bOG.7^
SMITHSONIAN INSTITUTIONBUREAU OF AMERICAN ETHNOLOGYBULLETIN 45CHIPPEWA MUSIC
BYFRANCES DENSMORE
WASHINGTONGOVERNMENT PRINTING OFFICE1910

LETTER OF TRANSMITTAL
Smithsonian Institution,Bureau of American Ethnology,Washington, D. C, Juhj 8, 1909.Sir: For the greater part of the hist two years Miss Frances Dens-more has been engaged, under the auspices of this Bureau, in makinga study of Indian music. The results of her hibors are embodied inpart in the paper which I have the honor to present herewith
?
"Chippewa Music." I suggest the publication of this material asBulletin 45 of the Bureau's series.Yours very respectfully,(Signed) W. H. Holmes, Chief.The Secretary of the Smitiisoniax Institution,Washington, I>. C.

FOREWORD
The purpose of the present work is to determine what constitutesthe music of the Chippewa Indians, and to record results in such amanner that they will be available for reference. By means of thephonograph it is possible to obtain an accurate record of Indian song,which, though permanent, is of necessity limited in scope. To the])honograph record and its analysis must therefore be added abundantfield notes, gi^nng the results of observations of the musical per-formances, together with descri])tions of circumstances and surround-ings. These three?phonograph record, analysis, and field notes
?
are the necessary data of this branch of research.The study of Indian music is more than the collection of Indiansongs. It includes a consideration of the vocal expression of a mentalconcept; therefore incorrect repetitions of a song are as significant ascorrect repetitions. Into their value enters a human element?the])ersonality of the singer. A person of musical gifts and proficiencyfrequently presents a rendition of a song which contains embellish-ments. These reveal the succession of tones especially pleasing tothe native singer. A person of little musical talent presents an im-perfect rendition of a song, yet these imperfections are interesting.They indicate which phase of the song was most difficult for him toacquire and remember, the melody or the rhythm.The analysis of the Chippewa songs from the land of pine trees, lakes,and hills, in northern Minnesota, shows that in them the descendinginterval of the minor third occurs with special prominence and fre-quency; that the majority of the songs begin with a downward pro-gression; and that the intervals of melodic progression are smallerin the older songs. A classification of the songs as melodic and har-monic reveals a possibility that the mental concept of the song has adirect bearing on the form assumed by the melody. The songssaid to have been composed during dreams may be considered a spon-taneous expression. The majority of these songs are harmonic instructure. The songs whose character and use suggest that theirform may have been modified by long repetition are found to be prin-cipally melodic in structure.The value of any specific work lies in the relation of that work tothe problems presented by the subject as a whole. Beyond the studyof Indian music lies the larger field of research, the development ofnmsic, to which the present work is tributary.Red Wing, Minn.

CONTENTS
Lint of songs: Page1. Arranged in order of serial numbers xi2. Arranged in order of catalogue numbers x vGeneral description of songs IIntroduction IIntonation 4Rhythm 5Tone material 7Structure 8Tabulated analysis of 180 songs 8Musical instruments 11The Mide' 13Beliefs 13Songs 14Use of medicine 20Origin 21Description of diagram representing the path of life 24Initiation ceremony of the first degree 24( 'eremony for a dying chief 51Songs for initiation into the sixth degree .' 55Ceremonial songs (52Series 1?analysis (52Series 2?analysis (ifiSeries 3?analysis 70Series 4?analysis 74Songs to insure success 82Love-charm songs 88Songs connected with the cure of the sick 92Songs connected with rare medicines. 96Additional ]\Iide^ songs 106Tabulated analysis of 90 Mide^ songs 115Social songs on White Earth and Leech Lake reservations 118Ina'biindjigan D nagumo^in (dream songs) 1181
.
Songs of the doctor 1 192. Song of the juggler 1 233. Dream songs afterward used as war songs or otherwise 126Tabulated analysis 136Miga'diwin'iua^gumo^win (war songs) 137Tabulated analysis 146Sa'gii'diwin^ina^gumo^win (love songs) 1 48Tabulated analysis 155Ata'diwin^ina^umo^win (moccasin-game songs) 156Tabulated analysis 159ITnclassified songs 161Tabulated analysis 1 65VII
Vm CONTENTS
Page
.Social songs on Jlod Luke reservation 16GDescription of the dances, costumes, and celebration on July 4, G, and 7,1908 16GThe singerH of Red Lake 173War Hongs 17GTabulated analysis 180Love songs 182Tabulated analysis 185Moccasin-game songs 18GTabulated analysis 191Woman's-dance songs 192Tabulated analysis .- 196Unclassified songs 198Tabulated analysis 20()Index 211
ILLUSTRATIONS
PagePlate 1. Musical instruments, and birch-bark rolls containine: mnemonics ofsongs 112. Musical instruments 113. Maiii^ans 254. Wa'wiekum^ig 255. Mide^ lodge 366. Maifi^ans as leader of a Mide^ ceremony 377. The body of Xigan'ibines' 558. De^bwawen^dunk 559. Ge^miwunac' 9510. Chippewa doctor treating the sick 12011. Manido'gicigo'kwe 14812. The Fourth of July at Red Lake agency 168FiGUKE 1 . Mide^ writing 162. Mide^ song writing 173. Mide' diagram of the path of life 244. Diagram showing arrangement of Mide'wigan during initiation cere-mony of first degree. (Drawn by the elder Maiii''ans) 395. Diagram .showing course followed by leader during initiation cere-mony of first degree 406. Diagram showing course followed by candidate, escorted by leader,in dance at Hide' initiation ceremony of first degree 427. Birch-bark rolls containing mnemonics of the songs connected withrare medicines, and used by OMeni^giln when singing these songs
.
1008. Bones used by Chippewa doctor in treating the sick 120IK

LIST OF SONGS
1. Arranged in Order of Serial Numbers
Mide' SongsInitiation Songs of the First and Second DegreesSerial Catalogueno. no.a1 . Song of the four bears 1892. Song of the manido' 2383. Dancing song 2394. Preparatory song 1905. "My pan of food " 2406. "My pipe" 2417 . Processional 548. Introductory song 559. Song of the za'gimag' 24210. Escorting the candidate 23711 . First initiation song 6112. Second initiation song (J213. Third initiation song (5314. First song of the feast 6515. Second song of the feast 66Initiation Songs of the Sixth Degree16. First song 122
1 7 . Second song 12318. Third song 12419. Fourth song 12520. Fifth song 12621. Sixth song 12722. Seventh song 12823. Eighth song 12924. Ninth song 130Ceremonial SongsSeries 1Serialno.25 . . .26...2829
Catalogueno.
.. 16
.. 17 ?
.. 18
.. 19
.. 20
Page6364646465
Serialno.30...31 ...32...33 ...34 ...
Catalogueno.
. . 2122
.. 23
.. 24
.. 25
Page273031323435373941424546474950
565758596060616162
Page6565666666
a See footnote, p. 27.
XII LIST OF SONGSSeries 2Serialno.35..36...37 ..38..
Catalogue Page
43444546
5152535455
Serialno.26
LIST OF SONGS ' XIIIAdditional Mide' SongsSerial Catalogueno. no. Page89. Song of the bear path 236 10()90. "They are making me old" 248 10791. "To thesphitland" 253 10892. "I will sing" 255 10993. "I am walking" 256 11094. "There are spirits" (not transcribed) 1 11]95. "They think me unworthy" (not transcribed) 2 11196. "The water birds will alight" (not transcribed) 3 11197. "The sky clears" (not transcribed) 4 11298. "I walk in a circle" (not transcribed) 5 11299. "Our dwelling is royal" (not transcribed) 6 J13100. "Vermilion, I sing of thee" (not transcribed) 7 113101
.
'
' There stands a man " (not transcribed) 8 113102. ' ' I stand " (not transcribed) 9 113103. "I am named" (not transcribed) 10 114104. "I am unable to harmonize my voice" (not transcribed) 11 114105. "They are feasting with me" (not transcribed) 12 114106. "The sound is fading away" (not transcribed) 13 115107. "You are a spirit" (not transcribed) 15 115Social Songs on White Earth and IjEech Lake ReservationsIna^hundpgan na'gumo'win {Dream Songs)108. Doctor's song 244 121109. " I go to the big bear's lodge " 245 121110. " Going around the world " 246 122111. The Song of Ce^de6ns' (Juggler's song) 213 125112. Song of the trees 206 126113. Song of the Thunders 207 127114. "My voice is heard" 208 128115. "The approach of the storm " 209 129116. " As the hawk soars " 210 130117. " In the southern sky " 211 132118. "Manido' listens tome" 212 132119. Song of the crows 260 133120. Song of the deserted warrior 259 134121. " I am afraid of the owl " 261 135Miga'diwln'ina'g-dmo'win {War Songs)122. (No words) 179 138123. (No words) * 182 138124. (No words) 205 139125. (No words) 215 139126. Little Eagle's song 229 140127. (No words) 230 141128. Song of the loons 271 142129. " I will start before noon " 276 143130. Song of Cimau'ganic 277 143131. "The shifting clouds" 114 145132. Scalp dance 116 146
XTV LIST OF SONGSSa'gii^div'hi'ina'gHmo'irhL {Love Songs)Serial Catalogueno. no. Page133. (iNo words) : 98 148134. (No words) 99 149135. "My love has departed " 101 150136. "Why should I be jealous?" 104 151137. " I do not care for you any more '' 106 152138. "Do not weep" 107 152139. "He must be sorrowful " 110 153140. "When I think of him" 262 154141. (No words) 275 154Ala'diw\n'ina'g'(imo^win ( Moccasin-game Songs )142. (No words) 112 157143. (No words) 181 158144. " If I am beaten " 203 158145. " I have come after your stake " 224 159Unclassified Songs14G. Call to the dance ". 105 161147. "I am as brave as other men" 109 162148. "My music reaches to the sky" 274 162149. Lullaby 102 163150. Farewell to the warriors 103 163151. Song of thanks for a pony (a) 91 164152. Song of thanks for a pony (b) 92 164153. Song of thanks for a pony (c) 93 165Social Songs on Red Lake ReservationWar Songs154. (No words; 131 176155. " Inside the cave " 140 177156. (No words) , 172 177157. (No words) 173 178158. (Nowords) 178 178159. Scalp song (no words) 146 178160. Scalp song (no words) 147 179161
.
Scalp song (no words) 167 1 79162. "The sky replies" 166 180Lore Songs163. (No words) 161 182164. (No words) L55 1.82165. "In her canoe" 157 183166. "I am going away" 151 183167. "Come, let us drink" 152 184Moccasin-game Songs168. (No words) 133 186169. (No words) 142 187170. (No words) 144 187171. (Nowords) 148 188
. 172. (No words) 171 188173. (No words) 174 188
LIST OF SONGS XV
Serial Catalogueno. no. Page174. (iNo words) '. . . 150 1S9175. "He gave us a double crack " 134 189176. " I am standing till daylight " 143 190Woman' s-dance Songs177. "1 have been waiting" 132 192178. "Come, dance" 175 193179. (No words) 135 193180. (No words) 141 194181. (No words) 153 194182. (No words) 154 195183. (No words) . . : 159 195184. (No words) 177 195185. "Where are you ? " 86 190Undassijied Songs186. Song referring to an historical incident 139 19s187. Song of the begging dance 149 19:)188. Song of the begging dance 170 200189. Song of thanks for a gift 168 201190. Song of thanks for a gift 169 201191. Song of thanks for a pony 136 202192. Friendly song (o) 160 202193. Friendly song (6) 162 203194. Friendly song (c) 163 204195. Friendly song ((/).. 164 204196. Song referring to a vision 138 205197. Song of We^nabo'jo 272 206198. Dream song?duplicate of no. 115 (209) 108 208199. Song of thanks for a pony?duplicate of no. 152 (92) 137 209200. Love song?duplicate of no. 138 (107) 145 2092. Arranged in Order of Catalogue Numbers
Cata-logueno.
XVI LIST OF SONGS
Cata-logueno. Name of singer. Description of song.
Na'johi'tfln | Mlde' .dododododododododododo
....do
...do
....do
....do
....do
...do
....do
...do
....do
...do
....do
....do
....do
...do
...do
...do
....do
...do
....do
....do
....do
....doManido'giclgo'kwe.
....doBe'clgwi'wizans. .
.
....do
....do
....do
...do
....do
....do
....do
....do
....doKi'tcimak'wadododoA'gwitu'wigi'clg.O'deni'gunNa'waji'bigo'kwe.
.do.
.do.
.do.
.do.
-do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.
.do.,
.do.,
-do.,
.do.,
.do.,
.do.,
.do.,
.do.,
.do.,
.do.,
.do.,
.do.,
.do..
.do.
.do.
.do.
.do.
.do.
.do.
.do.
Title of song.
Love charm (no words)doProcessionalIntroductory songHunting song (a)Hunting song (6)Hunting song (c)Hunting song (d)Hunting song (e)First initiation songSecond initiation songTliird initiation songSong for securing a good supplyof maple sugar.First song of the feastSecond song of the feastInitiation songInitiation songInitiation songHealing song(a)
Serialno.
LIST OF SONGS XVII
Name of singer.
Na'waji'bigo'kwe .dodoMi'jakiya'clgdoCagan'asidododoManido'giclgo'kwe.doMrs. EnglishMrs. MeedodoKi'tclmak'wadodoKi'ose'wini'nidodoMaiii'ansA'gwitu'wigi'clg.
.
