipEgggiii^|;g^^g-i|,^|:|
ken ca-'i - gwQni-ma - dja ca-i - gvvuni-ma - dja
caigwu' now
nimadja' I go
ke'gosu' do not
ma^wiken' weep
Analysis. — This melody is transcribed in the key of C minor, although the third of that key occurs only next to the last note of the song. The descendmg fourths C-G, F-C mark the broad outlines of the melody, which has a compass of an octave. It will be noted that the same octave represents the compass of the precedmg song, but the two melodies are in different keys. (See Nos. 95, 96.) As in the preceding song, the interval of the fourth is of frequent occurrence. (See No. 22.) The rhythmic unit, which occurs five times, is accurately repeated. The prominence of the subdominant is noted in this and in other songs of sadness. (See Nos. 109, 110, 170.)
BUREAU OF AMEEICAIC ETHNOLOGY [bull. 53
Recorded without drum
No. 107. "You Desire Vainly'
Sung by Mec^kawiga^bau
^.^S|:
:z:-=±]L^-A
.0. ^ n -n- r -^ -^- :f: -g>- ^ -
1^;
Gi - da - ga
"smmm
^
wa •- -•-
dan
te=t
#— •
dji - mi - sfi - wi - no
^— •
liHilli^
gi-da-ga- wa - dail dji-ml - sH-wI-no- nan
mm^^^
li
l:4it=bp=l
ba- on- djI - 1 - ka
yan
gi^daga'wadan^ you desire vainly
djf misuwi^nonan' that I seek you
a^nica^ the reason is
gici'me I come
baon^djikayan^ to see your younger sister
Analysis. — The three recorded renditions of this song differ only in the length of the prolonged tone m the fifth and sixth measures, one rendition giving this tone the value of four instead of five quarter notes. The rhythm of the song is smooth and flowing, the u-regular divisions blending in an effective whole. The song is distmctly minor ui tonality and freely melodic in structure.
Kecorded without drum
No. 108. "He is Gone"
Sung by Mec^kawiga^bau
u6n-da-wen-dtjm
niu-a - \nii\
da-weum
^F^c^
dtam nin
da
-(G- -nm^^s^
^^^
u
ira-ckeii-dfim
gi - ma-djad nin
mu - ce
W=ii
g:
U-
mm
nanin^anen^dawen^dum 1
ninda^ 1 1 might grieve
uinga^cken^dum I am sad
gi^madjad' that he is gone
nin^imu'ce my lover
It was said that this song was sung by either a man or a woman whose lover was dead.
Analysis. — This song contains 29 measures and com])rLses five ])(M-iods of ii-regular lengths. The rhythmic unit occurs only three times, but it is mteresting to ol)serve that the rhythm of the intervenmg parts of the song resem])les tlie rhythm of this unit. For instance, in the phrase which includes measures 6 to 13 we note that the opening and the close of the phrase correspond to the beginnmg and the end of the unit, respectively, but the phrase contains eight measures while the unit contains only five. (See Nos. 90, 94, 96, 103, 109, 115, 123.) Two consecutive syllables of the third word are equally accented.
BUREAU OF AMERICAN ETHNOLOGY [bi'll. 53
No, 109. "I am Thinkiiii? of Her"
Sung by Mec'kwawiga^bau
Recorded without drum
t:t
f^--
h'—^-^&^^m-.
=^p^
^-t-
^^^mmm-.
:ti^-
ii^-=
mrns
WORDS (free translation)
I sit here, thinking of her I am sad. as I think of her
Analysis. — This was said to be a particularly old song. It contains an unusual number of intervals of a whole tone — 14 (58 per cent) of the 2-i intervals in the song. Keference to Tables Nos. 11 and 12 will show that only 42 per cent of the ascending, and 35 per cent of the descending, intervals in the 340 songs under analj^sis are intervals of a second, either a whole tone or a semitone. The prominence of the subdominant is noted in tliis, as in other songs of sadness. (See Nos. 106, 110, 170). The melody tones are those of the second five-toned scale. The rhythmic unit, although repeated only once, clearly influences the rhythm of the entii^e song. (See Nos. 90, 94, 96, 103, 108, 115, 123.) The interval of the fourth in the formation of a melody is considered in the analysis of No. 22.
No. 110. "Weeping for My Love" (Catalogue No. 443) Sung by Dji'sia^sino'kwe (" deceivinci woman ") Recorded without drum
i=S^s:*d
m^m
jtmt
^B:
densmokk]
WORDS (free translation)
I go around weeping for my love
Armlysis. — The three recorded renditions of this song vary slight ly in the length of the sustained tones. The transcription is from the second rendition. The rhythmic unit, which is kmg, occurs four tunes. The middk^ part of the song contains progressions similar to those of the unit, but having a different rhythm. All the tones of the octave are contamed in the song, which is melodic in structure. The subdominant is given special prominence. (Compare Nos. 106, 109, 170.) The interval of th(> fourth a})pears in the formation of the melody (see No. 22).
No.
Recorded without drum
- "Come, Let I's Sing"
ig by Dji'sia^sino'kwe
mi^^Mm^'^^^^^
B--:^-
^Jis
m^^^^^Mm
umbe^hiiia come, I l)eseec-li you
nagumo'da let us sing
wegonen'wgndji'da why are you t)ffen<led?
Analysis. — This song consists of three })arts, the first two chiefly m double, and the last in triple, time. There is no rhythmic unit, and the rhythm of the song as a whole is smooth and graceful. The wide intervals suggest to the eye a certain awkwardness not present, however, in the rendition by the Indian singer, who sang the melody with sweetness and good intonation. The words, which were sung indistinctly, are not transcribed. The interval of the fourth occurs frequently in the middle part of the song (see No. 22).
No. 112. Song of an Ambitious Mother
Sung by Mrs. Gauthier '
i
Recorded witliout drum
. I
g^
:1=:1:
rd^^^^z
-4- -- -- Nin nun - do - da - ma -
te^i=^id=4
- nto nin nun - do - da -
'^^^
tid:
=J±i:
- nUn Bu - gac o - da - n<in nin - gl - tcT i - nin - a - kik
pi33i[||3
nin -gi
£3-5
liPiil^iiiliH
kik
o - gl
-6-. -a? .
mi - gi - we - ntin
^^'^■:-" ■;■: l.m asking for
uundo'aamage'nun J
Bugac^ Bugac^'s
oda^nun daughter
ningitci^ my big
inii/akik - brass kettle
ogimi'giwe'nun lie is giving
The singer stated that this song was a niemon^ of her earUest childhood, when she heard her mother sing it. A brass kettle is said to have been one of the first manufactured articles secured by the Chippewa and was a highly valued possession. The words of the song suggest that the woman singer is bestowing her own property, yet the last line indicates that in doing so she is representing her son.
Analysis. — This song begms and ends on the same tone, a peculiarity found in only 11 songs of the series of 340, namely, Nos. 132, 142, 149, 150, 170, 174, 197 in Bulletm 45 and Nos. 53, 112, 125, 127 of the present work, No. 127 being a duplicate of No. 149 in Bulletin 45. All these songs begin and end on the tonic. This is one of the comparatively few songs composed b}^ women (see Nos. 31, 39, 40, 127, 151, 177, 178). The last measure of the rhythmic unit varies slightly in its repetitions, a measure being added in the second occurrence of the unit. A peculiarity of this song is that it contains only
1 Mrs. Benjamin Gauthier (see pi. 30), who sang this song, is known also by her Chippewa name Brtawagi'jlgoltwe ("double sky woman"). She is a granddaughter of Ginlc'tano ("wind-boimd"), who was chief of the Ma'nltowlc' and Bimidjlg'amag bands of Wisconsin Chippewa, and who several times visited Washington with tribal delegations. Mrs. Gauthier is a progressive member of the Lac du Flambeau village, but retains her interest in tribal traditions and customs.
2 Said to be a compound of the words inVnl ("man") and wa'bV: ("metal"), the large brass kettles obtained from the traders in the early days being called "man-kettles."
MRS. BENJAMIN GAUTHIER
5UREAU OF AMERICAN ETHNOLOGY
CHIPPEWA DRESS
3UREAU OF AMERICAN ETHNOLOGY
SLEEVE (ABOVE) AND LEGGING-CHIPPEWA
CHIPPEWA SASH
ULLETIN 53 PLATE 34
CHIPPEWA HEADBAND
ULLETIN 53 PLATE 35
CHIPPEWA MOCCASIN (PRESENT STYLE)
CHIPPEWA MOCCASIN (OLD PATTERN)
DKNSM(.UE) CHIPrEWA MUSIC — II 223
the first, second, fifth, and sixth ton(>s of the diatonic scale, the third being omitted. This is fully considered in the analysis of No. 53. The interval of the fourth is prominent and has been noted in other songs concerning motion (see No. 22). Thus we find in the analysis of this melody a peculiarity noted in other songs composed by women and in other songs concerning motion.
At the time this song was used' the ('hip])ewa women were wearing the old, tribal style of dress. Mrs. Gautliier recalled her mother's dc^scription of this dress, and the costume she wears (])1. 30) was made under her own ilirection, no fewer than seven Chippewa women contributing their skill. The several parts of the costume (dress, sleeves, leggings, sash, headband, and moccasins) are shown in ])lates 31-35. Before securing broadcloth the Chippewa made a garment of similar design from a blanket. E'niwiib'e oflered to explain this to the writer and requested his wife to stand while he put a blanket around her. fastening it at the waist with a scarf and arranging long folds under each ann to dispose of the fullness. His wife merrily agreed that he remembered the dress she wore when they both were young. The surplus length of the blanket was folded over and allowed to hang loosely on the chest, the garment being held in j)lace by shoulder bands. In the old days the only ornamentation was on tliis piece which hung over the chest, the depth of which depended on the height of the person. Later, when broadcloth was used for the garment, this was replaced by a strip of that material, beaded, and still later by beaded velvet. The sash worn by Mrs. Gauthier is of yarn, woven in an ancient manner by the wife of E'niwub'e, the singer.
A somewhat later tyi)e of Chippewa woman's dress is shown in plate 16. This costume is decorated at the hem of the skirt, a style said to be comparatively recent, and the sleeves, instead of being separate, are joined together in the back to form a short jacket. The floral designs which form the decoration of Mrs. Gauthier's costume (pis. 30, 32, 35) are typical of the designs in use among the Chippewa at the present time, which are frequently copied from natural leaves and flowers. Similar designs appear in plates 11, 20, and 39. A floral design said to be older than these may be seen on the sleeve pieces of the woman's costume in plate 16; these pieces were brought from ^lille Lac many years ago. It is said that geometric designs preceded floral patterns among the Chippewa. Perhaps the simplest of the former was the " zigzag pattern," which is shown on the piece across the chest, in the woman's costume in plate 16 and also on the ma'kuk (pi. 37). The "star pattern" is said to have been originally a dream symbol (pi. 33). The decoration on Odjib'we's war tlrum also was the outcome of a dream (see p. 62).
Plate 35 shows the type of moccasin now in use among the Chippewa, and plate 36 the type from wMch some writers have believed
BUREAU OF AMERICAX ETHNOLOGY
that the tribe derived its name, many Indians holding the same opinion (see footnote ^, p. 59). In figure 4 is shown a pattern, cut by the aged woman at Lac du Flambeau who made the moccasins. Speaking through an interpreter, she said that in the old days they had no shears and cut the deerskin with a knife. No pattern was used, as they "just made a covering for the feet and gathered it up." She said that she sewed the moccasin up the instep and "piped it to hold it firm," the shortest of the three strips being used for that purpose. She then moistened the moccasin on the inside and molded the outline with the back of a knife placed inside the moccasin. The gathered front also was moistened wdtli tepid water and flattened by pressing it on her knee. The seam up the back was curved below the heel, lea\nng the small triangle of deerskin. She cut patterns for two strips to be used in fastening the moccasin, but one long strip was use<l in the pair illustrated, being passed through two little slits at the front of the instep and tied, leaving the long ends to be passed
Fig. 4. Pattern of moccasins.
around the ankle and tied at the back when the moccasin was worn. In the old days, when deerskin was plentiful, the moccasins were cut in one piece; it is said that one deerskin would make only two pairs of moccasins. In the pair illustrated the flaps are separate from the feet. The sewing was done with sinew, according to the old custom.
jVfter nuich discussion and with no little hesitation on her part, a blind woman sang the following song, which was recorded by the phonograph.
No. 113. Love Song (("ataloijue No. 446)
Sung ])y CyGABEA'siN'o'KWE ("wOMAN OK THE BREEZE THAT BLOWS TO THE END ")
Recorded without drum
iiiEipEpiiiiil^li^iS^SSl
Niu-ga-da - wl-ga -
niu- 1 -mu - ce
^^ISII^
nin-ga-da - wi-ga-ga-no
±h-
=.:=^
i^zte
-Wr -^ -It -^ -lima. - ga - da - wi - ga •
- no - na
-<»- -5I- si- -^
bi - jl - go - kwe
^^s^giip^^ii^i^
- gi - a
nin -i-mu - ce
nm-ga-wi-ga - ga-no
^^ -<^ -5- -c*- -^ -^- ^ — ^ -•-
■^ -s^ s^ -z:^
bi - jl - go
ningadawi''gagano'na I will go and talk with
nin'imu^ce my sweetheart
bi^jigo'kwe the widow
sagiii' I love
niii^imu^co ■ my sweetheart
bi^jigo'kwe the widow
Analysis. — The metric unit is more rapid in this than in most of the love songs, but this is compensated lor by the frequent occurrence of prolonged tones. All the tones of the octave except the third occur in the song, which is freely melodic in structure. (See No. 53.) 67996°— Bull. 53—13 15
Love Songs — Lac du Flamheau Reservation
Melodic Analysis TONALITY
of songs
Major
Minor
Total
3 j 105, 112, 113
6 I 106, 107, 108, 109, 110, HI
BEGINNINGS OF SONGS
Number of songs
Serial Nos. of songs
106, 107, 109, 111
On the seventh
On the fifth
105, ION, 110, 112
Total .
ENDINGS OF SONGS
Number of songs
Serial Nos. of songs
106, 107, 109, 110, HI
105, 108, 112, 113
Total
TONE MATERIAL
Number of songs
Serial Nos. of songs
Second five-toned scale
Octave complete
Octave complete except seventh and sLxth
Octave complete except fourth
Octave complete except third
Octave complete except second
First, second, fifth, and sixth tones
Total
108,
106,
ACCIDENTALS
Number of songs
Serial Nos. of songs
Bongs containing no accidentals
9 105,106,107,108,109,110,111,112,113
DENSMOUE]
Melodic Analysis — cont iiiued
STRUCTURE
Number of songs
Serial Nos. of songs
None
Purely iiu-lodic
105, 106, 107, lOS, 109, 110, 111, 112, 113
Total
FIRST PROGRESSION
Number of songs
Serial Nos. of songs
]>ownwarfl
10(), 107, lOS, 111
lipwiinl
105, 109, 111), 112, 113
Rhythmic Analysis tart of measure on which song begins
SnlJ Serial Nos. of songs
On accpntod part .
106, lOS, 112, 113
105, 107, 109, 110, 111
Total . . .