Gi'cibans'De'bwawSn'dunk
.
dodododododododoGi'wita'bin?s.dododododo
.do.
.do.
.do.
.do.
.do.
.do.
.do.
-do.
.do.
-do.
.do.
Description of song.
Mide'dodododoWoman's-dance song. .
.
Unclassified (a)do. (6)do. (c)Love songdodoUnclassified (Lullaby).doLove songUnclassifiedLove songdoDream song
UnclassifiedLove songMoccasin-game song. .
.
War songdoMfde'do
....do
....dodo
....do
....dodo
....doWar songWoman's-dance song..Moccasin-game song. .
.
....doWoman's-dance song.Unclassified
Duplicate.
Unclassified
....doWar songWoman's-dance song.
.
Moccasin-game song
....do
....doDuplicate (Love song)
Scalp song
.
do
Title of song.
(b)(c)(d)Healing songHealing song
"Where are you? ''Song of thanks for a pony
.
(No words)do"My love has departed''( No words)Farewell to the warriors"Why should I be jealous?"Call to the dance
" I do not care for you any more ""Do not weep"Duplicate of no. 115 (catalogue no.209).
"I am as brave as other men''"He must be sorrowful''(No words)
"The shifting clouds"Scalp danceFirst songSecond songThird songFourth songFifth songSixth songSeven th songEighth songNinth song(No words)
"I have been waiting "(No words)"He gave us a double crack"(No words)Song of thanks for a pony (nowords).Repetition of no. 115 (catalogueuo. 9-').Song referring to a visionSong referring to an historical in-cident.
" Inside the cave "(No words)
....do
"I am standing till daylight"(No words)Repetition of no. V.iH (catalogueno. 107).(No words)
....do
Serial
7273747778186151152153133134135149150136146137138198
147139142131132161718192021222324154177168175179191
196186
155180169176170200
15916012692??Bull. 45?10-
XVIII LIST OF SONGS
Cata-logueno.
148149
150151152153154155157159KiO101162163164166167168
169170
171172173174175177178179181182189190191192193194195197199200203205206207208209-210211212213
215224
Name of singer.
Gi'wita'bin^sWilliam Prentiss.doGage'binfs.dododododoJohn Mark.Wabezic' .
.
dododododododo
Description of song.
Moccasin-game songSong of the beggingdance.Moccasin-gaiiie song. . .
.
Love songdoWoman's-dance song. .doLove songdoWoman's-dance song. .UnclassifiedLove songUnclassifieddodoWar songdo....'Unclassified
.do.
.do. .do..do.do Moccasin-game song.G i'nawigi'clg War song
.
do do.do I Moccasin-game song.
.
do i Woman's-dance song.do dodo ' War songAlci'waizi' , dodo Moccasin-game song.Main'Sns ! War song
Title of song.
(No words).
(iO.
O'deni'gun.
,...dododododododododo
Mlde'..do.do.do.do.do.do.do.do.do.Nita'miga'bo i Moccasin-game songGa'gandac' | War songDream song
....do
...do
....do
....do
...do
....doDream song (Juggler'ssong).do
I
War song
'lo I Moccasin-ganiP song
''I am going away ''
'
' Come, let us drinit "(No words)dodo
"In her canoe"(No words)Friendly song (a) (no words)(No words)Friendly song (6) (no words)Friendly song (c) (no words)Friendly song (d) (no words)"The sky replies"Scalp songSong of thanks for a gift (nowords).(No words)Song of the begging dance (nowords).(No words)dododo
"Come, dance"(No words) ,dodododoSong of the four bearsPreparatory songSong of the flying feather ,Song of the man who succeeded . .
,
Song of a scalp danceSong of good medicine .Song of the crab medicine-bagSong of the flre-charmSong of starvationSong of the owl medicine
" If I am beaten "(No words)Song of the treesSong of the thunders"My voice is heard "
" The approach of the storm"
"As the hawk soars"
"In the southern sky"
"Manido'listens to me"The song of Ce'de^ns'
( No words)
"I have come after vour stake'
Serialno.
LIST OF SONGS XIX
Cata-logueno.
229230236237238239240241242244245240248253254255250259200201202271272274275!27()277
Name of singer. Description of song. Title of song. 1 Serial
Ga'gandae' War songdo do. .
.
Main'ans MIde'do do. .do ! do. .do ! do. .dododododododododododoHenry Selkirk.dododoGa'tcitcigi'clg.dododododo
.do.
.do.
Little Eagle's song(No words)Song of the bear pathEscorting the candidateSong of the manido'Dancing song"My pan of food""My pipe"do Song of the za'gimag'Dream song Doctor's songdo i " I go to the big bear's lodge" . .
.
do i " Going around the world"MIde'
I
"They are making me old"do "To the spirit land"do
I
Initiation songdo j "I will sing"do 1 "I am walking"Dream song j Song of the deserted warriordo j Song of the crowsdo ; "I am afraid of the owl"Love song [ "When I think of him"War song \ Song of the loonsUnclassified Song of We'nabo'jodo "My music reaches to (he sky".Love song | (No words)War song j "I will start before noon"do ' Song of CImau'ganIc
126127
235
91081091109091639293120119121140128197148141129130
Pageno.
140141100423031343541121121122107108811091101341331351541422001021.54143143Special Signs Used in Transcriptions of Songs(See pp. 5 and 6. i+ placed above a note indicates that the tone is sung shghtly lessthan a semitone higher than the proper pitch.
? placed above a note indicates that the tone is sung slightly lessthan a semitone lower than the proper pitch.(? placed above a note indicates that the note is prolonged slightlybeyond its proper time.
?) placed above a note indicates that the note is given less than itsproper time.( , ) is used in melody outlines to indicate the pitch of a tone with-out reference to its duration.Meaningless syllables are italicized.Where no words are given beneath the notes it is understood thatmeaningless syllables were used, except in songs whose words weiesung too indistinctly for transcription, such instances being describedin the analysis.

CHIPPEWA MUSICBy Frances DensmoreGENERAL DESCRIPTION OF SONGSIntroduction
*The songs comprised in this paper were obtained during 1907,1908, and 1909, from Chippewa Indians on the White Earth, LeechLake, and Red Lake reservations in Minnesota, a few songs beingalso secured from a Chippewa living on the Bois Fort reservation inMinnesota. The Chippewa Indians on the White Earth and LeechLake reservations may be said to represent the portion of the tribesouth of Lake Superior ; those on the Red Lake reservation are morenearly connected with the portion of the tribe living north of LakeSuperior. Conditions on the White Earth and Leech Lake reserva-tions are different from those at Red Lake, and the personality of thesingers presents a marked contrast. For these reasons the socialsongs are considered in two groups. No Mide' songs were collectedat Red Lake.Chippewa songs are not petrified specimens; they are alive withthe warm red blood of human nature. Music is one of the greatestpleasures of the Chippewa. If an Indian visits another reservationone of the first questions asked on his return is : " What new songsdid you learn?"Every phase of Chippewa life is expressed in music. Many of thesongs are very old and are found on several reservations; others aresaid to be the more recent compositions of certain men who com-posed them ''during a dream" or "upon awaking from a dream."It is still customary for the Chippewa to celebrate an importantevent by a song. On the Leech Lake reservation the writer securedthe song which the Indians composed and sang during the disturbanceknown as the "Pillager outbreak," in 1898. The song relates tothe death of Major Wilkinson, an officer of the United States Army,who was shot while leading the troops. The Indians honor his12692^?Bulk 45?10?1
2 BUREAU OF AMERICAN ETHNOLOGY (bull. 45bravery and speak of him with respect. The words of the songevidently refer to the grief of his fellow officers, and are as follows:"One in authority passeth wailing. Thou, O chief, art by naturealso a man."The Chippewa have no songs which are the exclusive property offamilies or clans. A young man may learn his father's songs, forexample, by giving him the customary gift of tobacco, but he doesnot inherit the right to sing such songs, nor does his father force himto learn them.The history of the Chippewa songs is well known to the singers,and is further preserved by the Indian custom of prefacing a songwith a brief speech concerning it. On formal occasions the Chip-pewa singer says: "My friends, I will now sing you the song of ,"describinii: the subject of the song. At the close of the song he says:"My friends, I have sung the song of ," repeating the title of thesong. In this way the facts concerning the song become stronglyassociated with the melody in the minds of the people.Chippewa singers often mention the locality from which a songcame?Gull lake, Madeline island, or La Pointe. If a song waslearned from the Sioux, it is so stated.An interesting fact concerning Chippewa songs is that the melodyis evidently considered more important than the words. In a suc-cession of several renditions of a song it is not unusual to find thewords occurring only once. The idea is the important thing, andthat is firmly connected with the melody in the minds of the Indians.It is permissible and customary to compose new words for old tunes,but, so far as the writer has observed, these are always similar in generalcharacter to the words previously used. These observations do not,of course, apply to the Mide' songs, which are considered separately.An instance of the changing of words in a song is furnished byone of the love songs (no. 138; catalogue no. 107). As originallyrecorded the words of this song were: "Do not weep, I am not goingto die." On another reservation the same song was found, the wordsbeing: "Do not weep, I am not going away;" again: "Do not weep,I am going away but I will return soon." Among a third group ofIndians the writer found the song changed again. A certain Indiansaid that he had recently made some new words for the song. Thewords referred to a certain incident which he related, their generaltrend being: "Do not weep, I will take care of you." In all theseinstances the underlying idea was the same and the general trendof the melody was the same, though different singers gave slightlydifferent passing tones and embellishments. The various changesthus introduced did not affect the identity of the song in the mindof the Indians.
DENSMORB] CHIPPEWA MUSIC 3Indian songs are not recorded in a definite system of notation anda standard of absolute exactness is lacking. For that reason it seemsdesirable that study be concentrated on the melody-trend and theprincipal rhythm of the song, which show no variation in renditionsby different singers. A classified analysis of these unvarying phasesmay supply data bearing on the natural laws which govern musicalexpression.Indian music seems to belong to a period in which habit takesthe place of scale consciousness. Habit in the choice of musicalintervals is formed by following a line of least resistance or by adefinite act of the will; or may be the result of both, the voice atfirst singing the intervals which it finds easiest and afterwardrepeating those intervals voluntarily. It is in such ways as thesethat the tone material comprising Indian songs is probably acquired.The study of Indian music deals with a free tonal expression,yet this music is recorded at present in the notation of a conven-tional system. It is acknowledged that ordinary musical notationdoes not, in all instances, represent accurately the tones sung.According to Ellis, "^ "all these [five-toned] scales are merely thebest representations in European notation of the sensations producedby the scales on European listeners. They can not be received as cor-rect representations of the notes actually played." If a new andcomplete notation were used in recording fractional tones it shouldbe used in connection with delicately adjusted instruments whichwould determine those fractional tones with mathematical accuracy.The present study is not an analysis of fractional tones, but ofmelodic trend and general musical character; therefore the ordinarymusical notation is used, with the addition of a few signs in specialcases.The songs are recorded on a phonograph provided with a speciallyconstructed recording horn and recorders. Care is taken inselecting the singers and in explaining to them the nature of thematerial desired, and effort is made to free them from constraintor embarrassment, in order that the recorded song may be free andnatural.Before recording a song the name of the singer, the number ofthe song, and the tone C of a pitch pipe are given into the record-ing horn. These data serve to identify the cylinder record and alsoto indicate the speed of the phonograph at the time the record ismade.Before transcribing a song the speed of the phonograph is adjustedso that the tone C as registered on the record shall correspond to
a In his translation of Hemholtz's The Sensations of Tone as the Physiological Basis of Music, part 3,chapter 14 (footnote, p. 261).
4 BUREAU OF AMERICAN ETHNOLOGY [bull. 45the toneC as <^iveii by the pitch pipe. Thus the pitch and the metricunit of the song are identical in recording and reproducing?a con-dition essential to accuracy of transcription.IntonationOne of the characteristics of Chippewa singing observed during thisstudy is that a vibrato, or wavering tone, is especially pleasing tothe singers. This is difficult for them to acquire and is considereda sign of musical proficiency. The vibrato may seem to indicatean uncertain sense of tone, but the singer who uses it is ready toapprove the song when sung with correct intonation. He declares,however, that this is not "good singing." A person unaccustomed toIndian singing, even if he have a keen ear, will find difficulty inrecognizing a song when it is sung by a typical Indian singer ofthe old school, yet the Indian is ready to admit that the points ofdifference are entirel}^ in the rendition.A kernel of tone on true pitch is evidenced by the following experi-ment : The phonograph record of an extremely harsh song was selectedand duplicated on an electric recording machine, producing a recordmuch softer in that much of the harshness was eliminated, and show-ing a melody approaching accuracy of pitch. Another discordant songwas duplicated on a second phonograph, another record made fromthis, and so on to the seventh record, which was so clear andmelodic as to be easily transcribed. Some of the bytones were lostin each successive duplication, and what remained at last was theprincipal tone. In each instance this must have been present in thefirst record, though so obscured as to be almost indistinguishable.At present the only standard generally available for the meas-urement of musical intervals is the tempered musical scale. Thisis artificial, yet its points of difi"erence from the natural scale areintervals less frequently used in primitive music than those whichthe two scales have in common. Chippewa singers have been foundwho sang all the intervals correctly except the fourth and seventh.In his Esthetics of Musical Art, Dr. Ferdinand Hand, of the Uni-versities of Leipzig and Jena, makes the statement that the Swiss andTyrolese sing the fourth of the scale too high and the seventh too lowfor our ears. He says also : ' ' Every teacher of singing admits thatchildren have special difficulty in singing these intervals. This isnot because they are not in accordance with nature, but are theproducts of acute reflection and are therefore to be found only wherethe finer development of the intellect renders them possible."The descending interval of the minor third occurs with frequencyin the Chippewa songs, regardless of the nature of the song. Thissuggests that it may be an interval either especially pleasing or
DENSMORE] CHIPPEWA MUSIC 5
especially easy for the voice, and not directly connected with theconcept of the song.Accidentals are usually given with more firmness and accuracythan diatonic tones. This may be attributed to one of two causes
?
either these tones are recognized as deviations from some definitestandard, or they are individual tones impressed on the mind ofthe singers more clearly than other tones, and are therefore givenmore accurately. Of interest in tliis connection is the fact thatthe phonograph record shows the octavo, fifth, and twelfth sungaccurately by men who give the other intervals with uncertainpitch. This peculiarity is found in records made by Indians whoseenvironment is ]:)rimitive and who rarely hear the white man's music.The following system of signs has been adopted: If the singer givesthe principal intervals of the scale correctly, but makes deviation inother intervals, these incorrect tones, if raised less than a semitone,are marked + ; if lowered less than a semitone, they are marked ?
.
This tonal peculiarity has been tested in the following manner: Twosingers were asked to repeat songs recorded about seven montlisbefore; about 20 songs were included in this test, which showed devia-tion on the same tones in the second as in the first rendition.RhythmThe rhythm of a Chippewa song is as much a matter of compositionas the melody and often expresses the itlea of the song. The term
"rhythm," in this connection, refers to the succession of measuresof irregular lengths, as well as to the subdivision of the measure.The transcription of a song is divided into measures according tothe vocal accent. Since a secondary accent seldom occurs, the songis usually divided into measures of two or three counts. In manyinstances each of these counts is a metric unit and is so indicated bythe metronome mark at the opening of the song; in other instancesthe entire measure constitutes the metric unit. In many songsthere is a recurring rhythmic unit composed of one to four or moremeasures; in other songs there is no recurring rhythmic unit and inmany songs of this class the entire melod}^ constitutes a rhythmicunit, complete and satisfactory in itself. Continued repetition ofsuch a song gives to the entire performance the effect of a homogeneouswhole.In many cases a metronome test of the phonograph record showsthe drum to have the same uulse or metric unit as the melody. Fromthis fact one would expect to find that the pulse of drum and voicecoincide at certain points, but an analysis of phonograph records andobservation in the fiekl tend to show that the drum and the voiceare independent expressions. This is indicated in the tabulated
6 BUEEAU OF AMERICAN ETHNOLOGY [bull. 45rhythmic analysis of the songs, and also in the analysis of individualsongs. The Chippewa seldom strikes a drum and sounds a tonesimultaneously. One phonograph record (no. 124; catalogue no.205) shows a remarkable peculiarity. The metric units of voice anddrum are so nearly alike that the same metronome indication is usedfor each. At the beginning of the record the drumbeat is slightlybehind the voice, but it gains gradually until for one or two measuresthe drum and voice are together; the drum continues to gain, andduring the remainder of the record it is struck slightly before thesounding of the corresponding tone by. the voice. The record isnot sufficiently long to show whether, in a more extended perform-ance, the drum would have slackened in speed until it again took itsplace after the voice.It is worthy of note that appreciable interruptions in regularrhythms are accurately repeated. For instance, in certain songsthere occur tones prolonged less than one-half their value; theseare marked thus (? . It was found that if the singer sang the songseveral times he prolonged the tones to exactly the same length ineach rendition. Other tones are similarly shortened and are markedthus ?)? These also are found to be accurately repeated.Thus far, observation indicates that the rhythm is the essentialpart of the Cliippewa song. The words of a song may be slightlydifferent in rendition, or the less important melody progressions mayvary, but a corresponding variation in rhythm has not been observed.A song, when sung by different singers, shows an exact reproductionof rhythm.During many of the Cliippewa war dances the drum is in even beats,equally accented. The drum rhythm of the woman's dance consistsof an accented beat preceded by an unaccented beat ; the drum rhythmof the moccasin game is similar, but the unaccented beat in the for-mer corresponds approximately to the third count in a triple measure,while the unaccented beat in the latter corresponds in value to thefourth count in a quadruple measure. Another distinction lies inthe manner of beginning these rhythms. In beginning the rhytlimof the woman's dance, the drummers give the unaccented beat witha rebound of the stick, so that it seems to be connected with thebeat which precedes rather than with that which follows it. As soonas the rhythm is well established, however, the unaccented beatclearly connects itself with the succeeding beat. In the moccasingame the rhythm is unmistakable from the start, the short beat beingclosely connected with the longer one, which is emphatically accented.These three rhythms, the war dance, the woman's dance, and themoccasin game are the principal rhythms of the drum among theMinnesota Chippewa.
densmOrb] CHIPPEWA MUStO 7Tone MaterialA wide range of tone material is shown by the songs under obser-vation. Certain songs contain tones whose melodic sequence refersdefuiitely to a keynote or tonic. Other songs contain tones whichappear to belong to the system of tones commonly called major orminor keys, but which are used in such melodic sequence that theirrelation to a keynote or tonic is obscure. The border line betweenthese two classes of songs is not clearly marked. Because the rela-tion of tones to a keynote is not apparent, one scarcely is justified insaying that such relation does not exist, especially as the purpose ofthe present work is not scale construction, nor scale analysis, butrecording, in the simplest and most evident manner, the musicalperformances of the Chippewa. For this reason no attempt is madeto separate these two classes of songs. The distinction will be evi-dent to those who follow closely the transcriptions and analyses.In many instances the sharps and flats at the beginning of the staffindicate that the tones upon those degrees are sharped or flatted,but do not imply that the corresponding key is fully established. Forpresent purposes it is deemed sufficient to analyze the tone materialof the songs, with reference to the keynote implied by the beginningand ending of the song and its general melodic trend.The present system of classification, while carried out consist-ently, must be recognized as broad in outline and somewhat tentative.The principal change from ordinary terminology is in connectionwith what are commonly known as the major and minor ])enta-tonic scales. These two consist of the same tones, a major tonalitybeing secured by using as a keynote the lower tone of the groupof three tones, and a minor tonality being secured by using as akeynote the upper tone of the group of two tones.The subject of pentatonic scales is fully considered by Helmholtz,"according to whom a scale lacking the second and sixth tones is thesecond five-toned scale. This is the scale commonly known as theminor pentatonic scale. According to the same author, a scalelacking the fourth and seventli tones is the fourth five-toned scale.This is the scale commonly known as the major pentatonic scale.Following the system set forth by Helmholtz, the terms "secondfive-toned scale" and "fourth five-toned scale" are used to indicatewhat are commonly called minor and major jjentatonic scales.A somewhat less important change in terminology is the use ofthe term 'tonality" instead of the more common term ''key;"this is fully explained in connection with the first tabulated analysis.ain his work The Sensations of Tone as t'ae I'liysiologifal Basis oi ,,I...sii; (pait J, iliLiptcr 14).
I
8 BUREAU OF AMERICAN ETHNOLOGY [nvi.h. 45Many songs which contain a Kmited number of tones, too Hmitedto constitute an organized key, still show definite tonality, eithermajor or minor. StructureThe sequence of tones in Cliippewa songs shows that certain songsare harmonic and others melodic in structure. The following basisof classification has been adopted: Songs are classified as harmonicif their accented tones follow the intervals of diatonic chords, andas melodic if their contiguous accented tones have no apparent cliordrelationsliip. In the latter class are included many songs in whichthe relations of the tones to a keynote is not strongly in evidence.In many instances the interpretation of the words of these songshas been difficult, the Mide' songs requiring special skill in transla-tion." Tabulated Analysis of 180 SongsThe classifications presented are broad in their outUnes. Further investigationmay make it possible to analyze more closely and to classify more definitely manyof these songs. Melodic AnalysisTONALITY b
DiiKSMOREj CHlPtEWA MUSICMelodic Analysis?ContinuedTONE MATERIAL"
10 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Melodic Analysis?ContinuedENDINGS OF SONGS



BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 2
CICl'GWAN (DOCTOR'S RATTLE), SHOWING MANNER OF HOLD-ING INSTRUMENT WHEN IN USE
MlTi'GWAKIK' (mTDE' DRUM), REVERSE SIDEMUSICAL INSTRUMENTS
dexsmore] CHIPPEWA MUSICRhythmic Analysis 11
12 BUREAU OF AMERIOAK ETHNOLOGY [bull. 45heard at a distance of 10 miles. These drums are not unpleasantlyloud, but the sound has great vibration and carries a long distance.This miti'gwakik' is made of a basswood log, hollowed by charringand scraping. It is 16 J inches high, 10 inches in diameter at thebase, and 8^ inches in diameter at the top. It is decorated with ablue band at the base, four heads representing the four Mide' manido',and an oblong said to represent a bag containing yarrow, whichsignifies life. The heads are outlined in red and the bag in blue.When in use it is partially filled with water (the plug in the side isplainly shown). The top is of untanned deerskin, which is dampenedand stretched very tight. At times, instead of being dampened thetop of the drum is held toward the fire or in the warmth of the sun,which has the desired effect. Great care is taken in preparing adrum for use, the proper quality of tone being secured by the treat-ment of the deerskin top.Four rattles comprise a set as used in the Mide'. (See descriptionof Mule' ceremony, p. 48.) These are not decorated. Three consistof small wooden drums, each provided with a sewn cover of hide,containing small stones or shot and pierce'd by a stick which formsthe handle. The writer has seen rattles of this type used in thetreatment of the sick by means of the Mlde^ These rattles are usedalso in the ''shooting of spirit power" during a ceremony of theMide'. The 'fourth rattle is made on a frame of bent wood. Eachof these rattles has a different tone, determined by the quantity ofstones or shot which it contains.The round instrument at the right of the drum in the illustrationis the rattle used by the dja'saMd (doctor or juggler) ; if the dja'sakidbe also a member of the Mide'wiwin he may use this as a drum whenpractising the Mide' songs or teaching them to others. As stated else-where, the dja'sakid are frequently members of the Mide'wiwin, andit was from such a man that this instrument was secured. It is 9^inches in diameter, one-half inch in thickness, and contains only threeor four shot or small stones. Across the face of the drum is a blueband, the smaller segment of the circle being painted green. Largerinstruments of the same type are also used by the dja'sakid; many ofthem are elaborately decorated. The use of this instrument in thetreatment of the sick is fully described in the chapter on dream songs.(See p. 119.)The drum used in the moccasin game is about 15 inches in diameterand 2 inches in thickness. It may have hide stretched over one orboth sides and some specimens have small bits of jingling tin setin the hoop. The stick used in beating this drum is similar to theone shown with the dja'sakid instrument.The courting flute of the Chippewa is usually made of cedar and issimilar in construction to the flutes of otlier Indian tribes.
DENSMORE] CHIPPEWA MUSIC 13THE MIUE'BeliefsThe Mule' (Grand Medicine) is the native rehgion of the Chippewa.It teaches that long hfe is coincident with goodness, and that evilinevitably reacts on the offender. Its chief aim is to secure healthand long life to its adherents, and music forms an essential part ofevery means used to that end. Thus far the study of the subject hasrevealed no reference to war and no allusions to enemies. The ele-ment of propitiation is also absent from its teaching and practice.The organization of this religion is called the Mlde'wlwin (GrandMedicine Society) . Both men and women are eligible to membership
;
a male member is called Mlde'wlni'ni, and a female member Mide'-wikwe' . There are eight degrees in the Mide'wiwin, persons beingadvanced from one degree to another on receiving certain instruc-tions and bestowing valuable gifts. Meetings of the Mide'wiwin areheld in the spring of each year, members being initiated at thattime; it is also permissible to hold initiation ceremonies in the fall.All members are expected to attend one meeting each year for therenewal of their "spirit power." Smaller gatherings may be held atany time for the treatment of the sick, and it is also permissible fora few members of the society to meet at any time for the purpose ofsinging the songs and strengthening their faith in the beliefs of theMide'. A feast and an offering are inseparable features of all thesegatherings.Ritual exactness is not obligatory in the Mide'. Its ceremony ofinitiation has a general outline which is universally followed, but thedetails vary in different localities. No ceremonial garments are worn,and there are no ceremonial articles connected with the organization.It is said that each leader has a pipe which he smokes only at meet-ings of the JSIide'wiwin, but this seems a matter of custom rather thanof requirement. There is nothing which corresponds to an hereditarypriesthood, the leaders of a ceremony being men who hold high degreesin the society, and are chosen for the office at each meeting of thesociety. The selection of songs at the various parts of the initiationceremony is decided by the leaders of the ceremony, as there aremany songs which may be sung.Since ritual exactness is not obligatory in the Mide', there is nopenalty attached to a mistake in the singing of a song. De'bwawen'-dunk, an old member of the Mide'wiwin, states that there is a cor-rect way to sing each song and that an effort is made to sing it inthis manner because failure to do so is displeasing to the Mide'manido'. Added importance is given to this statement by the factthat De'bwawen'dtJink lives on the Bois Fort reservation, where theIndians have had little direct contact with white men and where theold traditions are particularly well preserved.