RHYTHM OF FIRST MEASURB
Number of songs
Serial Nos. of .songs
Songs begiiming in 2-A time
107 lOS 110 111
Songs beginning in 3-4 time
105, 106, 109, 112, 113
Total
CHANGE OF TIME
Number of songs
Serial Nos. of songs
None
Songs containing no change of time . . .
Total
Rhythmic Analysis — continued
RHYTHMIC UNIT
I BULL. 53
Number of songs
Serial Nos. of songs
Songs containing a rhythmic unit
105, 106, 108, 109, 110 112
107, 111, 113
Total
Note. — No drum was used in connection with love songs. Begging Dance Songs *
The first of the following group of songs used iix the beggmg dance is said to have come from the Assinniboin, or Rock Sioux, many years ago. The dance also was derived from the same tribe but has been practised among the Chippewa for so many generations that it may be regarded as one of their tribal dances. This song was said to be connected with the origin of the dance.
E'niwtjb'e stated that it was the custom among the Sioux to lay a new-born baby boy on the ground about as far from the wigwam door as the dogs usually lie. A place was made comfortable for the child, who did not enter the wigw^am until he could creep, when it was said that he "entered the wigwam as the dogs enter.'' While the child lay on the ground outside the door the dogs formed a circle around him with their heads toward him, and their breath helped to keep him warm. It was said that the dogs gave this song to a boy durmg the time that he spent among them. E'niwtib'e said that the dogs did not sing the song but willed the boy to know it and he did. Wlien the latter reached manhood he went from camp to camp singing this song, followed by the dogs. In his hand he carried a rattle of deer hoofs which he shook as he sang. Wlien he finished the song he was given food and his dogs also were fed. This was the origin of the begging dance. In its later use it was considered a legitimate way for the needy members of the tribe to secure food and was also practised for pleasure. A begging dance could be started at any time, a leader and a small company going from one wigwam to another, dancing and singing. If the occupants of the wigwam were asleep the dancers entered and danced around their fire. The people then arose and gave them food, for those who danced the begging
' See p. 171, Bulletin 45, and p. 47 of the present work.
dance were never refused. If (he jx'ople liad no cooked food, the visitors took sucli provisions as lliey had, })lacin<5 them in a l)irchl)ark l)a*j^ whicli nn old woman cari'ied for tlie ])in'])ose.
No. 114. Song of the Dcigs
Suuij; 1)V I'"'miwub'k
((Jatiilogue No. 40:i)
Voice J ._- 84 ( Drum-iliythm .similiir to No. 2)
Si^^^i^^i^gigsi
mw^^
Wl - gog
ni - mo-kaii-fig nin-ga- wi
Ol^
d=F=i
ii'niiiKikan'ug tlu! dogs
iiingawi'djiwig(ig^ will go with me
Analysis. — In structure this song is classified as melodic with harmonic framework. It contains no rhythmic unit and the time was not steadily maintained. It is interesting to note that a variation in time occurs on corres])onding measures in the four renditions of the song.
BUREAU OF AMERICAN ETHNOLOGY T bull. 53
No. 115. "Here I Come Again" (Catalogue No. 438)
Sung by Mec'kawioa^bau
I -•- -•- -•- ^•-* -•- -^-
mm
wM^^w^
Ca - i- gwCi mi - na- wa
-^ r
ni - ga- bi-dwe- we-ddm o - gi - tci-da - dog
_^ •-= •— • p/S? 1-;—, 1 F 1 1 ,-(2 1 •— •— ^ 1 W 1 1
a lit
iT -na-wa ui-ga- bi - dwe - we
^9igE
dfim
x±^I^
:^=:r
tci - da - dog e
Jz=it
gwu rai - na
SJte
:*=t=b=^=:=l
1^
he
m
£3=3
rai'gwu' here
minawa^ I come again
ni'gabidwe^wediim howling a.s I come
oglftcida^dog ' O you warriors
Analysis. — Those who take part in the begging dance represent themselves as dogs, iismg the term {ogl'tcida'dog) which dogs are supposed to use toward their masters.
The first two measures of this song comprise the rhythmic imit. These are followed by a triple measure containing the note-values of the rhythmic unit but showing a change of accent. (Compare Nos. 90, 94, 96, 103, 108, 109, 123.) The nmth measure contains a peculiar rhythm which does not vary in the six renditions of the song; the first tone of the triplet is accented, and the note-values are steadily maintained. The song contains all the tones of the octave and is purely melodic in structure.
1 Ogl'tcida (from Sioux aki'tita, warrior) is a word wliich has come into common use among the Chippewa. Tlie ending dog in the case of a noun is a vocative, having a different significance than when used with a verb (see No. 84). For other instances of words from Indian languages incorporated, with some modification, into Chippewa, see pp. 70, 186, 190.
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 37
MA'KUK FOR MAPLE SUGAR
DENS MORE I
No. 116. "Maple Sugar"
Sunp; by Mec'kawiga^bau
(Catalo.L'ue No. 439)
Dbdm J - 88
f»^^^
^'^llpli^i^^^Eiii^Jll
Sin - zi-ba-kwat e - ta me-no - ka
^S
s
^iaii^Si^fel?!
sTi/ziba^kwat maple sugar
i''ta is the only thing
me^noka'g(tyaii' that satisfies me ^
Analyds. — This song contains the tones G, A, C, D, E. Although the song hegins and ends on D, the tone acceptable to the ear as a keynote is G. The tone material thus comprises the tones of a major scale lacking the third and seventh, a sequence of tones designated by Ilelmlioltz ^ as the first fivc-toned scale. Other songs lackmg the third are considered in the analysis of No. 53. The influence of the rhythmic unit is evident throughout the song, though the variation oi [\w phrases is less interesting than in the group of songs mentioned in connection with No. 90.
The maple sap {smziha'lwadwaho') is boiled into siruj) {jiwagum'- iz'ujun) and then pre])are<l iu three fonns, the most common Ixuug the grained sugar (nasa'ig'dii), wliich is stored in ma'l-Uks (])1. 37), varying in size from very small ones to large ones holding 20 pountls or more. With the covers sewed down the ma'Tciilcs afi'ord a convenient method of storing the sugar. In the old davs thev were.
1 A pail or ma'kuk of maple sugar was a gift liighly valued by those who joined in the begging dance.
2 In Sensations of Tone, p. 200.
[BILL. 53
sewed with spruce roots. The "molded sugar" {zi'gaigun) was packed in cones of birch bark (fig. 5) fastened with tiny wooden pegs and
hung by narrow strips of bark ; several of these cones were sometimes hung together. A duck's bill was frequently used to hold the "molded sugar." A tliird method of preparing the sugar was in the form of a sticky gum or "taffy" (bigiyuwi'zigun) , which was placed in small folded packets of birch bark and tied with strips of the bark. At the close of the sugar-making the Chippewa went to their summer camps (pi. 38), which were usually situated on the shores of lakes. In the illustration a man is shown mending Ms canoe by hohling a charred stick near the pitch which covers the seams; the heat softens the pitch so that it can be rubbed into the seams with the fingers^ making them watertight.
Fig. 5. Birch-bark cone filled with maple suga
No. 117. "My Travels"
Sun^ by Mec'kawiga^bau Drdm J := 88 ( Drum-rliytlim similar to No. 19 )
• •_ ^ .0. .p. -0--^- ^--0,. ^.
;^i
=L=P=^tzrt
L4:
ii^
r ^ . ^-=^
A - ga-wa - ni • - gi-ken - dai
^F=f=^P=f=
:==?i:
f:ip=:?t^f»^E^==f|:3=PL=p==zpL=
-rai
aga'wanigikciulai/ I can scarcely remember
bebama'diziyan' my travels
Analijsis. — Tho words of tliis song suggest that the singer is emphasizing liis need of food by referring to the length of his journey. Tliis song contains no rhytlmiic unit but is characterized by a sixteenth note at the beginning of the measure, followed by a dotted eighth. Double and triple measurers alternate tlu'oughout the song. This succession of measure-lengths is unifonu in the several renditions on the phonograph cylinder. The song is purely melodic in structure and contains the tones of the fourth five-toned scale.
No. lis. Song of Thanks for Foot! (Catalogue No. 441)
Sung by Mec^kawiga''bau
f^r^T^
^^mmm^^^^^i^^m^
Analysis. — This song marks the close of the begging dance at a house and is sung only once. The people have eaten the food given them and sing this before proceeding on their way.
The rhytlmiic unit occurs in the oi)ening measures and also at the close of the song. The fourth and fifth measures bear resemblance to the rhytlmiic unit, but show a change of time from double to tri]>]e. The song contains only the tones of the major triad and sixth, and would be classified as haniionic in structure except for the accented F in the fourth measure from the close. Eleven renditions of the song were recorded, which are identical in every respect.
234 BUREAU OF AMERICAN ETHNOLOGY fBiLr.. n.-i
Southern Dance Songs ^
No. 119 (Catalogue No. 404)
Sung by l"7N'i\vrTB'E
.^.-#- -nggjg^g^^
¥=W^
t=4:
fa
=f=t
^
m
m
:f=P=
ii^
t=t=
i^^g^g^Bgifg^^
iai^^ii^ig^gaip^^ij^^Efl
Analysis. — In tliis song the metric unit of the drum is slower than that of the voice. The melody contains all the tones of the octave, an unusual feature in songs of minor tonahty. In one measure we find C sharp, which characterizes the key of D minor in musical usage. The other measures contain C natural, givuig a whole tone between 7 and 8 (see Nos. 9, 50, 85, 100, 124). The rhythmic unit consists of two parts, the first of which contains four measures and is based on the descending fifth D-G, while the second part contains a short answering plii-ase on D in the lower octave. The meltKly is unusually pleasing and effective.
1 See pp. 45,129.
nF.NSMOREl
No. 120. "Invite Our Sweetheart'
Sung by E^niwub'e
(ralalo.ifue No. 105)
Voice ,r^l84
A-wi-ntin-do-ma-keg a-wi-nfm-do-ma - keg ki ni-mu - ce - nan o -
gt - tci-mln-wen - da go - cd o ca - wGn -o
ka - zi - win o -
m
^ -m- -m
^^^^^W^=W=-gt^^=V-W-
fEi^^
gilB
E^pt
gi - tci-min-wen - da go - cfl. o ca - wfiu - o - ka - zi - wlu
a'winun'domu'kog go and invite
ki our
nin^imuce^nan sweetheart
ogi'tciminweu'da she enjoys
gocu' truly
ca^wunoka'ziwin the dance called ca^wiano'ga
Analysis. — In tliis, as in the preceding song, the metric unit of the drum is slower than that of the voice. Five renditions of the song were recorded, the pecuUar rhytlmi being steadily maintained. The song is hannonic in structure, the melody mo'ing along the intervals of the chord of G minor. The first progression is a major tliird (see Nos. 1, 9, 34, 83, 94). There is no rhythmic unit after the fourth measure, yet the song as a whole has a rhytlmaic swing.
No. 121. Southern Dance Song (Catalogue No. 41:5) Sung by E^niwub^e
( Drum-rhythm shnihir to No. 19 ) (1)
(2)
wm^m^^ii^m^^
mM^^^-msmms^^^mm
Analysis. — The singer stated that tliis and the following song were always sung together and at his request they were recorded consecutively on the phonogi-aph cylinder. Throughout tliis song a double measure follows a triple measure, the accent being so clearly defined that the two can not be combined in a 5-4 measure. Two rhythmic units are contained in the song, the division of the last measure being somewhat similar in the two but each having a character of its own. It is said that ''the Indians were so carried away with the ca'wiino'ga that frequently they danced all night." The songs of this dance contain a rhythm wliich would tend to produce this result. Each song was sung an indefinite number of times, with no interruption of the time.
No. 122. Southern Dance Song
Sung by E^niwub^e
Voice J^ = 200 Drum J~
^ ^
s^^^m
^^
^^^&
^^-
s
ISgiHi
DENSMORE] CHIPPEWA MUSIC II 237
Analysis. — Between the recording ol" this and the precedinjic song the pause was sufficient only for tlie prolonged call with which an Indian frequently closes a song. It is ini])ossil)le to transcribe tliis call, or ejaculation, which begins on a liigh tone and descends glissando, the syllables being yu-u-u, wa! Sometimes such a close is given with the syllables wa-a-a, M! acconi])anied by a rapid beating of the drum.
Tliis song contains the same drmnbeat as the ])rece(Ung; the voicerhytlmi is mon^ rajnd than in the preceding song, and can be meas- ured only by an eighth note as the metric unit. (See Nos. 100, 101; 103, 104; also No. 168.) Five renditions of the song were recortled and the metric unit was steadily maintained, the only difference in the renditions being that the last phrase was omitted from the first three. Comparison witli the preceding song will show the rhythmic unit of each to consist of triple followed by double time, but in the first song there is one, and in the second there arc two, double measures. The dance seems to gather speed until it ends in a veritable wliirlwind, but through it all the stolid drum retains its even, moderate beat.
Songs Concerning the Gift of a Pony
When the people at a dance hear the following song they know that a pony is to be given away. A man dances around the drum with a little stick in liis hand with which he whips an imaginary pony; then he presents this stick to a friend, the actual transfer of the pony taking place later.
It sometimes happens that the people are slow in volunteering to part with their ponies. In that event the head drummer may start this song and one of the assembly may present a beaded suit to a man who owns a particularly desirable pony. The proper return for this gift is a pony and in this manner the presentation of one may be forced. All who have given away ponies join in the dance and if others dance at tliis time they are required to part with tlieir ponies.
BUKEAU OF AMERICAN ETHNOLOGY
No. 123. Song Accompanying the Gift of a Pony
Sung by Mec^kawiga^bau
Dkum J— 100
saw
fcg^
-•- -•- -•-, -•- -•- -•-
L7
^^^^^
Analysis. — This song opens with a two-measure phrase, wliich is repeated. This is followed by a phrase of two measures, wliich reappears near the close of the song. The first phrase is not regarded as a rhythmic unit, as it is found only at the opening and does not influence the rhythm of the remainder of the song. The second phrase has an evident relation to the rhythm of the entire song, measures 7 and 11 containing a di\dsion of the count similar to that in the first part of the unit, and the tliird measure from the close containing the sixteenth followed by a dotted eighth note, which characterizes the latter part of the unit. (See Nos. 90, 94, 96, 103, 108, 109, 115.) The song is minor in tonality and contains only the tones of the minor triad and fourth.
The man who has received the pony-stick leads the dance as the following song is sung, carrying the stick in his hand. All who have ever given away ponies dance with liim, many lio](Hng up fingers to indicate the total number of ponies thus presented at various dances.
;NSMr>KK]
No. 124. Sons of Thanks for the Gift <»f a Pony
^('utalof,'ue No. 430) Sung by Mec^kawi(;a'bau
Voice J ^96
-#- -#- -o- -0- -0-'-e--0- I -#--•--•--
Sl:t?:^^:d=z:ti:=^_tl:4=:f:=z:E=[Hi=t
Analysis. — This sontj; is particularly rhythmic. The unit of rhythm is in double time and is repeated once, followed by a section in triple time in which is noted the triplet in the first count of the measure which characterized the rhythmic unit. The song is minor in tonality and contains a whole tone between 7 and 8 (see Nos. 9, 50, 85, 100, 119).
Moccasin Game Songs
This and the following song are ordinary songs of the game-, and no dream origm is attributed to them (compare Nos. 103, 104).
No. 125. Moccasin Game Song (Catalogue No. 410)
Sung by E^niwub'e
( See drum-rhythm below )
1 nr
=51t^=^=3
a^s^e
Drum-rhythm
qrJ^?-:g3^^E8^
Analysis. — This song is minor in tonality and contains the first, second, third, fifth, and sixth tones of the diatonic minor scale, a tone material occurring m only three other songs of the series of 340 (see Nos. 178 and 184 of Bulletin 45, and No. 83 of the present work). This is of special interest, as the omitted tones are the same intervals as in the fourth five-toned scale, which is major in tonality. The melody begins with an upward progression of an octave (see Nos. 170 and 174 of Bulletin 45, and Nos. 9, 31, 53 of the present book); it also begins and ends on the same tone (see No. 53). The rhythmic unit is steadily repeated except in two measures in which the division of the last count is changed, this slight change giving character to a melody which otherwise would be monotonous. The entire song is in triple time. Four renditions were recorded, the repetitions usually succeeding each other without a long closmg tone. Such a tone is indicated in the transcription, but appears only once on the phonograph cylinder.
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 39
m}3
^H«»4^ '^■■l
CHIPPEWA CRADLE-BOARDS
CHIPPEWA MUSIC-
No. 126. Moccasin (Jiiiiie Song (Ca(al();,'ne No. 427)
Sunir hy Mkc'kawiga^hau ( Drum-rliythm similar to No. 125)
-•-. -•-. . r^ ^1 r-
Analysis. — This song is based on the tones of the minor triad. The rhythmic unit occurs seven times, with a slight variation in the division of the first count. The speed of the phonograph was greatly reduced m order to test this variation, which was found to be clearly and uniformly given tlu-oughout the several renditions. The intonation on the sixteenth notes occurring at the close of the measures v*^as uncertam, these being given with a "toss of the voice."
Song for the Entertainment of Children ^
No. 127. Lullaby (Catalogue No. 447)
Suuc: by O'gahea'sino'kwe
Recorded without drum
wc we we we we we we we we we we we we we
Analysis. — The only two songs which the Lac du Flambeau Chippewa were found to have in common with the White Earth Chippewa are the lullaby and the song accompanying the folk tale of We'nabo'jo and the ducks (Bulletin 45, No. 197). This lullaby was first recorded at White Earth, Minnesota (see ibid., p. 193). On comparing the two transcriptions it will be seen that the first four measures are identical and that the latter parts differ, though both renditions end on the same tone. This is one of the few songs composed by women (see Nos. 31, 39, 40, 112, 151, 177, 178). No words are used in this song, wewe ^ being continuously repeated.
' See also songs Nos. 51, 52, S'?, 179, ISO.
2 M'eue is a root, the meaning of which implies a swinging motion; thus, irewe'bizun signifies a child's swing or hammock. The writer has frequently seen a Chippewa mother put her baby, still fastened in its cradle-board (atik'ana'g&n), plate 39, into a hammock crudely made of a blanket stretched open with a stick, which she swung back and forth until the baby fell asleep. Still more primitive is the method also shown in the same plate; here the woman is seated on the ground with feet extended in front and the cradle-board resting against them, enabling her to move the cradle-board slightly back and forth by a motion of the feet.
(iTOmr— Bull. .5.-]— 1.3-
-If,
[BULL. 5^
Unclassified Songs — Lac du Flambeau Reservation * Melodic Analysis
TONALITY
Number of songs
Serial Nos. of songs
Major
68, 115, 116, 117, 118, 121, 122, 127
Minor
114,119 120 123 124 125 126 171
BeginninK major, ending minor (same keynote)
Total
BEGINNINGS
OF SONGS
Number of songs
Serial Nos. of songs
On twelfth.. .. ...
68,115
On fifth
116,118,120,125 67, 117
On ninth
On fourth
121, 122
On tonic
ENDINGS
OF SONGS
Number of songs
Serial Nos. of songs
On tonic
67, 68, 114, 115, 119, 121, 122, 123, 124, 126, 127, 171
On fifth ...
On third
Total
TONE M.\TERIAL
Serial Nos. of songs
First five-toned scale
Second five-toned scale
Fourth five-toned scale
Major triad and sixth
Minor triad and fourth
Octave complete
Octave complete except seventh
Octave complete except seventh and second
Octave complete except sixth
Minor third and fourth
First, second, and fifth tones
Other combinations of tones
Total
1 The following songs included in this table are described in other chapters: Nos. 67 and 68 are divorce songs, found in the Drum-presentation Ceremony, while No. 171 is a song of the pipe dance.
Melodic Analysis — continued
ACCIDENTALS
Number of songs
Serial Nos. of songs
Songs containing no accidentals.
Songs containing seventh raised a semitone. Total
67, 68, 114, 115, 116, 117, 118, 120, 121, 122,
123,124,125,126,127,171
STRUCTURE
Number of songs
Serial Nos. of songs
Harmonic
120, 12;?, 124
67,68, 115, 116, 117, 1U», 121, 122, 125, 127,
114, 118, 126
Total
FIRST PROGRESSION
Number of songs
Serial Nos. of songs
Downward ....
68, 114, 117, 118, 119, 120, 121, 122, 123, 126
67,115,116,124,125,127,171
Total
Rhythmic Analysis
PART OF measure ON WHICH SONG BEGINS
Number of songs
Serial Nos. of songs
On accented part
68, 115, 116, 117, 118, 121, 122, 123, 124,
125,126,171 67,114,119,120,127
Total
RHYTHM OF FIRST MEASURE
Number of songs
Serial Nos. of songs
Songs beginning in 3-4 time
127, 171 68,121,125,126
Songs beginning in 3 8 time
Total
BUEEAU OF AMERICAN ETHNOLOGY
[BILL.
Rhythmic Analysis — continued
CHANGE OF TIME
Number of songs
Serial Nos. of songs
Songs containing change of time
67 68, 114, 115 116, 117 118 119 120 121
122,123,124,171
Total
''
RHYTHMIC UNIT
Number of songs
Serial Nos. of songs
Snn^s contnininf rhythmio unit
67,68,115,116 118 119 120,122,12.3 124,
Songs containing two rhythmic units
125, 126, 127, 171
114,117
Total
COMPARISON OF METRIC UNIT OF YOICE AND DRU
Number of songs
Serial Nos. of songs
Metric unit of voice and drum the same
115 116 117 121 122
Total
Combined Analyses of War, Dream, Love, and Unclassified Songs ^— Lac du Flambeau Reservation
Melodic Analysis
TONALITY
War
songs
Dream songs
Love songs
Unclassified songs
Total
Per cent.
Major
4^
o6
Beginning major, ending minor (same key-
Total
9 17
Given separately on pages 195, 213, 226, 242.
DF.N SMOKE]
Melodic Analysis coiitimied ]iE(ilNNlN(iS (»K SONCS
War songs
Dream songs
Love songs
Unclassified songs
Total
Per cent.
On the twelfth
5*
U
Oil the foiith
On the ninth
On the seventh
!
On the tonic
1 1
S
Total ... .
n
17 .1.1
ENDINGS OF SONGS
War songs
Dream songs
Love songs
Unclassified songs
Total
Per cent.
On the tonic
i
On the third
Total
TONE M.VTERLA.L
War songs
Dream songs
Love songs
Unclassified songs
Total
C
I
Percent.
First five-toned scale
Second five-toned scale.
G
Major triad and sixth
D
Minor triad and sixth
a
■ 1
Octave complete except seventh
Octave complete except seventh and sixth
I,
Octave complete except seventh and fourth.
,
S
Oct ave complete except seventh and second . i 1
Octave complete except sixth '
Octave complete except sixth and fourth '
J
< )ctave complete except second '
.Nfinor third and fourth 1
First, second, and fifth tones
a
J
Other combinations of tones. .
Total
'
Melodic Analysis — continued
ACCIDENTALS
War songs
Dream songs
Love songs
Unclassified songs
Total
Per cent.
Songs containing no accidentals
,a
9B
Songs containing seventh raised a semitone
g
Songs containing seventh lowered a semitone
'
Total
STRUCTURE
War songs
Dream songs
Love songs
Unclassified songs
Total
Percent.
Harmonic
ts
Purely melodic
Total
FIRST PROGRESSION
War songs
Dream songs
Love songs
Unclassified songs
Total
Percent.
Downward . .
Total
"
55 1
Rhythmic Analysis
PART OF MEASURE ON WHICH SONG BEGINS
War songs
Dream songs
Love songs
Unclassified songs
Total
Per cent.
On accented part . .
S9
Total
Rhythmic Analysis — continued
RHYTUM OF FIRST MEASURE
War songs
Dream songs
Love songs
Unclassified songs
Total
Per cent.
Songs beginninf; in 2 4 time
Songs beginning in 5 4 lime
i
Total
''
CHANGE OF TIME
War songs
Dream songs
Love songs
Unclassified songs
Total
Percent.
Songs containing change of time ,...
Songs containing no change of time
Total
RHYTHMIC UNIT
War songs '
Dream songs
Love songs
Unclassified songs
Total
Per cent.
Songs containing no rhythmic unit
Total
COMPARISON OF METRIC UNIT OF VOICE AND DRUM
War songs
Dream
.songs
Love songs
Unclassified songs
Total
Per cent.
Metric unit of voice and drum different...
i9
Recorded without drum
Total
The Symbols of Songs Which Never Were Sung
In passing through the Chippewa village at Lac du Flambeau tall poles may be seen standing beside many of the houses. Surmounting each pole is a cloth-covered frame which resembles a small flag and is so fastened as to permit it to swing with the wind. On gray weather-beaten poles only part of the frame and a few tatters of
cloth roniaiii (})1. 40), but from the newer ones fly banners bearing strange figures outlined in red and blue. Symbols of the sun, moon, and stars are easily recognized and . there are also crude drawings of birds. High up on many of the j^oles are tied bundles of faded rags that flutter in the breeze and suggest mystery.
Inquiry as to the significance of the poles will probably be met with evasive answers. The writer heard a white person ask an Indian whether the fluttering rags were "supposed to frighten away evil spirits." One who had lived in the \dcinity many years said, "The Indians put up a new pole when anyone dies; there is always a new pole after a death at the village." Such is the superficial impression regarding the medicine poles, showing how well the Indian has guarded the things which concern his deeper nature.
If the entire story of one of these medicine poles coukl be written, it would be the history of a man's life — his boyhood dream, Ms failure to fulfdl that dream, and his struggle against sickness and death.
It is said that the custom of erecting a medicine pole beside a house had its origin many generations ago, and was as follows: A young man blackened his face and went away to fast, according to the custom of the tribe (see pp. 83, 204). He dreamed a dream, in which he saw the thunderbirds and the tall tree on which they lived. Returning to liis home, he cut down a tall straight tree and trimmed off the branches, making a pole, which he placed in the ground at his door. He pictured on a deerskin the birds he had seen in his dream. This he stretched on a frame and fastened at the top of the pole, completing the representation of liis dream. The later custom differed, in that the young man did not erect the medicine pole as soon as he returned from his fasting vigil, but waited to see whether liis dream would come true. The dream usually concerned war and promised success on the w^arpath. If he went to war and "fulfilled his dream," he did not erect a pole, but while on the warpath he sang for the first time the song which came to him in liis dream (see p. 71). The words had reference to the birds, the sun, or the stars which he saw in his dream. If he lacked the opportunity to go to war, he pictured these objects on a deerskin or a cloth, but the song was never sung. Such a man was supposed to have special power to cure the sick. To one who understands its symbolism the pole beside a house says: ' ' Here lives a man who dreamed a dream and the mysterious strength of his vision is in him. He never used it against human foe, but more than other men he has power against that greater enemy — death."
In the springtime the owner of a pole frequently takes it down, lays it on the ground, and makes a feast. He asks his friends to come and "preaches about the pole." If some one "wishes to secure
3ULLETIN 53 PLATE 41
CHIPPEWA MEDICINE POLES
UENSMOKE] CniPPEVVA MUSIC II 249
l()n<; lilV," he brings oik^ oi" his giiniicnls witli t(>l):u'C(» folded in il ;uul ties the ganiieiit ai'oiiiul the ])()]e. In th<> iuitunin n similar feust is ol'ten hehl. but the frozen state of the gronnd makes it im])ossibJe to tjilve (h)\vn the ])ole.
When the fri<'n(ls of a sick p<>rs()n are anxious about liis eondition^ they put tobacco in one of liis gannents, wliich they fasten high on one of these poh\s. Sometimes they scrape a weatherworn poh^ so that it is wliite and smooth, or even replace it with a new polo, on w liich they tie a garment belonging to the sick person.
The writer saw a pole wliich appeared to have been recently erected; it was painted with bands of red and hhw and the figures on the banner were clearly outlined in blue. (PL 41.) On inquiry the information was given that it was not a new pole but one wliich had been scraped a few months previously, when Me'dweya'sufi ("the sound of the wind"), the chief or "speaker" of the village, was very ill. The pole belonged to one of liis relatives. It had l)een freshened and redecorated, the cloth of the banner renewed, and an oU'ering fastened on the pole. But ^le'dweya'stjii did not recover; he had lived the full measure of allotted years and died of old age.
At another house the writer saw the peculiar medicine ]>ol<' wliich Me'dweya'siin himself erected; on tliis too were fluttering strips of cloth, portions of garments he had worn, placed there by his friends in the effort to prolong his life. Tliis medicine pole consistinl of an uprooted tree placed horizontally between two forked poles as braces at a height of about 5+ fe<'t from the ground. (PL 41.) In his youth Me'dweya'suh dreamed of war; he dreamed that he was leader of a war party, that he conquered the enemy, and in pursuing them l(>aped over a fallen tree. Years passed. The call to battle did not come, the tribes were at peace, and there were no war parties for him to lead. At length he put up this tree as liis medicine pole, placing it at the same height as the fallen tree over wliich he lea])ed in Ids dieam.' He felt obliged to do this because he "had not fulfilled his (h'eam,"" but the song wliich should have inspired liis warriors was l)uried in his heart.
Ki'tciodja'nhnwewegi'jig ("sky in terrible commotion ") told the writer that wh(>n he was a boy he fasted and dreamed of a bird. As he never went to war, he later erected a medicine pole beside
I Se»! (U's(rii)ti()ii preceding No. 101.
250 BUREAU OF AMERICAN ETHNOLOGY [bill. 53
liis dwelling, drawing on the cloth banner a picture of the bird he saw in Ms dream. .Vlthough the cloth, was torn and the drawing almost effaced by sun and storm, he drew again the outline of the bird (fig. 6), that the story of his dream and his medicine pole
/
-^
/
■
i i
/ /
/ ',
/
^•-^''
.^ ^
Fig. 6. Design on cloth attached to medicine pole (native drawing).
might be known to his white Ijretlu^en far away. His is the monotonous life of a reservation Indian who can not fully adapt liimself to the wliite man's way, yet beneath it is the memory of a dream and above it is the symbol of the song that never was sung.