14 BUREAU OF AMERICAN ETHNOLOGY [bull. 45The emblem of the Mide' is mi'gis, a small, white shell, which is saidto appear upon the surface of the water when the action of a manido'(spirit) causes the water to seethe. Manido' in the form of water ani-mals, mermaids, and mermen, also appear to the members of theMide'wiwin for the purpose of imparting instruction when they are ina frame of mind to receive it. Hoping for such a visitation, it is notunusual for a member of the Mide'wiwin to sit beside the water forhours at a time, singing Mide' songs and beating the Mide' drum orshaking a rattle.The healing art of the Mide' is entirely different from that prac-tised by the Chippewa doctors, the method of treatment is different,and the two vocations are distinct, though it is possible for a doctorto be a member of the Mide'wiwin. Descriptions of the treatmentof the sick by both these methods will be given.
"
The life enjoined on the members of the Mide'wiwin is a life of rec-titude. They are taught that membership in the Mide'wiwin doesnot exempt a man from the consequences of his sins. Lying andstealing are strictly forbidden; also the use of liquor.The Mide' is not without its means of punishing offenders. Thoseholding high degrees in the Mide'wiwin are familiar with the art ofsubtle poisoning, which may be used if necessary. It is said thatthey are also able to call down curses on those who displease them.The writer was recently informed of an instance in which a manoffended a Mide'wini'ni, who retaliated by saying that a misfortunewould soon befall him. In a short time his little daughter died.SongsThe songs of the Mide' represent the musical expression of religiousideas. The melody and the idea are the essential parts of a Mide'song, the words being forced into conformation with the melody.To accomplish this it is customary to add meaningless syllables eitherbetween the parts of a word or between the words; accents are mis-placed and a word is sometimes accented differently in various partsof a song; the vowels are also given different sounds, or changed en-tirely. Any of these alterations are permissible. In addition to themeaningless syllables used to fill out the measures we find the ejac-ulations Tie hi hi hi, used in the songs associated with the ''shootingof spirit power."The writer has even been informed that it is permissible for differ-ent members of the Mide'wiwin holding high degrees to use slightlydifferent words for the songs, but the idea of the song must alwaysremain the same. The words serve as a key to this idea withoutfully expressing it. Sometimes only one or two words occur in a song.Their literal translation is meaningless, but to an instructed member
a See pp. 51 and 119.
DExsMuRE] CHIPPEWA MUSIC 15
of the Mkle'wiwm they bear an oecuit signifieance. Many of thewords used in the Mide' songs are unknown in the conversationalChippewa of the present time. This fact has made it difficult to securesatisfactory translations of these songs. Nine or ten interpretershave been employed on many of them, the final translation beingmade by three particularly efficient interpreters in consultation withtwo, members of the Mide'wiwin. By this method it has been possi-ble to reach the idea underlying the song.A Mide' song is not considered complete unless the syllables lio hoho ho are repeatedly given at the close. When singing these songsinto the phonograph the singers have often requested a signal, so thatthey might be sure to record these syllables before the blank wasfilled. If necessary they leave a rendition of the song unfinishedin order to record them ; some give them also before singing the song.A member of the Mide'wlwln usually begins his performance bydrumming rapitUy; then he gives the ejaculations, or speaks to theMide' manido' or makes some remarks concerning the song he is aboutto sing; after this he si^igs the song, the beat of the drum being continu-ous throughout. The drum appears to be an independent expression,as in a large majority of instances the metric unit of the drum isdifferent from that of the voice. (See p. 11.)The songs of the Mide'wiwin are estimated as several hundred innumber. Some have a direct ceremonial use, as in the initiation ofmembers; others are connected with the use of "medicine," the songbeing sung when results are to be accomplished by ' ' spirit power ; '
'
and other songs are known as ni'miwHg' , or dancing songs. Certainceremonial songs are grouped in series of eight or ten, the members ofthe Mide'wiwin dancing during the last half of the series.In the words of these songs the ancient teachings and beliefs ofthe Mide' are preserved. The words of the songs frequently furnishthe texts for discourses by the Mide'wini'ni. In some of the series ofsongs it is the custom that one song be sung by each man, who fol-lows the song with a discourse based on it.Many of the songs are taught only to those who pay for the privi-lege of learning them, and all the songs are recorded in mnemonics onstrips of birch bark. This record serves as a reminder of the essentialidea of the song and is different in its nature from our system ofprinting. The Indian picture preserves the idea of the song, whileour printed page preserves the words which are supposed to expressthe idea but which often express it very imperfectly.'*
"The drawings for songs contained in this paper were made as follows (serial numbers used): Draw-ings for songs nos. 1, 4, 81-88 hy O'dgnl' gto ; those for songs nos. 16-24 by De'bwawfin'dtlnk ; those forsongs nos. 65-69 by Be'clgwi'wizans, and that for song no. 75 by Manido'gielgo'kwe?all of whom sangthe songs. The drawings for songs nos. 2, 3, 5-15, 25-64, 70-80 (except no. 75), 89-107 were the work ofNa'wajHjigo'kwe, who sang only a portion of the songs but made the drawings for the remainder onhearing the phonograph records of the songs.
16 BUREAU OF AMERICAN ETHNOLOGY [bull. 45The drawings of the Mide' songs are universally understood bymembers of the Mide'wiwin. A large number of drawings havebeen tested in the following manner : A song has been phonographic-ally recorded and the picture drawn on one reservation and later thephonograph record has been played to a member of the Mide'wiwinliving on a distant reservation. The song has been recognized atonce and a picture drawn without hesitation. This picture, on com-parison with the first, has been found identical in symbolism, differ-ing only as one person draws better than another. By an inversetest, a song picture has been shown to a member (^f the Mido'wiwinand she has sung the song which was sung on a distant reservationby the person who drew the picture.There are certain established symbols in the Mide' drawing, theprincipal ones being the circle, used to represent the earth, the sky,a lake and a hill; and straight or wavy lines, used to represent " spiritpower." These symbols are combined with a crude delineation of theobjects mentioned in the song.
Fig. 1. MIde' wriling.This system of mnemonics may be used for other purposes thanthe songs. The writer once asked a woman who is a member of the]\Iidc/wiwin to write the Chippewa word Gi'cigo'iJcwe in the ^lide'mnemonics. The woman had never heard the word before. It is aproper name combining the words gi'cig (sky) and i^lcwe (woman), thevowel o being a connective. The woman said that it would require alittle time for her to think how to write the word and that no onecould be in the wigwam with her when she wrote it. The result isshown herewith (see fig. 1).The double circle represents the sky, in which the moon is seen; thesingle circle represents the earth. In each of these circles is the fig-ure of a woman, the two figures being connected by a line whichtouches the hand of the figure in the earth circle. The explanationgiven ])y the woman was as follows:This name mea^is that there are really two women instead of one. In the sky isone of these womea; the other is on the earth. But the woman in the sky is con-stantly giving spirit pow'er to the one on the earth, which the one on the earth reachesout her hand to receive.
DExsMORB] CHIPPEWA MUSIC 17This illustration shows that the Mide/ writing can be used toexpress complicated ideas.The example of song writing here given (fig. 2) shows a delineationof the objects mentioned in the song.The words of the song are:Wase' LightNita^binos Around youO'gima ChiefI'kwe Woman (i)rincess)This picture was drawn by the same woman as the preceding.She stated that the horizontal line represents the edge of the wig-wam, along which are arranged various articles of value indicatedby the dots. At each end are torches, the light of which falls
?,.w(.,iyi imi.iA,,.. ? ? "
Fig. 2. Mide' song writing.on the gathered wealth, causing many of the articles to glitter. Thesearticles belong to a woman standing with upraised hands and wear-ing a pearl necklace with a locket.In singing this song the woman pointed to one portion of the pic-ture after another, tapping the birch bark lightly as she sang andtraversing the row of dots, the horizontal line, the outline of thenecklace, and the torches, then beginning again at the row of dots.The woman who sang this song stated further that "it is a medi-cine song" and that she could, if desired, furnish some of the medicinefor use with the song. "The medicine was in the form of a powderand would be worn in a medicine bag."No phonograph was available at the time, but the song was noted.It begins on a high tone, descending "wdth frequent intervals of the12692??Bull. 45?10 2
18 BUREAU OF AMERICAN ETHNOLOGY [bull. 45minor third unci ji;lissand() progressions, and lias a compass of anoctave and two tones.Many of the MIde' songs are grouped in series, the pictures beingdrawn on a long strip of birch bark. Midway through such a seriesa hn(> is drawn. This indicates a pause, after which the people rise,and dance during the remaining songs of tlie series.
'I'lie anticjuity of these songs is shown l)y the fact that many oftliein are widely known among scattered peoples who came originallyfrom the same locality but have had practically no communicationfor a long period of time. The })reservation of the songs is aided bythe mnemonics, and the importance attached to them is shown by thereluctance of the Mide' Indians to sing them until fully assured of thesincerity and good will of the person making the rec{uest.In analyzing the music as the important part of the expression,the (juestion arises whether the melodic progression or the rhythmis more strongl ,' impressed on the mind of the singer. Which ofthese elements is to him the more important feature of the song?A careful review of more than a hundred Mtde' songs shows them toconsist of simple intervals and complicated rhythms. The tonescomprised in the songs are liniit(><l in nund)er, many of the songs con-taining onl , three or four tones, except as the number is extendedby repetition in a lower octave; the variety of rhythms is great, aswill be seen in the transcriptions. Accidentals rarely occur in thesongs. An accidental in the o])cning measures of a song is worthyof little consideration, as in many instances tlie introductory measuresare sung oid ,? once, and the singer is allowed some freedom in them.The rhvthm of the song is determined by noting the accentedtones and dividing the song into measures according to them.By observation we fmd that in many of the songs the metric unitis the measure, not the individual count in the measure. In theseinstances the accented measm-e beginnings are found to conform toa very slow metronome beat, but the intervening tones are irregularin length and can not be accurately indicated by note values. Thesesongs would resemble chants except for the freedom of their melodyprogressions.The next fact which we note in connection with the rhythm is thatit is most peculiar in songs which are intended to produce magic andmysterious results. In this class are included songs for the healingof the sick as well assimgs used in ccmnection with special "medicine"for success in hunting or other mulertakings. In many of these songsthere is no repetition of a rhythmic unit, but the entire song consti-
. tutes a rhythmic nnit. its repeated renditions forming a satisfactorywhole.There are other songs in which two or more measures of varyinglengths combine to form a rhythmic unit , which is repeated throughout
DENSMoiiB] CHIPPEWA MUSIC 19the song. One measure occasionally constitutes the rhythmic unit,which is continuously repeated.Tlio rhythm is simplest in the songs used while "shooting" a can-didate for initiation into the Mide'wiwin. In these songs there isonly one object?that the person shall fall unconscious, showing that heis "entirely controlled by the medicine." The rhythm of these songsis an emphatic regular rhythm. When it is desired that a person beenergized to some great undertaking the rhythm is irregular but sofascinating in its irregularity that it holds the attention. This iswhat is always sought?to control the person.The ni'miwtig' (dancing songs) are always sung vibrato, with thewavering of voice which would be produced by the motion of thebody in dancing. This wavering of the voice is inseparably con-nected with the song. In all Mide' songs there is a tendency towarduncertainty of intonation. Repetitions of the same tone usuallyshade downward, and the transition from one tone to another is fre-quently glissando. By a strange contrast it is found that accidentals,when present, are usually given clearly and correctly. With veryfew exceptions, the repetition of a song is begun on exactly the samepitch as the first rendition. This frequently involves the ascent of atwelfth and is often made more didicult by the fact that the songends on a tone below the natural range of the singer's voice. Thusthe song as a whole preserves its tonality and repetitions are accu-rately begun, although the individual tones of the song may be uncer-tain in intonation. This suggests the possibility that these variationsin intonation may be an attempt at ornamentation. The melodicmaterial is extremely limited and this wavering of the voice mayseem to add to the effectiveness of the song.A few points concerning the song as a whole deserve our attention.The repetition of a song is usually continuous with the previous ren-dition, although a half rest occasionally occurs between the rendi-tions. The repetition of a song frequently opens with a new wordand the melody returns to the fifth or sixth measure of the originalrendition. Repetitions of a song by different singers are found tobe identical in all important respects.Unimportant phrases near the close of the song frequently vary innumber. They are usually reiterations of a word and the exactnumber seems not essential.An Indian rarely hums a Mide' song before singing it into thephonograph and the accuracy of his memory is shown by the factthat the song in repetition is never changed in rhythm, the changes,when they occur, being in unimportant note values or melodic pro-gressions.In summarizing the preceding chapter we find the songs of theMlde' to be essentially a musical expression, the form of the wordsbeing subordinate to the form of the melody.