SONGS OF THE CHIPPEWA AT WABA'ClNO VIL- LAGE, RED LAKE RESERVATION
The songs comprised in this group were recorded at the Chippewa village on lied Lake, in northern" Minnesota, called by the Indians Waba'cing (''where the wind blows from both sides"), and known among the white people as ''Cross Lake Settlement," a convenient designation, as the village lies across the lake from the Agency. The Indian title is derived from the location of the village on a pomt of land which divides the upper and lower sections of Red Lake. (PI. 42.) This pomt is narrow and several miles in length, so the village is fidly exposed to the winds. Twelve miles of open v/ater separate it from Red Lake Agency in summer and the means of transportation are limited. In whiter the village is somewhat more accessible, as the ice forms a highway.
These songs were recorded during a gathering of Indians for the celebration of the Fourth of July, 1910. (PI. 43.) All the singers live near the village of Waba'cmg, except one, a Canadian Chippewa from the Rainy River country, who was camping on the upper lake and came to attend the celebration. These Indians seldom hear the music of the wliite race and may be considered comparatively free from its influence, a feature which adds interest to the analysis of the songs.
The Indians at Waba'cmg are estimated at about 350 in number. They are acknowledged to be above the average in character and mtelligence. Most of them are full-blood Chippewa. The first encroachment of civilization occurred in 1901 when the Government established a day school at the settlement. The Indians opposed this to the full extent of their power. To-day they are tractable and contented and are interested in keeping their children at school. Some of the younger men work in the logging camps during the winter.
Most of the Indians at Waba'cing are members of the Mide'wiwin, and its rites are closely observed. The writer saw two women tending a fire at the head of a newly made grave. According to the teaching of the Mide', this fire must be kept burning four nights. Near this was the grave of a little child, with only the embers of the fire remaming. On the grave was a crude rattle which the littl<> one had loved, and beside it was a paper bag containing food.
The dancing of the Waba'cing Chippewa was characterized by freedom and mdividuality, the best dancers using the muscles of the
252 BUREAU OF AMERICAN ETHNOLOGY [bill. 53
entire body. With some the motion seemed to Ix'gin in tlie shoulders and progress wdth sinuous grace to the feet, while ui others shrugging and twisting of the shoulders were seen. (Pis. 44, 45.)
The drum used, which was of native manufacture, was about 24 inches ui diameter and 12 inches in height; it was covered with untamied hide. The drum was suspended between four crotched sticks driven firmly mto the ground (see p. 147). The singers at the drum usually numbered six or eight. In beginning the leaders sang a few bars alone, after which the others took up the song.
During the dancing food consisting of slices of beef boiled without salt, triangular pieces of bread cooked in skillets beside the campfire, and bits of bread dough fried in hot fat, considered a special delicacy, was distributed. The older Waba'cing Indians have not jet acquired a liking for salt, which was unknown to them until a few years ago (see No. 168).
According to the Canadian Indian Awun'akiim'igicktin' ("fog covering the earth"), his people have rarely heard a piano, organ, or any other tuned instrument. He has always lived with the same group of Chippewa, drifting with them from one camp to another. He was a man a])out 30 years old, who appeared to be a full-])loo(l Chippewa. He spoke no English. He said that when he was a little boy he ''sat with the old men," listening to tlieu* singing and learning their songs, but that now he sang the songs which the men of his village " made up in then- dreams." He sang in falsetto voice with a peculiar throaty vibrato. He said that he discovered his ability to do this when he was a boy and had cultivated it ever since.
The other singers were A'jide'gijig ("crossing sky"), an old man who seldom leaves Waba'cing and who wears his hair in long braids; Ki'miwtin ("rainy"), a man of middle age who is prominent in the tribal councils; Ki'miwUna'nakwad ("rain cloud"), who had a particularly good voice, and Gegwe'djibi'tdn ("sitting near it"), who sang only one song.
Reproduction of these songs by the phonograph afforded the Indians much pleasure. The phonograph was placed in the door of the little carpenter shop in which the songs had been recorded. The Indians were gi'ouped outside and the sunset light rested on their (niger, intent faces. Beyond were the wigwams and the shining lake. It was a picture long to be remembered.
Dream Songs ^
Forty songs were recorded at Waba'cing, 26 of which were said to have been composed in dreams. It is j^robable that most of the Chi])p(>wa dream songs were used in war. This is not difficult to luiderstand. The young man who had a dream in his fasting vigil
See p. 37.
3UREAU OF AMERICAN ETHNOLOGY
WOMAN'S DANCE
DANCES OF WABA'CiNG CHIPPEWA
was usually an imlividuai of character and strcnj^th of ])ur])osc. War was the principal career which olFered itself in th(> old days and the man of the dream had the qualifications which made for success. After he had sunt]j his dream son"; on the warpath lie sang, it at the dances pr(>]iaratory to war, and in time it became the common pro]>erty of the tribe.
The dream songs recorded at Waba'cing are arranged according to the uses indicated by the singers. The first four were said to liave been used in war dances; these sltc followed by five songs used in the woman's dance; by six songs used by the Chippewa doctor, whose songs were always received in dreams, and one song of the moccasin game, by which some successful player secured liis advantage in the old days. The uses of the remaining songs were not designated but many such are undoubtedly the dream songs of forgotten warriors.
No. 128. A Song of Spriiij? (Catalo,i;uc No. 289)
Sunu: l)y A'jide'guic ("crossing sky") i)RUM J= 108
(lst)^-»-. --.-•--•-.+ -^- + t.t -•-•-#-^-•-#--0-.^
(ist)r-
(ist)r-
(2d)
"1 r"
i^zip:
itzt
^m
m
fStt:
--] (ist)r
i
Wa-pa-ba i-na-bi - yan mfic-ko-de (1st)
^^z=JEg3:^j4:j=H^^^4|:^=u^=^=U^4i:r-^===[=F=^=r-
(ist)r:ir: i r
nofi-go-mi-go-dji-ni - bin
(2d)
i«^^g|jg^=^^£fej
254 BUEEAU OF AMERICAN ETHNOLOGY [bui
wa'paba' as my eyes
ina'biyan^ search
muc'kode' the prairie
nongo^migodjini'bin I feel the summer in the spring
Analysis. — Tliis song consists of nino phrases, seven of which contain three measures each. From the beginning of the song to the close of the eighth measure the melody contains only the tones of the minor triad F sharp A-C sharp. In the ninth measure F descends to E, introducing the chord of A major, which forms the basis of the next two phrases. The second section of the song opens with the minor triad, changing after two phrases to the major triad, mth which the song closes. (Compare No. 33.) The song contains two rliythmic units, one being used in the minor measures and (with a . slight change) in what might be termed the transitional measures, and the other in the measures which contain only the tones of the major triad. Upward progressions are more strongly marked in the second unit than in the first, whose general progression is downward. It is interesting to note the two eighth notes in the last measure of the rhythmic unit, second section, which take the place of the unequal division of the corresponding count in the first section, the song seeming to grow more steady as it draws to a close. In the ca'wlino'ga songs Nos. 121 and 122 it was noted that the songs gained in excitement as they proceeded. The melody is marked by simi)licity and well reflects the mood of one who discerns the first signs of spring on the familiar prauie.
hensmore]
N<K 12}). Dream Song (Catalogue No. :{15)
Sung l)y Ki^miwuna'nakwad ("rain cloud")
Voice J=r 116 Drdm Jz^lie
^M^
^^E^^E^P^^^i^
f
m^^^^^=^^m^^^^^^^m
i^^i^ifelils^MlE
ee^IeSeS^^
^=.-fc
^a!g=^r^-iag=g^^g^Egg^i^
Analysis. — The tones comprised in this song are those of the fourth five-toned scale, the melody being based on the tonic triad and the other tones being used as passing tones. The rhythm of the entire song constitutes a unit. On its first occurrence the k)wer tone of the minor third was sKghtly flatted but during the remainder of the song was g'iven with correct intonation. (See analyses of Nos. 54, 138,146,164.)
No. 130. Dream Song (Catalogue No. 321)
Sung by Awun^akum^igickun' ("'fog covkring the earth")
Voice J^=: 184
iis^^i^^ii=gE^3i^i
^^ •— ^
4^3=
• — ^-
^
^^^m^^^^^^
r^
M:
Analyds. — The metric unit of this song was diificult to recognize in the tempo at which the song was sung. By greatly reducing the speed of the phonograph it was possible to detect this unit, and the relative note-values were thus transcribed. The metric unit is J* = 184,wliich is unusually rapid. The tempo of the origmal rendition was determined in the usual manner, that is, by adjusting the speed of the phonograph at 160 revolutions per minute, so that the tone C as registered on the cylinder corresponded to the same tone as given by the pitch pipe. The metric unit was steadily maintained throughout the two renditions of the sorig, which wai'e identical in every respect. The song is melodic in structure and has a compass of twelve tones, beginning on the twelfth and ending on the tonic.
dens.more]
No. 131. Dream Song Sung l)y AwuN^AKUM'ioicKUN' Voice J _ 69 Dkum J — 80
(Catalogue No. ;i'24)
i2^^i^^i^^-^^^^l-g|
mm^mi
Analysis. — This song was said to have been used in the victory dances which followed a successful war expedition, but never in the dances preparatory to war. The rhythm of the song is forceful and triumphant. Four renditions were recorded. The melody tones are those of the fourth five-toned scale, the melody being based on the tonic triad, and the second and sixth used as passing tones.
No. 132. Dream Song
Sung by Awun^akum'igickun
iffli
-i^—w-- — *-
■^
^i=i^'^ijiliii&^fei^gp|Ei0
Analysis. — This melody contains the tones of the fourth five-toned scale, beginning on the twelfth and ending on the tonic, the tones being grouped around the intervals of the tonic triad. The opening measures were not included in the repetitions of the song.
This and the following four dream songs are said to have been used in the woman's dance.
6799(;°— Bull. 53—13 17
No. 133. Drt'am Song (Catalogue No. 317)
Sung by Awun'akum'icickun^
.ft
Analysis. — The first two renditions of this song were faulty in intonation, being sung a tone lower than the transcription; after a pause the singer gave the song as transcribed, witli more correct intonation. (See Nos. 54, 129, 146, 164.) This is interesting, as the singer stated that he was not accustomed to hearing tuned instruments. The song is harmonic in structure, contains only the tones of the tonic triad and sixth, and has a compass of eleven tones. The submediant, or third below the tonic, is frequently used in connection with the tonic triad, producing a minor triad with minor seventh added, a group of tones occurring also in Nos. 147, 151, 152, 153, 154, 163.
No. 134. Dream Song (Catalogue No. 320)
Sung by Awun^akum^igickun^ Dru.m J= 120
mm^EE^
ZfTZfLl^-IZf:
qtufT
^-4'.
^SEE=E3^l3E^^EfE^
dknsmoheI
Analysis. — Tbrco renditions ol' tliis song were recorded, the first three and a half measures being omitted in the repetitions. The range of tlie song is unusually high and the first two tones were slightly flatted. The short repeated tones were individiuilized by a muscular action of the throat. The melody is strongly harmonic in character, but the presence of accented E and A cause it to be classified as melodic with harmonic framework. The rhythmic unit is short and the rhythm of the song as a whole is distinctive and clearly marked.
No. 135. Dream Song
Suiie: bv Awun'akum'igickOn'
Voice J ^100
I 1
«j .0-. -0-, -^ .0- .0.. -m--0- -^
r^TT
ii^^i^i^
iriiTT
#-p^
■fi-fi-
^
Analysis. — This song is a particularly good example of a melody based on the second five-toned scale. The first measure contains the rhythmic unit of the song, which occurs five times. The first part of the melody is based on the chord of C minor and the latter part suggests the chord of E flat, though the tone E flat does not appear. In the absence of this tone, which would be the tonic of the major cliord, the song is considered to be minor in tonality; this is, however, an instance in which what we term "key" can not be said to be established. The relation of the tones Ls an interval-relation rather than a key-relation (see pp. 7, 8).
[bill. 53
No. 18B. Dream Song
Voice Jr:=112
•"^ •-•- -• -^--0-.-»- -0--m--0-.-»- -mm
:r=fzzfr
^
.f=T
^-^"^
-•- V
-0- -^- -0-
ii^^iS^ii^S
• — ^
Analysis. — The intervals of progression in this melody are unusually large and would present some difficulties to a singer of the white race. It is, however, a bright and attractive melody, lively in tempo, and strongly rhythmic in character. The tones are those of the tonic triad and sixth. The first measures were not included in the repetitions of the song.
No. 137. Dream Song (Catalogue No. 326)
Sung by Awtjx'AKUM'iCiicKux^
Wi
6iE2E
#•
.».»- ^jt.
^--
^-p
icw
W=fr^
1=t:
pPa
^sliigpiS^^siiEi^iii
^L_#_
Analysis. — In this song the signature of the transcription should be regarded as indicatmg the pitch of certain tones and not as implying an established key. The transcription merely represents the tones sung by the Indian singer.
The framework of this melody is characterized by the interval of the third. The first seven measures are based on the descending third F sharp-D sharp, with G sharp as a tone of approach (see analysis of No. 53). This is followed by the descendmg thirds B-G sharp; D sharp-B; B-G sharp, with a return to the third F sharp-D sharp, with G sharp as a tone of approach. The second section of the song has essentially the same framework.
This song and the following five dream songs are said to have been used by a Chippewa doctor during his treatment of the sick. (See Bulletin 45, pp. 119, 120.)
No. 138. "My Body Lies in the East" (Catalogue No. 308) Sunu'by Ki^miwun ("rainy")
DrDM Jrr 112
-0-' -P • -•- -#- -•-
=9^^§E^
^t4:
SF
:p=t:
^^'
:Ej
:t=f
^^
Wa-bGn-ong a - te ni - au e
m^
•r^^P=i-
EiliEM=^
il^S.ilg
igEE
"^m^.
tt:wt:M7jLJijjLM
t-|:-t^:"=^
psi^
wabunofiir' in the east
ate^ lies
iii-aii' my body
[BtTLI.. 52
Analysis. — The two renditions of this strange melody secured are identical. The song is based on the minor triad, the fourth and sixth being used as passing tones. The tempo is slow, with long swinging cadence. The rhythm is characterized by the triplet, which occurs frequently on the last count of the measure. The song contains no rhythmic unit, but the rhythm of the entire song constitutes a homogeneous whole. In this group of six "doctor's songs" it is noted that vowel syllables distinctly enunciated are used on the tones not supplied with words, resembling the Mlde' songs, and differing from the majority of Chippewa songs, in which the separation of tones is produced by muscular action of the throat (see No. 134).