20 BUREAU OF AMERICAN ETHNOLOGY [bull. 45The drum and voice are usually independent in metric units, thedrum being a rapid unaccented beat and the voice having a rhythmwhich bears a relation to the mental concept of the song.The intonation has been shown to be frequently variable for tworeasons : First in imitation of the motion of the body in dancing, andsecond for the apparent purpose of ornamentation.No effort has been made by the writer to secure the "bad medicinesongs" or songs of cursing. One who has heard a large number ofthese songs states that they are terrible in their maledictions andrepresent a phase of life and thought which it were better to leaveuntouched. They are the weapons of defense in the Mkle', and allthat is believed to have been Avrought through them will ever be anunwritten page. Use of MedicineThe power of the Mide' is exerted through a combination of twomediums, music and medicine. The former has been set forth indetail; the latter is less available for analysis, but certain informa-tion concerning it has been secured.The medicine and medicine practice of the Mde' should be dis-tinguished from that of the dja'sakid, who are doctors or jugglers.That they may also be members of the Mide'wiwin does not changethe fact that the two professions are distinct.The use of medicine in connection with the Mde' is as follows:Each member of the Mide'wiwni carries in his Mide' bag many herbsand other substances supposed to have medicinal value, in additionto the mi'gis (small white shells used in the Mide')- If a cure of thesick is desired he frequently mixes and sells a medicine after singingthe song which will make it effectual.In the working of a charm it is considered necessary to use both theproper song and the proper medicine. For that reason a smallquantity of the medicine is furnished to a person who buys such asong. To accomplish the desired results this medicine should, ifpossible, come in contact either with the person to be influenced,with some of his personal possessions, or with a small wooden effigy,which the person working the charm makes for the purpose. Themedicine may consist of one or more ingredients and may be ofgreater or less value. Certain herbs enter into the composition ofmany medicines, while others are rare and difficult to obtain.In the working of a love charm it is customary to obtain a threadfrom the clothing of one of the persons to be affected, or, if possil)le, aloose hair. Two small wooden effigies are made, one representinga man, the other a woman, and the person working the charmbinds these together with the thread or hair. The effigies arc thenplaced in a small bag, with some of the proper medicuie. This bag
DEN'SMORE] CHIPPEWA MUSIC 21
is worn around the neck of the person working the charm, who fre-quently sings the song which is supposed to make the charm effective.If the intention is to work an evil charm the method of procedureis somewhat similar. An effort is made to secure some personalpossession, to which the medicine is applied; if this is impossible,the medicine is applied to a wooden effigy of the person, and the manworking the charm sets this figure before him as he sings the songsof cursing. The medicines used in connection with these songs aresaid to be powerful and subtle vegetable poisons.It is believed that if a Mide'winfni has in his possession any articlebelonging to a person he can work at any time whatever charm he likesupon that person. It is said that the singer breathes upon his medi-cine bag before working a charm.A detailed account of the use of medicine in connection with cer-tain songs is given at the close of this section.One of the songs used at the dance which follows a Mide' ceremonyexpresses the idea of a contest between two members of the Mide'-wiwin to determine whose medicine is the stronger, the result of thecontest to be determined by the effects produced by the two medicines.The strength of his medicine is the measure of the power of aMide'wlnrnl. OriginNarrative by Na^waji^bioo^kwe ("woman dwelling among the rocks")"The Chippewa believe in many manido^, or spirits. The highest of them all iscalled Kijie' manido', literally translated, "Uncreated Spirit." Those connectedwith the MTde^ are (1) Mide^ manido^, the Mide^ spirit, and (2) four manido^, one ateach point of the compass. These are called WabCniunk'daci' manido^, the Eastspirit; Ca^wanunk^daci' manido^, the South spirit; Ningabi^anfink^daci^ manido',the West spirit; and Kiwe^dlnunk^daci^ manido^, the North spirit. In the Mide^it is also the belief that there are four "layers" beneath the earth and four abovethe earth. These "layers," or planes, are distinct from each other.Originally all the inhabitants of the earth (Chippewa Indians) who were to learnthe Mide^ lived on Madeline island, in Lake Superior, and in that portion of thecountry. They were selected by the Mide^ manido^ to be taught the Mide^ religion.There was first a consultation among the four manido^ (East, South, West, andNorth). This took place at the center of the earth, not under the earth, but at someplace far away. There they sat together and talked and decided to teach the Mide^to these particular Indians.So the East manido^ was selected to go among these Indians and teach them.Before he left the others he told them that they must get everything ready anddecide exactly how the Mide^ should be taught to the Indians. Of course theEast manido^ could not approach the Indians in his spirit form, so he was born ofan old woman who had lived with her husband all her life but had had no children.This old couple lived on Madeline island.
a The narrator is a prominent member of the Mlde'wlwln on the White Earth reservation in Minnesota.The narrative was interpreted by Mrs. Mary Warren English, sister of William Warren, the author of"History of the Ojibwa," and is given in the exact words of the interpreter. An Indian who is familiarwith the MIde' traditions on the Bois Fort reservation states that this is substantially the belief heldthere concerning the origin of the Mlde'.
22 BUREAU OF AMERICAN ETHNOLOGY [bull. 45The people were astonished and said, "He must be a wonderful person to be bornin this way," so both mother and child were treated with great respect.He was indeed a wonderful child. Whatever he said came true. He would say-to his father, "Go and get a bear," and his father would find one without any diffi-culty. It was no effort at all for the family to get enough food. The child grew uprapidly, and when he was a young man he had as his friend and companion one whowas his mother's brother's son?his cousin.When he grew up he began to consider, "I must begin to instruct these Indians inthe Mide^; that is the purpose for which I came."After thinking this over he said to the old man, his father, "We will go on a journeyto the end of the lake;" his mother went with them. The point to which theywent was not where Duluth now stands, but was where Superior is located. Thiswas the location of the old town of Fond du Lac.They reached this place and stayed four days. On the fourth day a terrible stormcame from the northeast, sweeping across the lake. During the storm the East manido''said to his father and mother, "My cousin at Madeline island is very ill; we mustgo back."His father said, "It is impossible to even put the canoe on the water in such astorm."Then the East manido^ said, "Put the canoe on the water, and the waves will atonce subside."As soon as his father put the canoe on the water the storm subsided.It was about noon when this happened, and the distance to Madeline island wasabout 80 miles, but they paddled so fast that they reached there before sundown.When they arrived they found that the cousin had been dead four days, but the bodyhad been kept so that they could see him.The East manido^ told his father and mother and their friends not to weep for theyoung man. Then the next morning he told the people to make a long lodge extend-ing east and west, such as is now used for the Mide^. He showed them how to makeit with the top open and the sides of birch bark and leaves, and he said that theymust all bring tobacco and cooked food. In the center of the lodge he placed a Mide^pole, and told the Indians to sit in rows around the lodge; he also made a Mide^drum and rattles, such as are still used.West of the pole and a few feet away he placed the hewn coffin of the dead man;on the south side of the lodge he seated the relatives and friends.Then he told his father to take the Mide^ drum and sing.The old man said, "I do not know how to sing."His son said, "Just try; make the effort and you will be able to sing."Then the East manido^ spoke to the parents of the dead man and to his own parents,saying, "I am about to leave you. I will be absent four days. You must stay herecontinuously and do every day as I have told you to do to-day." The old manpromised to sing the Mide^ songs and do everything as he had been told to do.Then the East manido^ took vermilion paint and also blue paint and made marksacross the faces of the parents of the man and also his own parents-?streaks acrosstheir foreheads, the lowest red, then blue and red alternately. Then he startedaway and said he would return on the morning of the fourth day. He went throughthe air toward the eastern sky. They could see him go.After he had disappeared the old man took the Mide^ drum and sang more and moreMide^ songs. They came to him one after another. He was assisted by his son.Even while his son was absent he directed him spiritually.During the four days that the East manido^ was absent the sun shone constantly.There was not a cloud and the wind did not blow.On the morning of the fourth day they looked toward the east and saw the skystreaked with colors like those he had painted on their foreheads. The Indians alllooked in that direction with expectation.
densmOre] CHIPPEWA MUSIC 23All this time the old man had been drumming and ringing.A little before noon they heard a peculiar sound in the sky. It was from the east.Some one was calling Wa, hi hi, hi, as they call in the Mide^ ceremony. Theywatched the sky and saw four Indians walking toward them in the sky, giving thiscall. Each Indian had a living otter in his hand.The East manido^ came down to the Mide' inclosure, lifted the drapery, and allowedthe others to pass in. The four manido^ came in and took their stand at the east endof the lodge. A little beyond the center was the coffin of hewn logs in which lay thebody of the young man, who had now been dead eight days.The four manido^ held the otters with the right hand near the head and the lefthand below. These otters were their medicine bags.The East manido^ stood first in the line. He began to sing, went halfway to thecoffin, blew on his medicine bag, and shot from there toward the coffin. Then thetop of the coffin burst open, and the East manido' marched around the lodge and tookhis place at the end of the line.Then the next one, the South manido^, did exactly as the East manido^ had done.When he had shot, the young man opened his eyes and breathed. Then the Southmanido^ took his position at the end of the line.Next came the West manido^. When he had shot, the young man raised up andlooked at the manido^.Last came the North manido^, and when he had shot the young man rose up entirelywell in every respect.Then these four manido^ began to talk to the Indians, and to tell them that this wasthe method by which they were to treat the sick and the dead, and that the Eastmanido' would instruct them in all they were to do.Then these manido' told the Indians that they would never see them again. Themanido^ would never come to earth again, but the Indians must offer them gifts andsacrifices, which would be spiritually received. They must always remember thatthe Mlde^ was given to them by the manido^.The East manido' taught them the religion of the Mide' and put souls in their bodiesand arranged how these souls should live in the next world. A great many timessome of these Mlde' people have a trance in which they fallow the spirit path and seetheir dead friends. They also receive messages in dreams. They are especiallyliable to do this when sorrowing for their friends.It is told to Mlde' members that about halfway to the Spirit Land there is a punish-ment place where fire burns out all that is evil in them. Sometimes there is solittle left of the person that he turns into a frog. There are many little frogs in thatplace, but the good pass through it unharmed. This is the only phase of punishmenttaught, except that if a person dies while drunk he will remain drunken forever andhis punishment will be ah eternal and unquenchable thirst.Those initiated into the Mide' are instructed how to lead a good life. These instruc-tions are given only to the members. Less heed is paid to the instructions than inthe old days, but very sick people are still restored by means of the MIde'.The narrator stated further that she had taken four degrees in thesociety and received four great instructions, and that she tried tohve according to them. She stated that she "could blow on hermedicine bag and produce evil results upon those who displeasedher, provided they were not of the Mide';" she "would be powerlessagainst a member of the ]\Iide'wiwin." She "would not, however,exert this evil power, for it would displease the Mide' manido'. Somedo this and it alwaj^s reacts in evil upon themselves."
M BUREAU OF AMERICAN ETHNOLOGY rBuix.45Such is the story of the Mule', which the Chippewa believes thathe received from the manido' who came to him from the morning sky.Description of Diagram Representing the Path of LifeIn the explanation of this diagram" (fig. 3) the usual custom ofretaining the exact words of the interpreter has been followed.The description is as follows:This diap;ram represents the path of life from youth to old age, the tangent whichappears at each angle representing a temptation. There are seven of these tempta-tions.The first tangent represents the first temptation which comes to a young man.If he yields to it he will not live long.The second tangent represents the second temptation, and the penalty for this alsois that he will not live long.With the third temptation the element of religious responsibility appears,, and theman (supposedly a member of the Mide^wlwin) is asked: "How did you act whenyou were initiated into the Mide'wiwin? Were you respectful to the older members,and did you faithfully fulfill all obligations?"The fourth tangent is placed beyond the angle of the line. It represents a tempta-tion coming to a man in middle life.
Fig. .3. Mtde' diagram of the path of life.With the fifth temptation the man begins to reflect upon his own length of days,and asks himself: "Have you ever been disrespectful to old age?"The sixth temptation returns to the religious idea, and asks whether all religiousobligations have l)een fulfilled.The seventh temptation is said to be the hardest of all, and if a man can endureit he will live to the allotted age of man. At this time an evil spirit comes to him,and if he has even so much as smiled during a Mide' ceremony, he must reckonwith it then.The word "temptation," as used in this connection, implies pri-marily a trial of strength and motive. There seems a significancein the fact that, with the exception of the first and last, these tan-gents occur after an angle or turn in the line, suggesting that somesharp turn in the life of the man is followed immediately by thistesting of his character.Initiation Ceremony of the First DegreeThe following description of an initiation ceremoii}^ is compiledfrom statements made, by several members of the Mlde'vvlwln, all ofwhom belong to the Mille Lac band of Chippewa, but are now livingon the Wliite Earth reservation. The entire account has been veri-
a Drawn by the elder Maiii'ilns, the explanation being interpreted by Mr. John C. Carl, a graduate ofHaskell Institute.

BUREAU OF AMERICAN ETHNOLOGY ULLETIN 45 PLATE 3
MAIN'ANS

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 4
WA'WIEKUM'Tg
DENSMORE] CHIPPEWA MUSIC 25fied, being translated into Chippewa and pronounced correct bymembers of the MIde'wIwIn."The ceremony described is that of initiation into the first degree.Initiation into the second degree differs shghtly from the first, andinitiation into the higher degrees is said to be different from thelower degrees in many important respects; yet it is possible for per-sons to be initiated into different degrees at the same ceremony.It is also possible for a person to take two or even more degreesat the same time, but this requires large gifts and extended instruc-tion and is seldom done.The first duty of the novitiate is to notify the old man whom hedesires as leader of the ceremony. This man consults with the novi-tiate and selects four others to assist in the ceremony of initiation.These do not usually hold as high degrees as the leader, but theyare expected to give part of the instructions and are familiar with theduties of their office. A man is also selected to act as herald andgeneral director of the ceremony. This officer is called oc'Jcahe'wis.The first duty of the oc'kabe'wis is to announce the ceremonyto the members of the Mlde'wlwin and invite them to attend. Hecarries tobacco, notifies the people that the ceremony is to be held,tells them to smoke the tobacco, and also mentions, in the order oftheir importance, the persons who will take part in the ceremony.At the appointed time the people move their lodges and campnear the place where the ceremony is to be held.The initiators and the friends of the. candidate have been prepar-ing for the ceremony and have built the sweat lodge. This isbuilt wherever desired, and there is no prescribed direction for itsopening. Four poles are used in its construction, as the candidateis to be initiated to the first degree. Six poles would be used if thesecond degree were to be taken. These four poles are firmly plantedin the ground at points corresponding to the four corners of a square.The poles diagonally opposite are then fastened together, formingthe framework of the roof, the binding together of the two polesinto one symbolizing the lengthening of life, which is accomplishedby means of the Mide'. Sheets of birch bark are spread over thepoles to form the sides and roof.The first ceremonial act on the part of the initiators consists inentering the sweat lodge. A fire is built outside the entrance. Stones
aAccouiits of the ceremony were given by two Chippewa bearing the same name, 1)Ut not related to eachother, 'i'hese were Main'ans ("little wolf"), an aged man (see pis. 3,()) who is most desirous that his nativebeliefs shall be correctly interpreted to his white brethren, and Maifi'ans, a younger man, who retains withremarkable accuracy the details of the ceremony as it was given in the old days at Mille Lac.Wa'wiekfim'Jg (''the round earth") (see pi. 4) and his wife Na'waji'bigo'kwe ("woman dwelling amongthe rocks ") are meml)crsof the Mlde'wlwin in high degrees and have given valuable assistance in explainingthe songs and symlwls; also Jiwa'hikilo' (''resounding metal"), who holds the fourth degree, and De'-Invawon'dilnk ("eating noisily "), plateS, who holds the sixth degree, in the Mlde'wlwin. SupplementaryInformation has l)een received from all the singers of Mlde' songs.
26 BUREAU OF AMERICAN ETHNOLOGY tBULL. 45
are heated and laid in the center of the lodge and frequently sprinkledwith water by means of a wisp of brush, the steam enveloping thebodies of the men. It frequently happens that one or two womenare among those who are to assist at the initiation. They do notenter the lodge but stand outside, joining in the songs. Mide' songsare sung in the sweat lodge, and the mitfgwakik' (Mide' drum) isused. The leader of the entire ceremony is usually the leader in thesweat lodge also. There is no prescribed length of time for remain-ing in the sweat lodge, but several days are allowed for this portionof the ceremony, at least four days being allowed if four men hold-ing high degrees are in attendance.On the first evening and on each succeeding evening before theinitiation the men who are to assist in the ceremony sing in theirlodges, and all who desire may enter the lodges and dance. Theleader of the entire ceremony sings first in his lodge, drumming onhis mitl'gwaklk'. The man next in importance answers from hislodge, and when he has finished the other men who are to take partin the initiation sing in their lodges in the order of their importance,
" to showhow glad they are that this person is to join the Mide'wlwln."Then they all sing together, each his own song in his own wigwam.Each MIde'wJnI'nl has his own set of songs, some of which he hascomposed and some of which he has purchased for large sums ofmoney or equal value in goods. It occasionally happens that twomen have the same song, but this is a coincidence. It is not permis-sible for one man to sing a song belonging to another unless he haspurchased the right to sing it. The songs owned by individuals arethose connected with the use of medicine, and when a man buys asong he receives some of the medicine for use.During the evenings which precede the initiation ceremony it is cus-tomary for members of the Mide'wiwhi to enter the lodges of the lead-ers and ask for instruction or information regarding the Mide'. Forthis purpose a person would go, if possible, to the Mide'winl'nl whoinitiated him, as the men always take an interest in those whom theyhave initiated and require smaller gifts from them. The person desir-ing such assistance takes a kettle of food or some other gift, entersthe lodge while the man is singing, and waits until he finishes thesong, thereupon placing the gift before him and asking the desiredinstruction or advice, which is willingly given. One who does notwish to ask a favor may enter any lodge and dance without pre-senting a gift.The following is an example of the songs which the Mide'winl'nlsing in their lodges during the evenings preceding the initiationceremony. Other songs for similar use are given at the close of thischapter. It should be remembered that the songs given in connec-tion with this ceremony are representatives of a class and notobligatory.
DK.VSMORE] CHIPPEWA MUSIC 27This soii<2; was sung by O'deni'gun ('4iip bono"), an old man who issaid to be especially skilled in the use of medicine. In connectionwith the song he gave the following narrative:There was once an old man who was a member of the Mide''wiwin, and knew theuse of all kinds of medicines and their songs. This old man had a nephew to whomhe taught the songs and the use of the medicines. The young man's name was Awi^-hinedja', and he was anxious to become very powerful. After a time the old mansaid: "My nephew, I can teach you no more; you know all that I know and nowyou will be a leader of the Mide^wiwin." But the young man was not satisfied. Hebrought many presents to his unch3 in order that his uncle might try to rememberstill more.The old man said: "You are certainly very determined," and the young manreplied, "I know it."The old man said: "My nephew, if you are as determined as this you will find outwhatever you desire. Come with me."Then the old man took his nephew far into the woods saying: "We are going wherethere is a river." So they walked on and on until they came to a rocky gorge. Theystood at the edge of the cliff, and looking down they saw a river far below them.There were trees beside the river, but the cliff on which they stood was far above thetops of the trees.Then the old man said: "Jump down to the river," and the young man jumpeddown, crashing through the tree tops and falling dead upon the rocks below. Hisbody was so crushed that it was not like a human body any more.Four bears came and walked around his body, singing this song. When theyoung man regained consciousness he heard the bears singing; when he openedhis eyes he saw the bears walking around him, and when they had walked aroundhim four times he rose up strong and well.Then the four Ijears began to walk up the cliff and the young man followed them.The four bears and the young man walked up the sheer face of the cliff as though itwere level ground. At the top they found the old man waiting for them."Now, my nephew," he said, "you are as great a medicine-man as I."So Awi^hinedja' became a teacher and leader in the Mlde'wwin.No. 1. Song of the Four Bears (Catalogue no. 189)oSung l)y (Vdeni^gunAnalysis.?This song follows closely theintervals of the fourth five-toned scale ^ andis sung with the vibrato which characterizesthe dancing songs of the Mide', making the in-tonation somewhat indistinct. A compari-son between the metric units of voice and drum so^?,?,?,,^o. i. Thisdraw-sllOWS that 3 metric units of the voice are ap- ing shows the men emergingproximately equal to 2 metric units of the ^^1X^:^7^^^'^^drum. This suggests the rhythm commonly cnu. in a similar manner theknown as "two against three," but the voice- ?''?^Tf ?' ^ ?^"^"^' !^/f:fe
_
' qiiently shown in a Midepulses are grouped in double measures with drawing.oThe catalogue numbers used throughout this paper correspond respeetively with the numbersdesignating tlie phonograph records of the songs, which are preserved in the Bureau of AmericanEthnology.6 See p. 7.
28 BUREAU OF AMERICAN ETHNOLOGY [bvlL. 45few exceptions, and there is no coincidence between voice and drum.The 3-4 measures are unmistakable in rhythm and occur in both ren-ditions of the song. A strong feeling for the submediant is evidentin this melody.The song closes with the exclamatory phrases which characterizethe Mide' songs and which can not be accurately transcribed. Thenotation will, however, give an idea of this peculiarity.Voice M. M. J =168Drum M. M. J =104( Drum iu uuacceuted eighth notes
)
m|4= ^^^F- -?'- -?-. i^iig^ -n-ft-ft~trit^A -wi-hi-ne- dja ha ni wi - do-se uia ha a - wi-hi-ue - dja
ha ni wi - do-se ma a wi ha ni wi - do-se
-<^f
DENSMOKB] CHIPPEAVA MUSIC 29After all have been in the sweat lodge a council of the initiators iscalled by the leader. This is held for the purpose of deciding wliatpart each is to take in the initiation ceremony. The person to beinitiated is present at this council.The council may be held in any of the lodges. The leader sits atthe left of the entrance; beside him is his miti'gwakik', and before himis spread a blanket, given by the person to be initiated as a part ofthe prescribed offering. The candidate for initiation sits at the rightof the leader; at the opposite side of the lodge sit the other fourinitiators, while the oc'kabe'wis comes and goes as needed.When all are assembled a discussion is held as to who will bo bestadapted to certain parts of the ceremony. One man is selected tobe the first to "shoot" the candidate for initiation. This man iscalled ne'Tnita'maHn'?a special word which can not be literally trans-lated; he was said to be ''like the man who sits in the bow of theboat to watch which way the boat is going." The next person to beselected is the man who is to be the last to "shoot" the candidate forinitiation. This man is called we'dalced' , and is said to be "like thesteersman who sits in the stern of the boat and guides it."After these two have been selected the leader turns to the ne'mita'-mauiV and says, ''You have been appointed by us; do as you thinkbest in the performance of your duties; we do not command you,for we respect you and have confidence in your ability." He thenextends his hands over him and ])laces the mitfgwakik' before him.The ne'mita'matin' then sings as many songs as he likes, the j)ersonto be initiated rising and dancing before him as he sings.When the ne'mita'maun' has finished singing he turns to the mannext him and says, " Nikdn (my Mide' brother), there must be some-thing in you since you were chosen to take part in this ceremony."He strikes the mitfgwakik' three times, saying lio ho ho, and handsit to the man next to him, who sings as he has done and, in turn,passes the drum to the man who sits next to him.The men of lesser importance are expected to do little except singa few songs.This council takes a long time and after it is finished the leader hasno further responsibility, though he may be consulted by those towhom he has delegated authority.Maifi'ans stated that when he was one of the initiators he sang thefollowing song, which was taught him by the old man who initiatedhim into the Mide'wiwm. In explanation of the song he said that amanido' came to teach the Mide' to the Indians, and at that timesto])ped on a long point of land which projects into Lake Superior atDuluth. The song refers to this incident. (See p. 22). The personto be initiated would not dance during this song.
30 BUREAU OF AMERICAN ETHNOLOGY [boll. 45No. 2. Song of the ManIDO' (Catalogue no. 238ySung by Main'ans ("little wolf")Voice J =152Drum J =152( Drum-rhythm similar to No. 1
)
^e=Eas3 ^=p= =F=F=Na-wai - i he he ni ml si nunua-vvai
-"?-H 1
?
P=pp"-=g:
i ^e Ae nl ml st
=C=tttt: Ieeeeee -;2??-^-?-F?? ??Inun ua-wai i he he nl ml si nun na-wai i he he
e^Se^e^E Se^^^e^e3^?:S^-ElEtE :a=d:4=t SIEVESniJn na-wai
?
:.^=:j=d=^i Ae Ae nt ml si.(? ni<n na-wai i he^?
?
-tziM: i^iAe nl ?ni si nun na-wai i he he nl ml si
^' E3FS3^ f=:=F f=P- Ini - bi ba ^a - haWORDS yanNawaii' On the center of a peninsulaNi^bawiySn^ I am standingAnalysis.?Tliis sontj; is melodic in stmcture, begins on the twelfthand with one exception contains only the tones of the fourth five-tonedscale, the most frequent interval of progression being theminor third. The notes marked (? were slightly prolongedin all the renditions. This prolonging of the tone was uni-form but not sufficient to be indicated by a note value.Attention is directed to the fact that with the introductionof the second word the melody does not begin an entirerepetition but soon returns to a point near the opening ofpoie^a'n'd the soug, the remainder of the melody being the same asstone are in the first,shown inthe draw- The following song is similar to no. 2, except that the
'?^' person to be initiated wouhl dance during this song. Itmay also be sung in the Mide'wigan (lodge in which the ceremonyis held) after the initiation.
DENSMOREi] CHIPPEWA MUSICNo. 3. Dancing SongSung by Main'ans
31(Catalogue no. 239)
Voice ^rr 108Drum J= 108(Drum in quarter notes)
-(51--r^- -m- -w- -m- ^ -^??- :p=r:^-^
?
:^t ^-^?mHo wi-gan-e ho wi-gan-e ho wi-gan-e ho wi-gan-e
Ao ^0 wi-gan-e ho wi-gan-e ho wi-gan-e5^ =1:_^_fci=t=^j^.4: .(2?fCifnJ:-I 1
?
\
?*-- si?^-^?#-Ao wi-gan-e
?
^
-IP- -?- ~?- -m~ 'm~ -w- m ~^' m
ho wi-gan-e ho wi-gan-e
ho o-go-tci - tci - yan -c ho wi-gan-eglfe i^^ '-f-tt^m ZWIZW-i=: -^-^?^^iho wi-gan-e ho \\i-gan -e ho wi-gan - e^^m ::rt:=:t :E=p: f=P^P= :p=zpi::t-^/lOii^i^ wi - gan - e ho wi - gan - e ho wi-gan - eMz:^=M=rA'im W?P-:L_^ ^nMnML iho wi-gan - e ho wi-gan - e ho wi-gan - e ho
O^gotcitci^yane' In form like a birdSiwa^wigane^ It appearsAnalysis.?This song is based on the second five-toned scale." Itbegins on the octave and -the principal interval of descent is theminor third. The long note at the beginning of the measure is oftenslightly prolonged. The metric unit of voice and drum is the same,but the voice deviates somewhat, while the drum is maintained withmechanical regularity. This song is given with the peculiar vibratowhich characterizes the I'.Iide' dancing songs.
oSeep. 7.
32 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
Song pictureNO. 3. It is in-teresting tonote that thedrawing sug-gests the skele-ton of a birdrather' than aliving bird.