No. 139. "Sittiuj? with the Turtle" (Catalogue No. Sung by Ki'miwun
Voice Jri96
Drum
11^
Ml- kin- ak ni - wi - ta - bi
ilii^iiiiii
nn
^-
::i:=:L=t:
H
^Pigii^^ii^ig;^iii!ii
mikinak' turtle
niwi^tabiniu^ I am sitting with him
Analysis. — Five renditions of this song were recorded. In the first and fourth renditions no words were used; in. the second and fifth the words occurred as transcribed, and in the third the words were used in the seventh and eighth measures instead of at the opening of the song. The first rendition begins on D flat instead of E flat, a fact which stiggests that D flat is felt to be the prmcipal tone, E flat being used as an approach to that tone. (See analysis of No 53.)
dexsmore]
No. 140. "Carried Aruiiiul the Sky" (Catalogue No. 310)
Hung >y Ki'mivvun
Voice Jl= 116
s
^ ft-. -f- -#-
-f»-^— ^
t^LE=E:[|B^^EtE
i
:tr-=:r±,
#^-^-
s
Ki-wi- ta - ci-yan gi - jig - uQg
wi - ta - ci-yan gt - jig
r
ggi^iEg^iijg|g^sgg=g^afg
ung ki-wi - ta - ci-yan gi -jig - ung ki-wi - ta - ci
-^-.|
^^si^^i^^i^ll^l
yan gi - jig - ufig ki-wi - ta - ci-yan gi - jig - ung ki -wi
m^
:Jr=:C3:fm-=l:
r^
CI - yau gi
_^^^^
'm^
:i=i::
ung
ki-wi
la - ci-yau
kiwita'yaciyan^ ' as the wind is carrying me
gi'jigufig' around the sky
Analysifi. — This is an oxamplo of a song showing an interval formation and containing wliat would be called in musical terms "the tonic of the key" only in the middle part of the song. Cliippewa songs with this characteristic have been noted only among those collected at Waba'cffig; these are Nos. 135, 137, 139, 141, 142, 165. If we depend on the musical ear in determining the key of a song, we place this song in the key of G major, yet 85 per cent of the intervals are minor. The song contains 13 intervals, of which 9 (70 per cent) are minor thirds and 2 (15 per cent) are minor seconds, the other intervals bemg a major third and a major second. (See Nos. 141, 151, 161, 163.) The rhythmic unit contains three measures and occurs seven times, being accurately and continuously repeated. The accidental tone (A sharp) was given with correct intonation. No differences appear in the four renditions of the song.
This and the two following songs are said to be sung after the "doctor" has "swallowed" the bones and during the treatment of
One syllable of this word was omitted by the singer.
the sick person. After the second rendition of the song there is recorded on the phonograph cyhnder a sharp hissing sound which the doctor makes as he breathes, or "blows," on the person receiving treatment; after the third rendition there is recorded a shrill whistle, which he is said to make as the bones issue from his mouth. It is said that in the old days the "doctor" did not take the bones in his hand before swallowing them, but drew them directly into his mouth from a shallow dish of water. The writer has been informed by more than one eyewitness that when the medicine-men were in possession of their former powers the bones, many of which were much larger than those used in recent 3"ears, were actually swallowed by them.
No. 141. "The Approach of the Thunderbirds"
Sung by Ki'miwun
i^^g^
Ka - bi-de-bwe - we - da - mo- wad bl - ne-nX-wi
il^
|SS^3
rR.
iMipnp:
M^m^^^^
kabide^bwewe^damowad^ . . bine^siwug
.the sound approaches
.the (thunder) birds draw near
Analysis. — This song contains a short rhythmic unit, wliich occurs only twice. The song is major in tonality, but is characterized by the frequent occurrence of the interval of the minor tliird, 67 per cent of the intervals being minor thirds. (See Nos. 140, 151, 161, 163.) Harmonic in structure, the melody contains only the tones of the tonic triad and sixth. Attention is directed to the rapid drumbeat in this and the following two songs. The approach to the harmonic tone by the tone above is discussed in the analysis of No. 53.
densmoub]
No. 142. "White-haired Raven'
Sung l)y Ki'miwun
Drum J_ 120
r~r^
jfi. .^ .^- .^.
:^g^
:l=t=t=t:
:5ic=t
tm
• #
iH
-•^^
i
Kwe wa - bi-kwe - ka - ga - gi kwe ba - ba- mac nin - de - go kwe
^Pg^
^a^iiiil^^
wa- bi-kwe-ka
gi fcwe ba - ba-mac niu
de - go kwe
m^^^^^^^^^^
wa - bi-kwe - ka - ga - gi kwe
ba-mac nin - de - go
kwe
wa - bi - kwe - ka - ga - gi kwe ba - ba- mac niu - de - go
wa^bikwe'kaga'gi " ' white-haired raven
babamac' flpng around the sky "
nin'dego' I am called
Analysis. — The four rccordod renditions of this song are identical in all respects except that in one instance D instead of B was sung on the last count of the first measure. Tliis is unimportant except that it is the only variation. At the close of the second rendition is recorded the peculiar whistle described in connection with the precethng song. There is no perceptible secondary accent in the meas- ures marked, respectively, 7-4 and 5-4. The rhythmic unit comprises three measures and occurs four times. The measures in 3-4 time were sung with a slightly slower metric unit than those in 7-4 time. The melody is ])articuhirly striking and forceful.
No. 143. Dream Song
Sung by Ki^miwun
Drdm J- 120
I .f . -^ _f2- -^ -P- ^2-
a. PL #_ ^ p. '
^ Jt-
I
T=t
-P^—^~
:t=f:
P*
t==l:
HE^^^^£
£^^
i
^^3=3=
l=Z^
iEEEE^EpEliilEf^Mli^^^^
i^
H:
3P=|r:|=t:i[l:4zt=r:r
tt
m
Analysis. — Four renditions of this song were recorded; the second and tliird renditions were followed by the peculiar wMstle and hiss already described. The song contains the tones of the tonic triad and sixth and is harmonic in structure. The rhythmic unit contains four measures, its repetitions comprising the entire song.
The following is a song of the moccasin game. It is unusual to iind a moccasin game song which is said to have had its origin in a dream. Long ago the players sought skill by means of fasts and dreams^ but at present the game is regarded less seriously. Tliis song was recorded by a member of a Canadian band of Chippewa, among whom the moccasin game may have retained its original status (see p. 206).
No. 144. Dream Song
Sung by Awun'akum'igickun^
.«- p.. .
. p p-^ siiig^^^
^^p-pssi^
Analysis. — The entire trend of the melody is downward, along the intervals of the tonic triad. The metric unit of the voice is slow and that of tlie drum is ra])i(l, a peculianty fiuuid in most of the moccasin <j;ame songs and suggesting the mingled control and excitement of the game. A song closely re.send)ling this hut in a (hlFerent rhythm was recorded on the White Earth Keservation (cimipare No. 176).
The singers did not state on what occasions the remaining songs of tliis group were sung, hut it is ])r()l)ahle that tlu^y were used in the dances preparatory to war. The words are of interest, in many instances suggesting the confidence wliich makes for l(>adershi]) in any undertaking and hecomc^s the more inspiring when it is believed to he of su])('rnatiu'al origin.
No. 145. "Into the Several Heavens" (Catalogue No. 288) Sung by A^jide'gijig Voice J~104
( Drum-rliylhiu .similar to Nu. 19)
-•- -•-
^fS—
l=fe±p?
£=J
-^—P^^- ^_
^^^^^tJEJj^^lgHd^gL-j^j^^
EBirl?:^=p==pi=p=zf=ziShi— ^
±^^
O - gi -ma gi
uug
en - ga - ba - bi - ui - go
o'gima the chief
gi'jigung' into the heavens
engaba'binigo' will tak(> me
Analysis. — This song contains a peculiarity which occurs frequently in songs recorded at Waha'clfig, namely, the approach to a liarmonic tone by means of the tone above it. For instance, this melody is based on the triad of E flat major, yet the first tone is an accented ('. This is discussed in the analysis of No. 53 and is found also in Nos. 29, 45, 51, 53, 65, 137, 139. The sixth was sung slightly sharp when, reached by an ascending progression, tliis feature being uniform throughout the two renditions of the song. Faulty intonation on the
interval of a second is noted in Nos. 54, 55, 61, 64, 100, 145, 166. The closing tone was sung with good intonation, representing an unusually low range of voice.
No. 146. "Two Foxes Face Each Other"
Sung by A^jide^gijig
fi-^-^-figJS^EEEBSgJI^
-*|£
li^psii^ii
^^^iiiggg^i^i^
-^'-tf-.
:iiz:tl:4±=t^&-i :t^|z±f=:[I
We -on-da-sfi-ma-bi - wad wa-guc-ug mi-ma-dji-a-bi - yan
3d:
m^^^w^^mm^^^^^
weonda^suma^biwad' they face each other
wagucug^ two foxes
mima'djiii^biyan^ I will sit between them
Analysis. — This song contains no rhythmic unit, though a dotted eighth followed by a sixteenth note occurs with frequency. It should be noted that the lower tone of the minor third was slightly flatted on its first occurrence in each octave, though sung afterward with correct intonation. (See Nos. 54, 129, 133, 164.) The tonic chord forms the framework of the melody, with the second and sLxth as unaccented passmg tones.
DBrNSMOREI
No. 147. "One Bird"
Sung by A'jiDE'uuiu
DkUM Jiz: 108
r-#---#-^- -•- -«■•
mm^:
±S'!
life^^llEy^i^^^
Be- jig bi-ne - si
ni-wi-djl - wa
^^^mi^^^^^^^
a^te^
^'
m
li^
ili
A^-^
■d-r— ^
^i^it^£?i^liS^jii^
ty
1-5^^
i
be^jig one
bine'si bird
niwi''djiwa^ I am going Avith him
Atmlysis. — The rhythmic unit of this song contains six measures and occurs five times; its repetitions constitute the entire song. The first section of the song is outUned by the interval of the fourth, representing the descent from the tonic to the dominant ; the second section is based on the descending interval of the fifth and contains the tones of the tonic triad; and the thu'd contains the descent in the lower octave from the tonic to the dominant. The outline of the second and third sections is repeated, and the dominant is the closing tone of the song. Thus the melody, in its broad outline, is seen to have a definite relation to the tonic chord, yet within this outline we find another characteristic. The tone D flat appears with prominence, and in its connection with the tonic triad forms a group of the minor triad and minor seventh, which has been noted in songs of the Chippewa and also in the music of other primitive people. (See footnote, p. 130, Bulletin 45.) This group is noted also in Nos. 133, 151, 152, 153, 154, and 163 of the present work.
BUEEAU OF AMERICAN ETHNOLOGY [bull. 53
No. 148. "The Sky Will Resound" (Catalogue No. 296) Sung by Ki^miwun
Voice J=z 100
gsi^^ii
JL f: .^. ^.. _,.
(• ^
^s^l=
-trip
i^
Ta-min -we - we gi - jig a tci
r
bi - no -
iSl^^=l^^li
-?-t-e-.
a=t-=t_:^i=--4N!— I
da - go - si - nan
i^isSEi
u^
iiii^E^^gS
ta^minwe'we it will resound finely
gi^jig Ihe sky
tci'binonda^gosinan' when I rome making a noise
Analysis. — This song is harmonic in structure and is based on the chord of B flat major. The rhythmic unit is not strongly marked, yet the song as a whole has a rhythmic effect which is particularly pleasing. The metric unit was maintained with absolute regularity by the singer.
DbNSMOREj
No. 149. "One Wind"
Suii'r bv Ki'miwun
Voice Jrr 100
( Druui-rliythm similar to No. 19)
m^^m
^
all^g^li^iggig^^gfJgEp^
mm^^^^^^^
Be - jig no-din nin- ga - na -
m
wen - dan
f^_
^I^^P^B
be^jig one
no^din wind
ninga^nawendan' I am master of it
Analysis. — Three renditions of this song were recorded. The time was not steadily mamtamed, and it is noted that variations from exact time occur in corri^sponding measures in the several renditions. The song contains the tones of the fourth five-toned scale, is harmonic in structure, and is based on the tonic triad, the second and sixth appearmg only as passing tones. No rhythmic unit occurs in the song, although the rhythm of the song as a whole is strongly marked.
272 BUEEAU OF AMERICAN ETHNOLOGY [bill. 58
No. 150. "An Overhanging Cloud" (Catalogue No. 299) Sung by Ki'miwun
-H--t 1 — lil "— rl -I 1 1 1 — « — r* — F F I r^-
^ .^. ^. ^
aS^^^ii^^^g^^i
Ka- bi -ba-bam-a - go - deg
a - na-kwad tci-ba-ba - mi-no
^iSil
i=t^
i=J:
;E^:
:g
gwGn
WORD.S
ka'bibabam^agodeg' an overhanging
a'nakwad cloud
tcibaba'minota'gwun repeats my words with pleasing sound
Analysis. — This melody consists of two sections, the first comprising six measures and the second comprising eight measures. The melodytones are those of the fourth five-toned scale, and the song is harmonic in structure. The rhythm is so decided that one looks for a rhythmic unit or some regularity in the succession of double and triple measures, but neither is present.
No. 151. "Heaps of Clouds" (Catalogue No. 314)
Sung by Ki^miwuna'nakwad ("rain cloud")
^^^^r^^^^
^
^-^S- S 4
Ka -bi-ba-bi-kwa-go-deg a - na - kwad a pa - 1 - na-bi - yan
=:.^=fM^^
:^=P=S
^^^m
ka'biljahi'kwagodeg^ greiil licup.s
a'nakwad of clouds
pa^ina'biyan^ in the direction I am looking
Analysis. — This song is said to have been composed by a woman. (See Nos. 31, 39, 40, 112, 127, 177, 178.) The melody contains only three descending progressions larger (haii a minor third; these are major thirds, occurring between the lower tone of one minor third (F-A flat) and the upper tone of another minor tliird (B flat-D flat). The song is major in tonality, yet 13 of the intervals (36 per cent). are intervals of the minor third, 9 descending and 4 ascending. (See Nos. 140, 141, 161, 163.) The last four measures of the song consist of the tones of the major triad on D flat, yet observation of the first part of the song shows the ])rominence of the outline A flat-F-D flat-B flat, wliich forms a minor triad with minor seventh added. This is a chord of strong barbaric color, which has been found in the music of many primitive peoples; it is noted in Bullethi 45 (footnote, p. 130), also in Nos. 133, 147, 152, 153, 154, 163 of the present series. In the song under analysis tliis chord resolves into the tonic chord by the progression of B flat to A flat in the seventh measure from the close. The song is harmonic in structure, the only tones accented being the tones of the tonic triad. The melody tones are those of the fourth five-toned scale. The intonation of the singer was most nearly accurate on the tonic and fifth and most uncertain on the tliird of the key.
No. 152. "Around the Sky" (Catalogue No. .318)
Sung by Awun^akum^icickuk^
Voice J_80
Drum J rz 104
Ki-wi-ta- gi -jig e ka-bi-de
bwe-wi-da- mon 6799G°— Bull. 53—13 18
[blli,. 53
ki'witagi'jig around the sky
ka^bidebwe^Avidamon' 1 come to you with my sound
Analysis. — This is a particularly graceful melody and was sung with regularity of rhythm and good intonation. The downward progressions E-C sharp-A-F sharp form the minor triad ^vith minor seventh added, which resolves into the tonic chord by the tone E in the eighth and eighteenth measures (compare Nos. 133, 147, 151, 152. 154, 163). At the opening of the seventh measure occurs a peculiar division of the count, which is found also in Xos. 153, 157, 159, 161, 163.
No. 153. "The Thunderbirds" (( atalogue No. 322)
Sung by Awun'akum'Igickun^ VoiCB Ji_72 Dhum J= 144
( Drum-rhythm wimilar to No. 2 )
ff^^^^^^^^^7^I^^Fm=^^^lU^^
-P- ^ I I I -•- -•- -•- -p- ^- -^ -0-
^^P^^^^
g=^.£-Lf L/
9t
Bi - ne - g! - wu£r ni - koc - ko
i - a - gog
1 1
-0- -•- -P- -#-.1
r \2 * ^ p. ,
— 1 n
C— L J i 1
-4-^^^^^="^=^^-
^^'-^ Ld^
^
bine'siwug. . . nikoc^koigog^.
the (thunder) birds .startle me
DENSMOBE]
CHIPPEWA MUSIC-
Analysis. — The first throe ineasures of this sonjij contain the clownward progression G-E-C-A, comprising the minor triad with minor seventh a(kled (see Nos. 133, 147, 151, 152), the tonic chord of C major being estabUshed in the ninth measure. The remainder of the song is based on the tonic triad, the sixth occurring only as a passing tone. The rhythm is characterized ])y a ])ecuhar (H^^sion of the first count of the measure. This occurs in the opening of the rhythmic unit and has been noted also in Nos. 152, 157, 159, 161. 163.
Dream Songs- — Waha'nug V'tUage, Red Lake Reservation
Mklodk' Analysis TONALITY
Major
Number of songs
Serial Nos. of .songs
128, 129, 130, 131, 132, 133, 134, 13(1, 137, 138, 139, 140, 141, 142, 143, 144, 14.j, 14li, 147, 148, 149, loO. 151, 1.52, 1.53
BEGINNINGS OF SONGS
Number of songs
Serial Nos. of songs
■'
On sixth
137, 139, 141 147 152
On fifth
On tenth . . ...
151, 153 133, 140, 142, 149 128, 134, 136
- 135
Total
ENDINGS OF SONGS
Number of songs
Serial Nos. of songs
146, 148, 150, 151, 1.53 131, 134
On tonic third
133, 135, 137, 139, 140, 141, 142 147 149
Total
.
BUEEAU OF AMERICAN ETHNOLOGY
Melodic Analysis — continued TONE MATERIAL
Fourth flve-toned scale.
Major triad
Major triad and sixth
Minor triad, sixth and fourth.
Total.
Number of songs
128, 129, 130, 131, 132, 135, 140, 142, 146,
147, 148, 149, 150, 151, 153
133, 134, 136, 137, 139, 141, 143, 145, 152
ACCIDENTALS
Songs containing jio accidentals.
Songs containing second raised a semitone. Total
Number of songs
Serial Nos. of songs
128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 141, 143, 144, 145, 146, 147, 14S, 149, 150, 151, 152, 153
140, 142
STRUCTURE
Number of songs
Serial Nos. of songs
Harmonic
129, 133, 134, 138, 140, 141, 143, 144, 146,
Purely melodic
148, 149, 150, 151, 152 132, 142, 135, 137
128, 130, 131, 134, 135, 136, 137, 139
Total
FIRST PROGRESSION
Number of songs
Upward — Total.
21 128, 129, 130, 132, 134, 135, 136, 137, 139, 140, 141, 142, 143, 144, 145, 146, 14S, 149, 150, 152, 153 131, 133, 138, 147, 151,
DENS more]
Rhythmic Analysis PART OF MEASURE ON WHICH SONG REGINS
On accented part
On iinaccen1e<l i)art. Total
Nuinljor of songs
Serial Nos. of songs
128, 129, 1.30, r.a, i:«, v.w, 137, i.iii, in,
144, 145, ntl, 147, lis, 149, l.')(l, 1.02 131, 1.32, 134, 13.S, 140, 142, 143, ir,l, l.W
RHYTHM OF FIRST MEASURE
Numl)cr of songs
Serial Nos. of songs
12f», 131, 132, 134, nr>, 137, 138, 139, 140,
141, 147, 1.50, 1.52 12H, 1.33 136, 144 14.5 14fi 14S 149 151
Songs beginning in 3-4 time
Songs beginning in 4-4 time
1.53
Songs beginning in 3 S time
Total
RHYTHMIC UNIT
Number of songs
Serial Nos. of songs
Songs containing rhythmic unit
It;
131 1.34 13.5 140 141 142 143 147 1.53
Songs containing no rhvlbmic nnit
129 130 132 133 136 137 13.S 139 144
Total
145, 146, 148, 149, 150, 151, 152
COMPARISON OF METRIC UNIT OF VOICE AND DRUM
Number of songs
Serial Nos. of songs
Metric unit of voice and drum the same
128, 129, 134, 135, 13t;, 137, 140, 14.5, 146, 147, 148, 1.50, 151
Total
144, 149, 152, 1.53
BUEEAU OF AMERICAN ETHNOLOGY
[BDLL. 53
Rhythmic Analysis — coutinued CHANGE OF TIME
Number of songs
Serial Nos. of songs
Sorifjs oontainiiiR change of time
128, 129, 130, 131, 132, 133, 134, 135, 130, 137, 138, 139, 140, 141, 142, 143, 144, 14."), 140, 147, 148, 149, \M, 151, l.--^', 15:}
Total
Mide' Songs
Tliis and the following song were said to fomi part of a ceremony wliich is held soon after the death of a member of the Mide'wiwin (Grand Medicine Society), and wliich has for one of its objects the direction of the spirit on its journey. (See Bulletin 45, p. 54.)
No. 154. "The Noise of the Village" (Catalogue No. 306) .Suns: 1)V Ki^MiwuN
J=
Drum ^ = 112
Sld=X^=^=t=^^EE^E^^^E^E^EE^E^
na - ni - ba - yu
yan a bu de
we 0
yu - se- yan e a - ui - ua - ui - ba yu - se - yaii
a'nina'nil)awiyan' whenever I pause
de^bwewe' the noise
ode'iia of the village
Analysis. — Tlio tcaujx) of tliis song is very slow, the metric unit being a liulf note. The rhythmic unit occurs five times, as inchcated. The mehxly comprises the tones of the fourth five-toned scale, yet the progressions are grou])ecl about the minor triad with minor seventh added. (See Nos. 13.3, 147, 151, 152, 153.) The several renditions recorded show th(> rhythm unchanged but the intonation varying, a (jlissaiulo being fi-e(|uen(ly iiitnKhiced.
'>'». Mule' Song
(Calalogue No. .304)
Sung l)y Ki'miwCin
Drum
( Druui-rhytlim similar to No. 2)
gn^gffc^-^jjj^Sgpggg^j^^fl
Analysis. — Tlu-ee renditions of this song were recorded at Waba'clng. A few weeks later the phonograph record was played for a member of the Mide'wiwin on the Wliite Earth Reservation, who said that the melody was correct, but that the words were not. As he was a particularly good authority, the words are omitted in the transcri])- tion. The melody is simple, containing only the tonic triad and sixth and moving along harmonic lines. Attention is directed to the slow metric unit of the voice and the rapid unit of the drum. The rhythmic unit is unusually long and its repetitions embrace the entire song.
No. 156. "Be Kindly"
Suns; by Ki ^miwun Outline of melody-progressions
9*
(Catalogue Nt>. 307)
:l2e:
M
wewe'mi 1 be kindly
nimanido' my manido^
nikan^ my Mide' brother
Analysis. — This soiii; is transerilxMl in outline, qiiartor notes without stems being used to incUcate the trend of the melody, but not the length of the tones. The first interval of the descending fourth is somewhat unusual. The flatted sixth, wliich was accurately sung, gives an effect of sadness to the close of the song. The words are broken by interpolated syllables and the rhythm contains little of interest.
Love Songs
No. 157. "I Have Lost My Sweetheart" (Catalogue No. 300) Sung by Ki'mivvu x Recorded without drum
(1st) (1st) (1st) ' (1st)
keii'bigo^ and still
niwa'nia I have lost
nin'imu'ce my sweetheart
Analysis. — Tliis song contains three rhythmic units, and its melodic formation shows the triads of B minor and G major. The first section comj3rises three phrases on the triad of B minor and one on the
CHIPPEWA MUSIC n
triad of G major, the first rhytliiuic unit being steadily maintained. In the second section we note two phrases in B minor and one in G major, the second rhythmic unit being used ; this is followed by the third section, on the chord of B minor without the third, the song closing with two phrases in B minor, using the second and third rhythmic units. The second rhythmic unit opens with a diyision of th(^ count, whiclioccurs also in Nos. 151, 1,52, 159, 161, 1()8.
No. 158. "I Will Not Drink'
Sling by Ki'MiwfiN
(CataloKuo N«). liOl)
Recorded without drum
^
=f=
^m
m
=»=i=
^
t?
kawln'ganage' I will not
ninga^minakwe^si drink at all
Analysis. — This song was given with much freedom of tempo. It begins with an upward progression to an accidental, an opening which is unusual. The song is minor in tonality, melodic in structure, and contains all the tones of the octave except the second.
No. 159. Love Song
Sung bv Ki'miwun
Recorded without drum
-This song is unusually regular in form. It has 16 measures and 4 periods, the first, second, and last periods containing the rhythmic unit. In the third period the phrases of the rhythmic unit are found in a reversed order. The metric unit was not steadily maintained, but the rhythmic unit shows no variation in the five renditions of the song. The division of the last count of the thml measure is noted also in Nos. 152, 15;>, 157, 161, 163.
No. 160. Love Song
Suntr ])Y Ki^MiwuN
Recorded without drum
^^
d=t
(Catalo'nie No. ,S()3)
^^^m^
^t
^Eg^^ggg^^^ilji
?S3^
^
Analysis. — This song consists of five sections, each of which contains four measures. Each section is designated as a rhythmic unit although the measure-divisions differ somewhat in the latter part of the song. The accidentals were sung with correct intonation and the effect of the song is pleading and plaintive.
Moccasin Game Songs No. 161
Sunor bv AOide'gijig
(Catalogue No. 292 j
Drum J^^ 112
m^m^^^
Efe?P^
^0
^
Anahjsit^. — This song has the slow voice-rhythm whicli characterizes the moccasm game songs and which is noted also in Nos. 30, 51, 52, 103. The melody comprises the tones of the fourth five-toned scale and is harmonic in structure. Although the song is major in tonality a large majority of the intervals are minor thirds. The song contains 2-4 melodic progressions, 17 (71 per cent) of which are minor thirds, 7 heing ascending and 10 descending intervals (see Nos. 140, 141, 151, 163). There is no rhythmic unit, but the division of the first count of the measure reciu's with frequency (see Nos. 152, 153, 157, 159, 103).
No. 1G2. "The Sound of His Footsteps" (Catalogue No. 293)
Sung by AOiDE^auiG
Voice JL 192 Drum J=rll2 ( Drum-rhythm similar to No.
i^J
^^^^_
f=^'r^
m
^m
Egr^B^i^lB^^
#=#:
i^^^^ili
»=
--^
ii:
^m
Pe-dwe-we- cm ne-ta-mi-co - dfiii
Wr-rm^
^-«-A
^
'm^^
SEBL-B=:
:8z^z4:
pe^dwewe^cin the sound of his approaching footsteps
neta^micodun^ who always hits the mark
Analysis. — The tempo of tliis song is so rapid that it was necessary to reduce the speed of the phonograph in order to detect the metric unit and indicate the note-values. The rhythm was given uniformly m the two renditions of the song, showmg that it was clear in the mind of the singer. The fourth is the principal interval of progression (see No. 22).
[BFLL. 53
No. 16.3. Moccasin Game Song (Catalogue No. 305)
Sung by Ki'miwux
i
^
m
-^^•^
7>-f— h^
^a£
-^ d d.zi-
^^
£14:
Analysis. — This song contains only the tones of the tonic triad and sixth, the melody moving freely along harmonic lines. It has been noted that in some songs containing these tones the sixth is used as a passing tone, the melody being based on the tonic triad, while in other instances the sequence of the tones is such as to produce the minor triad with minor seventh as an integral part of the melodic framework. This song belongs to the latter group, the sixth being accented in the fourth measure and appearmg again in the sixth measure, after which it is used only as a passing tone. (See Nos. 133, 147, 151, 152, 153, 154.) The song is major in tonality, yet 12 of the mtervals (55 per cent) are intervals of a minor third. (See Nos. 140, 141, 151, 161.) The song contains no rhythmic unit. The division of the first count of the third measure is also noted in Nos. 152, 153, 157, 159, 161. Three renditions of the song were recorded, which are identical in every respect. In this, as m most of the moccasin game songs, the metric unit of the drum is faster than that of the voice.
Dance Songs
The woman's dance is a feature of every gathering of the Minnesota Cliippewa, but has never been introduced on the Lac du Flambeau Reservation in Wisconsin. This dance is said to have been acquired from the Sioux (see pp. 45, 46; also Bulletin 45, p. 192). The dancers face the drum, moving clockwise, in a circle. In plate 45 are shown the Waba'cing Chippewa in a woman's dance. A shade of branches has been erected over the drummers, but the women wear theu- plaid woolen shawls. In this instance the men and women are dancing by themselves. A more common arrangement, when gifts are being freely exchanged, is for a man and a woman to dance together, the men and women alternating around the circle.
No. 164. Woman's Dance Song (Ca(al()<rue No. 295)
Sung by A'jiDE'Giji(i Drum ,-108
^SsS^^i^^s^^
gg
't-
^^^^^"^^^^mtr^tm
Analysis. — This song is strongly rhytlmiic in character but contains no rhytlmiic unit. It conii)risos the tones of the second live-toned scale and is definitely minor in tonality. The accented tones in the last seven measures correspond to the descending intervals of the tonic chord. The faulty intonation in the first measure was corrected m the second measure. (See Nos. 54, 129. 1.38, 146.)
No. 165. "He Killed a Man'
Sung by A'jiue^gijig
Drum j z- 100
i I
^£5:
wm
^^^pi^^^Spl
na gi - nic
wed
camau^ganlc a soldier
gini'ciwed' killed a man in war
Analysis. — This very old song was sung by the women who went to meet a war party on its return to the village (see p. 118). The same
[BULL. 5."?
song was recorded at White Earth (see Bulletin 45. p. 143), the two records being identical except that the former record includes the shrill falsetto cry given by the women. The structure of the melody is interesting. In the first six measures the rhythmic unit is repeated with regularity and the first note of that unit (wliich is also the first note of the measure) follows the descending intervals of the fourth five-toned scale. The remainder of the song is harmonic in outline, comprising first the chord on the sixth and then the third D sharp- F sharp, suggesting the chord of B major. Attention is directed to the interesting rhythm of the part of the song containing the words.
No. 166. "I Carry It Away" (Catalogue No. ol6)
Sung by CiEGWE'DJIBI^TUN ("SIITING NEAK IT")
mw-
^^^^
E3S
ifci
^
^
Nin-da-ma-dji-dou
-i— #
^^Pl^^
:9i|§=tii=
-W:
H»=^
nin'damaMjidon^.