Before initiation the candidate is taken into the woods by theinitiators and given an ''instruction/' each man talking to him for along time. Only one such instruction is given to a candidate for thefirst degree, the number of instructions correspondingto the degree to be assumed. In the first degree theinstruction is chiefly of a moral nature, the candidatel)eing enjoined to lead a virtuous and upright life. Heis taught also the names and uses of a few simple herbswhich he is expected to secure and carry in his Mide'bag. He may find these herbs for himself or procurethem from some other member of the order. In thehigher degrees the instructions pertain to the mysteriesof the Mlde', the properties of rare herbs, and thenature of vegetable poisons.During the days which precede the ceremony it is cus-tomary for the leading members of the Mlde'wlwin tohold preparatory meetings. Any man may prepare afeast and invite others to attend, each guest bringing apan or plate in which he carries away a portion of the food.At the close of such a meeting the host rises and says, "We willall sing and dance before you go." The principal ? guest lifts hispan of food, then all rise and sing the following song, the words ofwhich mean "I am raising it up." This refers to the pan of food,which is considered to be offered to the manido'. The same song couldbe sung if a sick person were to be treated by the Mide' and werepresent in the lodge. The words would then be understood as refer-ring to the sick person.After the singing and dancing the principal guest leads and allfollov '>"*"" ts he walks around the lodge and out of the door.No. 4. Preparatory Song (Catalogue no. 190)Sung by O^deni^gunAnali/sis.?This song moves freely along the tones of thefourth five-toned scale. The basis of the song consists of twomajor triads on G flat, one in the upper and one in the loweroctave, with E flat as the passing tone, but the presence ofA flat as an accented tone classifies the song as melodicrather than harmonic. We can not safely infer a chordunless more than one tone of it occurs in the melody, andthere is no contiguous tone which can be associated with Aflat in diatonic chord relation.The chief musical interest of this song lies in the factthat the metric unit is the measure, not the individualpart of the measure. There is no apparent relation between the metricunits of voice and drum.
dexsmore] CHIPPEWA MUSIC 33A variation between the words as sung and the words accom-panying the translation will be found in many Chippewa songs.Many words are dismembered and have meaningless vowel soundsinserted between the syllables; in many instances only a portion ofa word is used, and the pronunciation is often changed. Throughoutthis work the words beneath the music are transcribed as given bythe singer. The words translated are the correct Chippewa and acomparison between the two will show the changes made by thesinger. Thus in the present instance it will be seen that the syllablehwe or wi is substituted for the two syllables nin-do, which are thebeginning of the Chippewa word; the syllable hi is also inserted inthe word. Meaningless syllables are italicized, whether insertedbetween parts of a word or between the words of the song.Voice ^ = 84Drum 108(Drum-rhythm similar to No. 1)
=9^t^by-td^r-r?r?
N
34 BUKEAU OF AMERICAN ETHNOLOGY [bull. 45No. 5. "My Pan OF Food" (Catalogue no. 240)Sung by Main'ansVoice 126Drum J ? 92(Drum-rhythm similar to No. 1)i2^ . ^r-l 1 1 1 r^ -t h?rF rF- :p=P=Ea ni wa - koii i - naVoice J.= 88 ha ha ha ha ha ha ni wa-kon i^*
na Aa niis^^ It- ^^^^J^^Jft-r^ wa - koii i - nai 5E Aa-#?
^
Aa ni wa kon i
.F=^=t: ^?^
na Aa ni wa-kon i ^a Aa 7it wa- kon i - na ha ni
=9i|=t i: -f2- ?=P=P=i=? =P=^t=F?^=L^ =t=F= 1wa- koii i - na ha ha ni wa-kofi i - na ha ni wa-koil i - na
ha
:9* ha ni wa-kon i - na ha ni wa ? koii i - na^-
nin - do - na - gun eHarmonic analysis: ^ he ha ni wa- kon i - napii
ha
_^_^_i=z
/la ni
Wa^koil On my armIna' BeholdNinMona'gun My pan of food
Song picture Analysis.?This sono; is plainly harmonic in structure, asNO. 5. The i\^Q melody tones follow the intervals of the major triad inhis dish of the upper and lower octaves, the sixth being used as afood, as passing tone. Two renditions of the song were secured,stated in thesong. each beginning with several measures in slower time.
PEN'SMOEE] CHIPPEWA MUSIC 35The rhythm in these measures is uncertain and can be only ap-proximately indicated, but after the change of time the metricunit is marked by the pulse of the measure beginning, which is veryregular.Before singing the second closing song the leader might say, "Iwill now depart and announce that the feast is ended.
"
No. 6. "My Pipe"Sung by Main'ansVoice Jz= 108Drum J^^ 96(Druiu-rhylhm similar to No 1
)
(Catalogue no. 241)
ifct? P???
?
?\ m m fi?^???- t=rS^EEB
uin- do - na - gi - ci - ma we do na - ari - cim =F^=t=g=
nin - do - na ^i - ci - ma we nin - do - na - gi - ci - ma
we nin - do - na uiu-do-pwa-gfin e nin
Nindo'nagicima' I am raisingNinMopwa^gun My pipeAnalysis.?The singing of this song was preceded byvery rapid drumming, the drum beats being in the valueof sixteenth notes, at ^=144 (two drumbeats to each beatof the metronome at 144) ; with this rapid drumming theejaculatory ho lio lio Jio oi the Mide' was given.This song begins on the unaccented portion of themeasure, which is somewhat unusual. The melody beginson the twelfth and follows the descending intervals of the fourth five-toned scale. The harmonic basis is the same as in the preceding song,but the use of the second as an accented tone places it (according toour present classification) among the songs whose structure is melodicrather than harmonic.
Song pictureNO. 6. Theman raiseshis dish offood and alsohis pipe.
36 BUREAU OF AMERICAN ETHNOLOGY [bull. 45At the close of this song the leader lays down his rattle, raises hishands with palms extended, and motions the people to follow him ashe dances out of the lodge.It is expected that those who have been invited to this feast willbuild the JVIide'wigan (Mide' lodge), where the initiation ceremony isto be held. This is done soon after the close of the feast, and as somany are at work?some cutting the poles and others cutting brushor bringing dry hay?the building of the lodge requires only a shorttime.Plate 5 shows a Mide' lodge with a ceremony in progress. At thisceremony Wa'wiektim'ig was advanced to a high degree. The struc-ture is made of a framework of poles interlaced overhead to form aroof whose arch suggests the dome of the sky. In unfavorableweather this framework is covered wdth branches. The size of thelodge varies according to requirement. It is usually from 50 to 100feet long, 12 to 15 feet wide, and about 8 feet high. In the old daysseveral hundred people attended the Mide'wiwin and the lodge atthat time is said to have been so long that a person at one endcould not hear voices at the other end and could judge the progressof the ceremony only by the sound of the drum.For an initiation into the first degree the lodge (see fig. 4) extendseast and west, with a door at each end. For an initiation into thefourth degree the lodge is built wdth four doors?east, west, north, andsouth. If necessary for warmth, two fires are made, one in front ofeach door. A large stone is placed a short distance west of the firewhich burns near the eastern door. This stone symbolizes the powerof the IMide' as a defense, one man stating that the Mide' is like astone to throw at an enemy. West of the center of the lodge is thepole belonging to the person to be initiated and known as his medicinepole. If he is to take the first degree this pole is decorated with anarrow blue band at the top, below which there is a broad band ofred, the remainder of the pole being unpainted. For an initiationinto the second degree the pole is decorated with a broader band ofblue, the width of the band of red remaining the same. It is alsoplaced nearer the w^est door. For the third degree an effigy of abird is placed near the top of the pole, for the fourth degree a cross-bar is placed in the same position, and for each succeeding degreethere is a prescribed form of decoration.On the day set for the initiation ceremony, just before sunrise, theoc'kabe'wis and the person to be initiated go to the lodge carryingon their backs the gifts which the latter wdll present to the initiators.They go around the lodge four times, enter the east door, and hangthe gifts upon poles provided for the purpose. These gifts consistof blankets and cloth as well as tobacco and food. The oc'kabe'wisremains in the lodge to complete the arrangements.
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 5
INTERIOR VIEW


BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 6
MAIN'ANS AS LEADER OF A MIDE' CEREMONY
DENSMORB] CHIPPEWA MUSIC 37Next a dog is killed for the feast. There is nothing ceremonial ineither the selection or the killing of the dog; the latter takes placeat some distance. The body of the dog is laid at the door of thelodge and the entire procession steps over it, after which it is carriedaway and cooked.Early in the morning, before the hour set for the ceremony, theperson to be initiated goes to the lodge again, accompanied by theleader, the four initiators, and the oc'kabe'wis.The next event is the sending of the oc'kabe'wis with invitationsto the members of the Mide'wiwin. These invitations are in theform of round sticks about the diameter of a lead pencil and about 6inches long.From one lodge to another the oc'kabe'wis goes, distributing thesticks to those members of the Mide'wiwin who are entitled to attendthe ceremony. If a person has committed some offense against thesociety he is not included in this invitation. The oc'kabe'wis countsthe sticks as he gives them out and returning reports the number tothe initiators, who thus know the number who will be present at theceremony. Only members of the Mide'wiwin are allowed to bepresent in the lodge during the initiation. This company of peoplehave a leader appointed by the man in charge of the ceremony.They assemble a short distance from the Mide'wigan, each carryinghis medicine bag, and an empty pan in which to carry away a por-tion of the feast. All are dressed in their finest except two whoare called za'gimag' , whose duties will be explained. At the propertime the leader moves toward the lodge followed by the company insingle file. They march once around the lodge, singing the follow-ing song: No. 7. Processional (Catalogue no. 54)Sung by Be'cigwi'wizans ("'striped boy ")Analysis.?This song begins on the fifth of the key and ends onthe fifth, having a range of one octave. The tempo is very rapid,and the song is marked by vigorous accents. Thetwo words are repeated in each line of the song, /iTnT7T4??--^?'Ar^and pronounced very indistinctly. [KAt the eastern door the leader of the company ^?J^ picture no. 7.
, The oblong representspauses and makes a plea to the Mide manido , the Mide'wigan. inwith right hand extended and left hand shaking ^^^ ''^'^^^^ '^ ^ ???s^ , . Po's 0? which arehis rattle, (bee pi. 6.) Ihree times he advances hung the gifts to beas though to enter and as many times withdraws as bestowed by the per-1 1 ? / mi p 1 ? 1 1 ? 1 ^?? initiated. Thethough m rear, i he fourth time he puts his head procession is enteringand shoulders through the opening and looks the lodge.about as though in search of danger. Then he enters the lodge, fol-lowed by the company. Main'ans, the elder, stated that in this
38 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
entrance the leader impersonated the bear, who is intimately asso-ciated with the Mide'.As the company march around the lodge the leader extends hishands toward the stone, the miti'gwakik', and the medicine pole.This is an act of reverence.Voice J =168Recorded without drum ^^i?54: ijgSfeNin - kjifi - oS^^,t=: cka - na - ki^= plu - di - ge-/? M m- yan.iit =t===Fnin-djin- o - cka-na - ki wa pin - di - ge - yan@??E^ =J^S: :t::m^nil! - djiii - o - cka - na - ki^=^?^ fT-m pin - d! - ge - yanSe^lie he e ha ni da ya
_^_^_^?^^.
niu-djiii-o - cka-na -ki wa?^E ii^i=ii:4-r^f=r=1^ -_D:pin-di - ge - yan^m uin-djm-o - cka-ua-ki wa pin-di-ge - yan^: t:^; m inin-djTii - o - cka-na - ki pin - dl - ge - yau
NinMjingocka^naki The ground trembles 'Wapin^'digeyan^ As I am about to enterWhile marching around the inside of the lodge the company singsthe melody which was sung as they marched around the outside, thefollowing words being substituted
:
Cagwani^moyan^ My heart fails meWapinMigeyan^ As I am about to enterManidoVigan'in The spirit lodgeThe company marches around the lodge three times, and whilemaking the fourth circuit they sit down wherever they like.The diagram (fig. 4) shows the arrangement of the Mtde'wigan andthe position of its occupants during the ceremony. The oblong
densmore] CHIPPEWA MUSIC 39
represents the lodge. At each side of the eastern entrance are twofigures. The first pah' are "fiery dragons which disappear into theground if the candidate has the proper offering;" the pair nearestthe entrance are "servants of the Mide' manido', who may refuse toadmit the candidate if they are not satisfied with him." The foot-prints at the entrance indicate that the man who entered impersonatedthe bear. The candidate sits next to the eastern entrance; besidehim are the leader and the oc'kabe'wis. The four initiators sit nearthe western entrance, on the north side of the lodge; their positionis, however, not arbitrary. Along the sides of the lodge sit the mem-
y- w
Fig. 4. Diagram showing arrangement of MIde'wIgan during initiation ceremony of first degree.(Drawn liy the elder Main'ans.)bers of the Mide'wiwin. A fire burns near each entrance. The stonenear the eastern entrance is shown, also the medicine pole and thepile of gifts beside it. The figure east of the pole shows the secondposition taken by the candidate for initiation; the dot west of thestone is where the drum is stationed during the initiation; the two dotseast of the stone show the position of the drum after the initiation,at which time it is played by the old leader and the oc'kabe'wis; thefour dots near the center of the lodge represent mi'gis and will beexplained later. (See p. 48.)The following song is sung after all are seated.No. 8. Introductory Song (Catalogue no. 55)Sung by Be^cigwi'wizansAnalysis.?The tempo of this song is even more rapid than thepreceding, the metric unit being the entire measure. It is based onthe major triad in the upper and lower octaves, withthe sixth as a connecting tone, the sixth being moreprominent than in most songs of similar harmonicstructure.After this song the invitation sticks are collected,counted, tied in a bundle and laid at the foot of themedicine pole.