I t-arry it away
Analysis. — This is a song of the ca'wCnio'ga (southern dance) (see p. 129). The song was recorded on the Wliite Earth Reservation also and the records were found to be identical. The rhytlmiic unit is not continuous but gives character to the song. The melody tones are those of the fourth five-toned scale and the effect of the song is that usually associated with this scale. Faulty intonation on the interval of tlie second is noted also in Nos. 54, 55, 61, 64. 100, 145, 166.
DEXSMOREJ
No. 167. "The Entire World'
Sung liy Ki'.viiwuN
rataJuguc No. 207;
( Drum-rhytliin similar to No. 10)
wi - mi - gun
e'negokwag' tlu. cnliro
aki' world
nirna^viinigun^ weepH for nie
Analysis. — This was said to })c tho music of a dance much older than the ca'wClno'ga. The three renditions of the; song recorded are identical except that the tone before the words is prolonged in the first rendition. The song is characterized by a vigorous rhythm, with a distinct unit which occurs three times in entirety and parts of which are found throughout the song. The melody is minor in tonality and contains only the tones of the tonic triad and sixth.
Combined Analyses of Dream, Mide', Love, Moccasin Game, and Dance Songs — Waba'cing Village, Red Lake Reservation
Melodic Analysis TONALITY
Dream songs
MIdc' sougs
Love songs
Moccasin game songs
Dance
songs
Total
Per cent.
Major
Total
iCrlNNINGS OF SONGS
Dream songs
!
MIde' Love songs 1 songs
Moccasin game songs
Dance
songs
Total
Per cent.
On thirteenth
2.5 12.5
::::::::::i::::::::
On twelfth
1 4
On fifth
On tenth
7.5 7.5
i .
On tonic
Total
3 1 4
ENDINGS OF SONGS
Dream songs
MIdc' songs
Love songs
Moccasin game songs
Dance songs
Total
Percent.
On tonic
14 9.
2 1 '>4
On fifth
On third
SO
26 -i
4 s
TONE MATERIAI
Dream
songs
MIde' songs
Love songs
Moccasin game songs
Dance . songs
Total
Per cent.
Major triad and sixth
S7 5
Minor triad sixth and fourth .
S 5
Minor triad and fourth
g ,5
Total
DENS MORE I
Melodic Analysis — t-ontinued
ACCIDENTALS
Pream songs
MIde' songs
Love songs
Moccasin game songs
^'*"^''' Toll! songs ^"''''
I'or cent.
Songs containing no accidentals. Songs containing sixth raised a
Songs containing second raised
Songs containing second raised a semitone and sixth lowered a semitone
ts
Songs containing sixth lowered a semitone
g s
Total
4 40
STRUCTURE
Dream songs
MIde' songs
Love
songs
Moccasin game songs
Dance songs
Total
Per cent.
Harmonic
to
4 1 ^
Melodic with harmonic framework
.
Total
FIRST PROGRESSION
Dream songs
MIde' songs
Love songs
Moccasin game songs
Dance songs
Total
Per cent.
.,
Upward
go
Total
Rhythmic Analysis
PART OF MEASURE ON WHICH SONG BEGINS
Dream songs
MIde' songs
Love songs
Moccasin game songs
Dance songs
Total Per cent.
j
Beginning on accented part of measure
!
17 1 1
Beginning on unaccented part of measure
ti
Tot-al
40 1
07990°— Bull. TjZ—Vc
-19
Rhythmic Analysis — continued
RHYTHM OF FIRST MEASURE
Dream songs
Mlde' songs
Love songs
Moccasin game songs
Dance songs
Total
Per cent.
Beginning in 3-4 time
Beginning in 5-4 time
s
Transcribed in outline
g s
'
CHANGE OF TIME
Dream songs
Mlde' songs
Love songs
Moccasin game songs
Dance songs
Total
Per cent.
Songs containing change of time. Songs containing no change of time
- S g
Total
RHYTHMIC UNIT
Dream songs
Mlde' songs
Love songs
Moccasin game songs
Dance songs
Total
Per cent.
Songs containing rhythmic unit. Songs containing two rhythmic units
Songs containing three rhythmic units
'
Songs containing no rhythmic unit
BS
Total
COMPARISON OF METRIC UNIT OF VOICE AND DRUM
Dream songs
Mlde' songs
Love songs
Moccasin game songs
Dance songs
Total
Per cent.
Metric unit of voice and drum
47.5 2.5
Metric unit of voice and drum
Transcribed in outline
Total
SONGS OF WHITE EARTH RESERVATION
This groiij) contains songs of several classes, comprising all the material in this work collected on White Earth Reservation, Minn., except songs connected with war (pp. 59-141).
No. 16N. "We Have Salt"
Sung by Henry Selkirk Voice Jr= 160 (Dram-rhythm similar to No. 19)
^-35|r?^ll^^=^
Ma - no ma - no ki - ga-dan -a - wen - i-mi-go- mlii ji-wi
r.-. r • - . r • • T" • . '
35^=^=F r^-f—f 1^^^^-"^ 1 LJ=
da - ya
wa - kwa gi - da
ya - mill
nia'no let
kigadeiin'awen^imigo^min them despise us
ji'wita'giin salt
gi^dayamln^ we have
a^jawa^kwa here, beyond the belt of timber
gi^dayamin' we live
In the early days the Minnesota Chippewa had no salt, and some of the older Indians have not yet acquired a taste for it. In a treaty known as the ''Salt Treaty," ^ concluded at Leech Lake, August 21, 1847, with the Pillager Band of Chippewa, there was a stipulation that the Indians should receive 5 barrels of salt annuallv for five
I A compilation of all the treaties between the United Stales and the Indian Washington, 1873, p. 212.
now in force as laws,
Analysis. — Four renditions of this song were recorded. In all these the drumbeat was steadily maintained but the voice tempo changed as indicated. (See the following groups, each comprising two songs: Nos. 100, 101; 103, 104; 121, 122.) The melody contains the tones of the major triad and sixth and would be classified as harmonic in structure except for the accented F in the fourth measure from the last. Meaningless syllables were used in the closing measures of the song.
No. 169. "If I Were a Son-in-law"
Sung by Hknry Selkirk
Ko • zi - gwa - ko-mi-nfig
nin-da - na - po -
g^rr-tQ-T]
-1 1 p — ■,
gfib-i - yan e
^i
-r^ I r>
I
■t=t
kozigwa^kominug' June berrie.-*
ninda^nawapo^kinug' I would take to eat on my journey
naiingiib'iyan' 2 if I were a son-in-law
June berries, which are abundant in the Chippewa country, constitute the simplest possible form of refreshment. ''Take some June berries with you," is a common saying among the Chippewa. These berries grow on tall bushes; they are small and red, have firm white meat and very little juice, and are sweetish in taste.
ATialysis. — This song contains the major triad and fourth, tone material found in only one other song of the series of 340. It is rhythmic in character but contains no unit of rhythm. The voice tempo is rapid and the song has a marked individuality.
1 One syllable of this word was omitted by the singer.
2 Two consecutive syllables of this word are accented. The Chippewa word meaning " son-in-law " is nadng'ic. The word occurring in the song contains also the root Hb, meaning "to sit,'" and would be literally translated, "if I were sitting as a son-in-law. " In the old days each member of a Chippewa family had his or her seat in the wigwam, and the son-in-law, coming into the home of his wife, had a seat assigned him, and was referred to as "sitting." This indicated that he had been received as a member of the family.
DENS more]
No. 170. "Work Steadily'
Sung by Main^gans
Recorded without drum
^m
fei
f f:-f. r-
M
A - yan-gwa-mi - sin tci - a - no -
p p p p -T^ _
ki - yun e
ge -
f-
-^T-^.^ I,..J :^—
=r — T'tr'"-^
-^
-f *— ^
=P=t=
-^-^^%
-' M-^ ^—
j
4__| 1 i ^
ga - ma - ka - mi - go
ayangwa^misin^ be A^ery careful
tcijino^kiyun^ to work steadily
gegama^kamigo' 11 am afraid they ^vill take you away from
niau '. J rae
Many of the ('hi])])ewa lovo songs can be sung by either a n\an or a woman, but tliis is a woman's song.
Analysis. — This song is slow in tempo and mournful in character. The tonality is minor, and the melody contains all the tones of the octave except the second. The subdominant is especially prominent and the song has a pleading quality. This peculiarity is noted in other love songs also (see Nos. 106, 109, 110). The time was not rigidly maintained on the eighth notes, which occur on the unaccented parts of the measure.
Pipe Dance Songs
The pipe dance was said to be the principal ''good time dance" of the earlv Cliippewa. It is very old and, like all other dances, is believed to have come from the manido'. In this dance a man carried a pipestem and his body was supposed to represent a pipe. The dancer never rose erect, but took a crouching or squatting i>osture. trying to assume the form of a pipe as nearly as possible. Many contortions of the body were used, and the antics of the dancers were considered very amusing. Only one man danced at a time. When he had finished dancing he presented the pipestem to another, who was obliged to accept it and dance; he transferred also the rattle wliich he carried. This procedure was continued until all the men had danced. Some were awkward, and their frantic efforts to
imitate a pipe produced great merriment. It was considered a test of courage for a man to brave the ridicule of the assembly and seat himself where he would be asked to dance the pipe dance. In the early days the men who danced this wore no clothing except the moccasins, which were necessary to protect the feet.
A characteristic of the music of tliis dance is that a sharp, short beat of the drum is frequently given, followed by an instant of silence. When this drumbeat is heard the dancer pauses in whatever attitude he may chance to be and remains motionless until the drumbeat is resumed. This is indicated in the transcription of the first pipe dance song. The drumbeat is very rapid, and the dancer is expected to keep in perfect time with it.
No. 171. "O'ginia"
Sung by E^niwub'e
r
^^Mn=n^ r-F=if^[TrrB
^^±
Ha ni wa ya hi ne ha ha ni wa ya hi ne ha
i^H^
i
^ztit
:t=±t
!^4=t-:
7/a ho
na Wa -
^§Sfe^
^
5^=f
ya
ho
Waba'ca Waba'ca, name of a Sioux chief
o^gima chief
Analysis. — In the several renditions of this song E'niwdb'e introduced the names of four chiefs,- belonging to three different tribes: Waba'ca, a Sioux; Na'ogade', a Winnebago; and Kaga'giwayan' and Wasi'kwade', of the Cliippewa.^ The mention of these names does not signify that the chiefs were actually present at the dance, but that the Chippewa remembered them on an occasion of pleasure.
This song is analyzed with Unelassifled Lac du Flambeau Songs, p. 242. 2 Compare repetition of names in Song of the Peace Pact (No. 44).
DEXSMOUE]
The melody is simple in structure and contains only the tonic with the third and fourth. This tone material (minor tliird aiul fourth) is found in only two songs of the series of 340 (see No. 157 in Bulletin 45, and No. 11 of the present work). Attention is directed to the rapid tempo of both voice and drum, also to the pauses followino; the explosive tones.
No. 172. "Little Plover" (CaUilo^nie No. 281)
Sung by Odjib'we Voice Jz:rl60
-0-
4::
djitcis^kiwen' little plover, it is said
gi''bimuse' ' has walked by
Analysis. — The singer stated that in this dance the men frequently imitated the motions of the plover, when singing tliis song. ^ The melody, which is short, consists of two distinct parts, the first in double, the second in triple, time ; the former contains five measures and the latter four measures. Each part of the song has its own rhythm and tone material, the first containing the descending fifth from the dominant to the tonic, and the second the descending fourth from the tonic to the dominant to the lower octave. It is interesting to note in connection with the statement of Gardiner (quoted on p. 7) that the note of the plover is a descending minor third, that 38 per cent of the intervals are descenihng minor thirds.
The song contains only two upwartl progressions; two other songs having similar characteristics are Nos. 6 and 38 in Bulletin 45. The nine renditions of this song recorded show no variation.
1 The second syllable of this word was omitted by the singer.
2 See pp. 101,201,203.
[BUi.i,. 53
No. n:i. ^'Why?"
Suiii,' l)y ()ujiB''vvE
( Drum-rhythm similar to No. IP)
^
-^
"1-
f ^- f •
|Jf
—1^1 r-1 —
-^
We
- go
H —
nen
nin
- dan - gwe
wen
- dji - ni - mi - yfing
ra
L. ^.
^
:t=
^^=^^
^
Wr^
1— ±=t
— 1 ^
ga
wen - dji - ni - mi-yfing ga wen - dji - ni - mi-yiing
wegonen^
nindan^gwe
wen'djini^miyuiig^ .
why
my (female) friend
do we dance?
Analysis. — SLx. renditions of this song were recorded. In a majority of these the last tone of the transcription was omitted, the singer returning to the first measure with no interruption of the time (see No. 125). It will be noted that the next to the last measure of the song is abrupt and unfinished, but the singer found no difficulty in beginning the repetition of the song on the proper pitch. The song is characterized by the emphatic syllable ga, given with a prolonged tone on the descending intervals of the tonic triad.
dknsmokkJ
Mil)!-'/ Songs No. 174. MI<1«^' Burial S<»ns (ai (Catalogue No. 283)
Siinq; by Na^waji'hico^kwe
Recorded witliout drum
Gl-ga-ma - dja ya, gi-ga-ma - dja ya gi-ga-ma-
^^' - r ^^
^w^^^^^^^^m
dja
r;
wm
ya gi-ga-ma - (ija gi-ga-ma -dja
I :
^
gi - ga-ma - dja ya gl-ga-ma - dja " ya gi-ga-ma
PiB^P
:t=f:
-mm^^
i=lt
dja a o - de - naiig gi - di-no - se
"^ - I ^ r
— f»-
sa gl -di-no
@ligl^3^fef
~W^^^^^^^^
-F^,
7r-p>— r-fy
^=f==l
ya gl - di-uo -
gi - di - no - se
1 1 i
Fgf:«F=^^=q
pg^^f^-pgr:^^j=^=^r-f>^-,^^r-i
-^-%\
1 1- ' y^ 1-^ V ij — P^— i — \
gi- di-no -
gi - di- no
ya gi -di-no
^i^^^^
gl -di-no - se ya gi-ga-ma - dja
gi'gamadja^ you shall depart
ode'nang^ to the village
gi'dinose^ you take your fstepa
This und the song next following were recorded by a prominent meml)er of the Mide'wiwln on tlie Wliite Eailh Reservation ; they were
[BILL. 53
said to be used during the burial of a member of that society. There is a peculiar gentleness in both these melodies. They are cheerful, yet plaintive, and are worthy of attention as features of the ceremonies connected ^\ath what is commonl}- designated "a heathen burial.''
Analysis. — A persistent rhythmic unit characterizes tliis song. The second measure of this unit is given in triple time and then in double time. As in most JVIIde' songs, the words are continuous, but this song contains none of the ejaculations used in songs intendeil to produce definite results by means of " spirit power" (see Bulletin 45, p. 43). The melody is interesting, though simple in structure, and is characterized by the interval of the fourth, as noted in many songs which contahi the idea of motion. (See No. 22.)
No. 175. MIde' Burial Song (b)
Sung by Na'waji'bigo'kwe
ToiCE J= 160 Recorded without drum
r
ha Ne - ni - wa he gi-ga-\va- ban-dan ni - au e he
Ne - ni - wa ha e -nen- da-man e he Ne - ni - wa ^
ni-ba-wi - da Ao N6 - ni - wa ha ni-ba-wi - da
DK^•s.^'oltKl
N6niwa' Nt'niwa'' (name of a man)
ni^baw-ida' let us stand
gi'gawa^bandan' and you shall see
niau my body
gn6n''daman' as I desire
Analysis. — This song is in the same key as the preceding and has the same pecuHar ending. The rhythmic unit shows a sUght variation in the middle of the song, l)ut clearly influences the entire rhythm. The soniT contains only the tones of the minor triad and fourth.
Moccasin Game Song No. 1 7«
Sunfr by Wii.i.iAM Potter
Dhum J = 108
Analysis. — This song is harmonic in structure, major iu loiudity, and contains only the tones of the tonic triad and sixth. The rhythm was steadily maintained throughout the sbc renditions. At Wa})a'- clng a song rendered })y a member of a Canadian })and of Chippewa, temj)orarily residing there, was recorded, wliich resembles this so closely that it may be considered the same song, although it is in 3-4 instead of 2-4 time. (See No. 144.) That singer said it was a dream song, by means of which success in the moccasin game was secured. In his rendition the metric unit of the voice was slow and (hat of the drum rapid. In the rendition by the Wliite Karth singer, a man accustomed to the ways of civilization, voice and drum were in the same tempo. The comparison is of interest, as the singers were widely separated in locality and in general development.
Love Songs
The two songs next following were sung by Mrs. Julia Warren Spears, sister of Hon. William Warren, author of the History of the Ojibway, and sister of Mrs. Mary Warren English (see p. v). Both Mrs. Spears and her sister are women of marked ability; they
are lineal descendants of Kicliard Warren who came over in the Mayfiower. Mrs. Spears is mother of Mrs. Charles Mee, who has greatly assisted the waiter in securing material on the White Earth Reservation.
The following description of the songs was given by the singer, Mrs. Spears, who also translated the words:
When I was a girl 15 years old, living on Madeline Island in Lake Superior, I had a friend and playmate, a very pretty Indian maiden. She was the daughter of a chief, an only child, and she was always singing these songs. I learned them from her and have never forgotten them. The first is sung when the maiden sees the young Indian brave for the first time and they fall in love with each other. In her happiness she sings that song. The other is when her lover leaves her to travel a long distance, and being very lonely she sings the sad little song.
Mrs. Spears learned these songs more than 60 years before they were recorded by the phonograph. The writer heard them sung by Mrs. Spears at intervals during a period of several years and the renditions never varied in any respect.
No. 177. "I Have Found My Lover"
Sung by Mrs. Julia Warren Spears
Recorded without drum
W^ '• 114 * *— H^ d^
m
Nia nin-di
nen - dfi.m nia nin-di-nen -dlim
ka-wi
i
w=fW^=r^^^^
^i^i^j
n
-0- -6h
a - nin nin
niu-di-neu - dum
nia' Oh
ninMinen^diim I am thinking
nia Oh
nin^dinen^diim I am thinking
me^kawia^nin I have found
nin'imucen^ my lover
nia Oh
nin''dinen^dum I think it is so
Analysis. — This song is purely melodic in structure, the melody moving freely along the tones of the tonic triad. Other songs composed or sung by women are Nos. 31, 39, 40, 112, 127, 151, 178. The rhythm of the first six measures is somewhat changed in the second section of the song. The range of the melody is of interest in con-
A woman's exclamation of surprise.
nection with the fact that it was sung correctly and with ])l(>asing tone by a woman more than 70 years of age.
No. 178. " He Is Going Away " (Catalogue No. 287)
Sung by Mrs. Juli.\ Warrex Spears Recorded without drum
^
b>? p- r—*
w^^
^= ^ I I
Wa - sa - we
mi - kang
ja - 01 nil!
mu - ce wa -
wa''sawe'kami^kang to a very distant land
waija'ci he is going
nin'imu^ce my lover
wa''iba soon
witagwic'in.sa he will come again
Analysis. — In structure this song differs widely from the one next preceding. Instead of beginning on the twelfth and ending on the tonic, it begins on the dominant above the tonic and ends on the dominant below the tonic; it is melodic instead of harmonic; it begins in double, instead of in triple, time; and mstead of the simple tones of the tonic triad we find a tone-material which has been but rarely noted. The melody contains only the first, second, fifth, and sixth tones of the major key. This tone-material is found in only five other songs of the entire series (see No. 53). Other songs said to have been composed or sung by women are Nos. 31, 39, 40, 112, 127, 151, 177.
Songs for the Entertainment of Children No. 179. Song of the Game of Silence
Voice Jz=:192 Recorded without drum
Sung by John W. Gael
T4- \— I i T I I
iffii
:l ^-
A - go- djin a - go - djin e - kwa - teg ko - koc - ne - wa - ba - mt. na
bo - zi -de me - ma - gi - ci - a - si - wa
he we - mi - ti -
^ ^===b=J=i=^| U-:l U^-4=-^:L^-4—
go - Ji- wlig - e he
mi - ga - di - wHg - e ht ma - mis-kwe ■
he dfi- III t he he da- gi - tci- gam - e - we - na he da - gi-
^. .^. ^ JL PL J^ j^
ha - na - na - ga - na kwa-kwac-k wan-da-mo kwa-kwac-kwan-da-mo sep
DENSMOEE] CHIPPEWA MUSIC II 303
ago^djin it is hanging
ekwateg^ in the edge of the sunshine
kokoc^newa^bamu^ it is a pig, I see
na^bozido' with its double (cloven) hoofw
raema'gidlsT^adisiwage' ' it is a very fat pig
we'mltigo'jiwuge^ The people who live in a hollow tree *
ma^miga^diwflge^ are fighting
ma^miskwgwa'pinaMiwuge' Ihey are fighting bloodily
dQni' he is rich
da^gitcTgam'ewena' he will carry a pack toward the great water
(The rabbit speaks)-'
ic^kweiiclnge' at the end of th(> point of land
en^dljidji^tcigwakwen^djigeyan' 1 eat the bark off the tree
bijiwe'kuwia^ I see the track of a lynx
nama^nahaninda'' nagana' I don't care, I can get away from him
kwa^kwackwandamo' it is a jumping trail (referring to a rabbit
trail by which the singer will travel to safety) Sep! (an interjection without meaning)
This song was rccorclocl by Mr. John AV. Carl (see pp. 83, 130), a graduate of Haskell Institute. Mr. Carl's mother, a Chippewa, sang two of the Mide' songs contained in Bulletin 45 (serial Nos. 78, 79). Until he was 10 years of age Mr. Carl lived the typical life of a Chippewa child in a tribal camp. He stated that he had a distinct recol- lection of this game.
The ''game of silence," which consisted in keeping still as long as possible, was played by the children at the suggestion of the older members of the family. It is said to have been called frequently into requisition when the adults wished to discuss matters of importance. A pile of presents was placed in the center of the wigwam — beaded moccasins, belts, and arrows of attractive design. These were to be the reward of keeping perfectly still for an indefinite period of time. The game was usually played in the evening, and if the children fell asleep before the spell was broken it was customary to renew the contest as soon as morning came and the family were waking. The child who first spoke or laughed was regarded as ingloriously defeated, while he who held out the longest received the spoils.
When the game was started tliis song was sung by some one with an active imagination. The indicated words are not arbitrary. Still more startling situations might be invented and the narrative continued still longer. The words of the song as rendered are in four distinct sections with no apparent connection between them. To the
1 This word and the next to the last word are slightly changed to conform to the music.
2 'I'his torm prol)abIy refers to the French, who lived iu log cabins.
' This refers to a familiar folk-tale in which the rabbit defied the lynx.
304 BUKEAU OF AMERICAN ETHNOLOGY [bull. 53
child mind is first presented the vision of a pig — a very fat pig — hanging in a tree. Next is shown the Frenchmen in gory conflict, followed instantly by the rich man, who carries a pack toward the great water. Where can he be going and why does he travel alone ? But with another lightning transition we are on familiar ground. The rabbit is speaking. We all know how he jeered the lynx from his place of safety on the point of land, extending far into the water. He nibbled the bark off the tree and said he was not afraid, because he knew of a rabbit track that led from that tree right away through the brush. It was a jumping trail. We know that kind of trail. Sep! The singer has stopped. What child laughed? The story ended so suddenly! It was a very funny story. We watch the fire with blinking eyes. ''A pig in a tree." Yes, yes! It is warm in the wigwam. The little dogs snuggle cosily. " The fighting Frenchmen." We saw a Frenchman once. It is fair to yawn if you do not make any noise. Let us have part of that blanket. There is a bow that goes with the red arrows in the pile of presents. Perhaps we will get it. But we wish — wish — we might have — really seen — the very fat pig — in — the — tree.
Curled in the blanket with their little dogs the Indian children are asleep.
Analysis. — The tonic triad forms the framework of this melody, part of which is above the tonic and part below it. All the tones of the octave except the seventh occur in the melody. The rhythm is lively and well-sustained though the song contains no rhythmic unit.
The next song accompanies one of the folk-tales {a'dizo'lce) told to the children. The Chippewa have other folk-tales which belong more especially to the older people; these are the stories of We'nabo'jo (see Bulletin 45, pp. 92, 206). There are also stories of giants, or cannibals, called wiu'digo. All these stories are of indefiinite length, it even being said that the full narration of the doings of We'nabo'jo requires an entire winter, the story being begun each evening where it was left the previous evening. In contrast to these are stories similar to the one under consideration, which are brief and concise. On the Ked Lake Reservation the writer was told stories which were said to be native but which were in reality a Chippewa version of such well-known Hans Andersen stories as "Little Claus and Big Claus." The story of Cinderella also was related with slight adaptation. It is probable that these stories were introduced many years ago by the wives of traders who came from Canada. It is said that many of these were women of culture and that they often told stories to the Indian children. These stories were found on no other reservation. Several of the stories told to children have been given to the writer on three reservations in Minnesota and also on the Lac du Flambeau Reservation in Wisconsin, the versions differing in detail
but retaining tho same outline. Many of these stories contain one or more songs, which are always said to be sung by the characters of the story. These songs are therefore a form of musical expression ascril)e{l to animals, the actors in the stories almost ^vithout exception being animals indigenous to the region. Among the most persistent stories is that t)f the Coon and the Crawfish, which follows:
There was once a coon who lived in the country of the crawfish and made them a gi-eat deal of trouble. At last the crawfish started to make war on the coon. They said they were going to kill him. An old female crawfish warned them against this and said that the coon was so cunning he would surely kill them. She showed them her fingers, which the coon had bitten, and said that he had destroyed whole villages of crawfish. But they would not listen to her. They still said they were going to make war on the coon, so the old " woman " went into the water and stood there to see what would happen.
The coon was lying beside the road when the crawfish came along, singing their war song. He seemed to be asleep. Gathering around him and still singing their song, the crawfish pinched him with their claws; sometimes he winced as they did so, pleasing the crawfish very much. But the song was interrupted. The coon suddenly jumped up, crying, "\liy are you disturbing my nap?" Then he ate all the crawfish— every one of them.
The old "woman" standing up to her neck in the water saw it all; she was safe and the coon could not get her. She laughed to see that what she said had come true.
The song as recorded contains the words "e'sibun is dead." In that version of the story the coon is represented as feigning death. Another singer sang the song using the words "e'sihun cringes," in wliich version the coon pretended to be asleep.
No. 180. S<»iif,'«>f the Crawfish
Sunt,' by OdjIi/we
Recorded without
M^
3'
si - bftn ni - bo
mw^um
e'sibun. ni^bo...
coon dead
Aimlysis. — This song contains only the first, second, fifth, and sixth tones of the minor key (see No. 53). The interval of the fourth is prominent in the formation of the melody; this has been noted also in other songs concerning annuals (see No. 22).
67996°— Bull. 53—13 20
Songs — White Earth Reservation
This group contains 2 social songs (Nos. 168, 169) ; 3 love songs (Nos. 170, 177, 178); 2 pipe dance songs (Nos. 172, 173); 2 Mide' songs (Nos. 174, 175) ; 1 moccasin game song (No. 176) ; and 5 songs for the entertainment of children (Nos. 51, 52, 53, 179, 180).
Melodic Analysis
TONALITY
Number of songs I
Serial Nos. of songs
Major
Minor
51, 52, 170, 174, 175, 180
Total
BEGINNINGS OF SONGS
Number of songs
Serial Nos. of songs
168, 166, 176
On fifth . . . .
172, 174, 178, 179
On tenth
On octave
169, 170
On tonic
53, 175
Total . . -
ENDINGS OF SONGS
Number of songs
Serial Nos. of songs
On tonic
51, 52, 53, 168, 169, 170, 172, 173, 176, 177
174, 175, 178, 179, 180
Total
Melodic Analysis — rout iniUM
TONE MATERIAL
Number of songs
Fifth five-toned scale
Afajor triad
Afajor triad and seventh
Major triad and sixth
Major triad and fourth
Minor triad and fourtli
Octave complete exc-ept seventh
Octave complete except seventh and sixth.
Octave complete except second
First, second, fourth, and fifth tones
First, second, fifth, and sixth tones
Total
Serial Nos. of songs
51,52
178, ISO
ACCIDENTALS
Number of songs
Serial Nos. of songs
51, 52, 53, l(i8, 109, 170, 172, 173, 174, 175,
176, 177, 17S, 179, KSO
Total
STRUCTURE
Number of songs
Serial Nos. of songs
Purely melodic
51 52 53 170 173 174 175 17.S 179 180
Total
FIRST PROGRESSION
Number of songs
Serial Nos. of songs
Downward ...
51,52, 170, 172, 173, 174, 176, 177, 179, 180
Total
Rhythmic Analysis
PART OF MEASURE ON WHICH SONG BEGINS
Number of songs
Serial Nos. of songs
On accented part - 1 1
51, 53, 168, 172, 173, 174, 175, 1 178, 180
52, 109, 170, 179
'6 17'7
On iniaccented part
Total
. . . : 15
RHYTHM OF FIRST MEASURE
Songs beginning in 2-4 time.
Songs beginning in 3-1 lime.
Total
Serial Nos. of songs
11 51, 52, 168, 172, 173, 174, 175, 176, 17S, 179,
.4 53, 109, 170, 177
CHANGE OF TIME
Number of songs
Serial Nos. of songs
Songs containing change of time
51,52,53,168,169, 170,172, 173. 174, 175,
177,178,179,180
RHYTHMIC UNIT
Number of songs
Serial Nos. of songs
Songs containing rhythmic unit
168 172 173 174 175 180
Total
COMPARISON OF METRIC UNIT OF VOICE AND DRUM
Number of songs
Serial Nos. of songs
51, 176
Metric unit of voice and drum different
168 169 172 173
53, 169, 1.70, 174, 175, 177, 17S, 179, 180
Total
RIirrHMlC UNITS OF CHIPPEWA SONGS
The purpose of the following section is to place the rhythmic units of the several classes of songs in convenient form for observation. The analyses on pages 51-58 note some melodic and rhythmic resemblances between song-groups which have an underlying idea in com- mon. . The study of resemblances can be carried still further by comparing the rhythmic units of songs of related groups.
Rhythmic Units of Mide' Songs
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