Song pictureNO. 8. Thegifts are againshown.
40 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Next a feast is served, each person receiving his or her portion inthe pan brought for that purpose. At this feast the dog is served;portions of rice or other food may be carried away but it is requiredthat all of the dog be eaten in the lodge.Voice ^ =; 84Recorded without drum
-?- -? -?- ? -?
-I? +- -t? 4?mm ?=? f- Si-^ -(5>-^A - i -gwQ. gi - wi - ml - de - wi - i - go ni kan f=f=^Ia - i-gwQ.
?-????i-^? ^i=^EiEiL3EE&aSfeEtf^S -psaa wi-mi - de - wi-i-go ni - kan a-i-gw(i gi-wi-ml- deW -G>-^?-G> :p=P= Ttzi: -sH i-i<?iJ^^wi-i-go ni - kan a - i - gwfi gi-wi - mi - de -wi-i-go ni - kan.WORDSAigwii' We are nowGiwi'mide^wiigo^ To receive you into the Mide'wlwinNikan' Our Mide^ brotherHalfway down the lodge sit the za'gimag', whose faces are notpainted.The leader then dances around the lodge carrying the miti'gwakik'.He moves along the curves indicated in the diagram (fig. 5). After
Fig. 5. Diagram showing course followed by leader during initiation ceremony of first degree.
encircling the lodge he leaves the miti'gwakik' in front of the twoza'gimag', who begin to sing the ni'miwtjg' (dancing songs), duringwhich any persons who wish may rise and dance in their places.There are a large number of these dancing songs and they aregreatly enjoyed by members of the Mide'wiwin.Main'ans, the younger, stated that he sang the following song whenhe was a za'gimag'. The words contain a reference to water. Thisreference occurs frequently in the Mide' songs ; it will be noted thatthe water is usually represented as in action?bubbling, flowing,seething, or casting up the white Mide' shells.
DENS.more] CHIPPEWA MUSIC 41No. 9. Song of the Za'giMAG' (Catalogue no. 242)Sung by Main'ansYOICE J=: 120Drdm J= 120( Drum-rhythm similar to No. 1
)
mW- 4= SE^ .A ^ ^.:EE3 ^ =L^J:4:Wac ke - a - bog o ho ho iii - wa - a - ac - ke - a - bogS? ESJE^^^Bi^^jiEil^P^MEEEEJIlgho ho ho ho ho ho ho ni - wa -ha-ha - wac - ke - a - bogggjEgEEgE^lg^gJI^^lipP^^Ao ho ni - wa,- ha-ha - wac-ke-a-bog o ho ho ni-wa-a-ac-
=^^-p?f?^- Si^i^i^^
^i*ke-a-bog o ^o /io ni-wa-a-a - wac-ke-a-bog o ho ho^
-^^m. :t=P aWA: \-Azwe-weu - dji-dji-wfiu e he he we-wen - dji-dji-wfin3^i^^ES^ w=r- ?
?
0- W=^ w ^-i-^.
e he he he ui-wa -ha-ha - wac-ke-a-bog o ho ho niWORDSNiwa^wacke'abog' A bubbling springWe^wendji'djiwuii' Comes from the hard groundAnalysis.?This song is an excellent example of the manner in whichejaculations are interpolated into the Mide' songs. In portionsof the song the rhythm is rigidly maintained. For instance, in themeasures containing four quarter notes these notes are of exactlythe same length, and the difference between the 3-4and 4-4 measures is unmistakable, but in the fifth andsixth measures, where there is a repetition of the syl-lables, the rhythm is irregular.The pulse of the drum is absolutely regular through-out. The peculiar succession of measure lengths givesan appearance of great rhythmic irregularity, yet themetric unit of the quarter note is, with the exceptions mentioned,quite regularly maintained.
Song picture no.9. The course ofthe stream isshown.
42 BTJREAtT OP AMERICAN ETHNOLOGY [bull. 45Other examples of the ni'miwCig are given at the close of thischapter.The za'gimag;' then carry the miti'gwakik' around the lodge andplace it west of the stone, where it remains during the rites ofinitiation.The leader then encircles the lodge four times, with right handextended, left hand shaking the rattle, and head bent forward; thisbeing finished, the oc'kabe'wis takes down the gifts from the placewhere they have been hung; the blankets are folded and laid at thefoot of the pole, care being taken to have them placed in the properorder for distribution, the other gifts being conveniently })laced onthe ground.The person to be initiated is then escorted to the pole by theleader, moving along the dotted lines indicated in the diagram (fig. 6).
^ ? r* ; ^, w
Fig. 6. Diagram showing course followed by candidate, escorted by leader, in dance at MIde'initiation ceremony of first degree.He moves slowly at first, then very rapidl}^, ejaculating lii hi hi, andshaking his rattle.The candidate is seated on the pile of blankets at the foot of thepole, facing the east.Wliile escorting the candidate to the pole the following song maybe sung: No. 10. Escorting the Candidate (Catalogue no. 237)Sung by Main'AnsAnalysis.?This song was sung three times, the transcription beingfrom the third rendition; the others are identical in the pulse ofmeasure beginnings and the outline of intervals, but vary slightly inunimportant note values.This song is a particularly good example of a feature which char-acterizes the Mide' songs and which has a direct bearing on theproblem of musical development. The unvarying portion of thesong is the pulse of the measure beginnings, which is uniform in allthe renditions, while the pulse of the "counts" in the measures is notmechanically regular and more nearly resembles the rhythm of cere-monial speech. This suggests the possibility that the transition from
DENshore] CHIPPEWA MUSIC 43
ceremonial speech to song may be by the adoption of large rhythmicpulses which are first made absolute, the rhythm of the interveningportions being less rigidly controlled and retaining the character ofceremonial speech.VoiCK ^ . ?54Drum J =92( Drum-rhythm similar to No. 1 )
-#?
^
i 1??W
?
ka - a - an gi -- wa - ni - no - Aa-ui - no ho ho ho ho nii fer ?^-???-=-^r.^^^?^?
^
i^^^^^^gl^fr ka - a - an gi - wa - ni - no - se he he ui - ka - a - S.u gi
=9^ifc^wt- 3: :?=^^:LS: =^E? ;^wa-ni -no se he he ni-ka - a-au gi wa - ni - no - se.WORDSNikan^ Our Mide' brotherGiwa^ninose^ You are going aroundMide^wigan The Mide' lodgeThe rhythm of the drum is mechanically regular andits metric unit has no relation to that of the voice.After escorting the candidate to the pole the leadersummons the men previously selected to perform therites of initiation. These men move along the northernside of the lodge and take their places at the south sideof the eastern door, the man designated as ne'mita'mafiii'being first in the line and the man designated as we'daked'being last. Each of these men has a mi'gis (a smallwhite shell used in the Mide') in his mouth. The ne'mi-ta'maM' then blows on his medicine bag and dances,standing in his place. He "then walks toward the candi-date, ejaculating we Tio ho lio ho! and extending his medi-cine bag with each ejaculation. As he reaches the can-didate he "shoots" him, thrusting the medicine bagtoward him and ejaculating with great vehemence. It
Song picture no.10. The candi-date for initia-tion is seen ap-proaching themedicine pole.The branches ofthe sapling arehere shown inthe drawing,though they arecut when thepole is in use.In this connec-tion they sym-bolize the life ofthe tree. (Com-pare drawings ofsongs nos. 44and 55.)is difhcult to
44 BUREAU OF AMERICAN ETHNOLOGY [bull. 45describe this ejaculation, which is not loud but very forceful, with apeculiar throbbing tone. It is exceedingly impressive, and the hearercan not fail to realize that the entire power of the speaker is beingprojected toward the person under treatment, whether that treat-ment be intended to remove some inner defect, as in the Mide'ceremonies, or to cure some bodily ailment, as in the treatment of thesick.When the ne'mita'maM' ''shoots" the candidate for initiationthe man is said to feel the force of it in some part of his body and in-dicates his responsiveness by laying his hand on his shoulder, knee, orwhatever part may be affected. The ne'mita'mauii' then passes alongthe northern side of the lodge and takes his place at the end of the line.The man next to him does preciselywhat he has done, and is followedby the others, who in turn take their places at the end of the line.After each ''shooting" the candidate indicates in what part of hisbody he feels the effect.This "shooting" draws heavily on the resources of the personperforming it and is very exhausting. A man often calls upon hisbrethren to assist him. They do not leave their places but areexpected to exert their power in his behalf. A woman frequentlyfinds herself unequal to the exertion, although she has been ap-pointed one of the initiators. In that case she may ask a man to takeher place by doing the more exhausting portion of the work. Shebreathes on her medicine bag and hands it to him for his use.They move forward together, he walking close behind her, utteringthe ejaculations and moving the medicine bag in the prescribedmanner.Before the we'daked', or the last of the initiators, moves towardthe candidate, he may turn to the leader and say, ' 'Now I will stir upthe spirit that is in me ; I will stand and dance and I ask your assist-ance." He then dances in his place. In his hands he holds allfour of the medicine bags and breathes on them that the powermay be intensified to the greatest possible degree. He extends hisright arm to its fidl length and moves toward the candidate,raising the medicine bags and bringing them down with the forceof a heavy blow as he ejaculates wa a hi hi hi wa a hi hi hi!, throwingall the strength of his being into the motion and the rhythmic sound.Slowly he moves forward. It is the climax of the entire ceremonyand the members of the Mlde'wiwln wait in tense silence until thecandidate falls prostrate on the ground, overcome by the "spiritpower" of the initiators.The following is an example of the song sung at this point in theceremony. Other examples are given at the close of this chapter. Alarge number of these songs is available; the selection is made bythe leader of the ceremony.
DENshore] CHIPPEWA MUSIC 45
m
No. 11. First Initiation Song (Catalogue no. 61)Sung by Be^cigwi^wizansVoice ^ ;= 44Drum J? 96( Drum-rhythm similar to No. 1
)
-?- -?- -?- -?- -?- -G>- -^- -0- -?- -?- M -0- -0- -0-
.J^|iEEEEEE?=Em? =P=P= -^-- r-
^r-
Wa sin-dou-di-na -wa ha ni-kan i na wa sin-don-di-na
-fS (2 r?P?? ? ? ^?r-^f^ -"h" f^-"f'?P?r--^ f2-
?:i2: ^S3EEE 4=r=Ewa ha ni - kan i na wa sTu -dou-di-ua - wa ha
? 0- -0 f?- =E=E=F=?ito=Ep=f ?=B =Bni - kau i na wa sin-dou-d! - na - wa ha ni - kan i na
Interpolation1st rendition, after 6th measure
^- -i9-t4f^ =f= h^i2d rendition, last measurem^ =f==f:=P=hi hi hi hi
3d, 4tli and 5th renditions, last three measuresJ . rz: 44
^^^^.l?S: iES =EE=^ ^- -?????- =F=-h-Ai At hi hi hi hi hi hi hi hi hi hi hi hi hi
Wasu'' From a long distanceNindon^dinawa' I am shootingNikan' My Mide^ brotherAnalysis.?This song is sung during the actual
"shooting" of the candidate and presents an exam- Song picture no. ii.pie of the combination of song and ejaculation which is used at thisportion of the ceremony. Six renditions of the song are on the pho-nograph record and the interpolated syllables differ in the successive
46 BUREAU OF AMEEICAN ETHNOLOGY [bull. 45
renditions. In order to make this clear, the transcription of thesong is followed by a transcription of these syllables. The metricpulse of the measure beginning is maintained throughout the ejacu-lations, although after the second rendition these syllables are givenin triple time. This shows the pulse of the measure beginning to beclearly established in the mind of the singer. There is no relationbetween this and the metric unit of the drum.After being "shot" by the we'daked' the person who is beinginitiated falls prostrate on the ground with arms extended. Whilehe lies on the ground the four initiators gather around him, placetheir medicine bags on his back, and sing the following song
:
No. 12. Second Initiation SongSung by Be'cigwi^wizans (Catalogue no. 62)Voice J = 72Drum J:=i 92( Drum-rhythm similar to No. 1 );SEEE^a :ti^i2z4: i?i wi - na- ke ni hi hi wi-na-ke ni hi wi-na-ke ni\??I5E|=EEE^3^???
?
^- -?- -0-
-f5>-X^ ^-r-^- #???
?
s -15'-hi hi wi - na-ke ni hi wi - na-ke ni hi hi-wi - na- ke nii^^^SE^? itzthi wi - ua - ke ni hi hi wi -na-ke ni hi wi- na - ke ni
Wa^wina^ke
.
WORDSI have shot straightAnalysis.?This melody begins on the fifth of the key and ends onthe fifth, having a compass of one octave. It contains only the tonesof the minor triad and the fourth. There is no relation between themetric unit of voice and drum.Following this song the four initiators raise thecandidate to a sitting posture and a mi'gis comesfrom his mouth. One of the initiators then takesthe mi'gis and walks once around the lodge. Paus-ing near the candidate, he breathes on the mi'gisand extends it toward the east, breathes on itagain and extends it toward the south, repeatingSong PICTURE NO. 12. ,i i i. i- xu v - j. j j-uthe process and extendmg the mi gis toward thewest, north, and the zenith. This being done, the mi'gis is said todisappear again into the body of the person being initiated, who falls
densmore] CHIPPEWA MUSIC 47prostrate as before. While he hes prostrate one of the initiatorsfastens on his back a medicine bag corresponding to the degree hehas taken. In the first degree this bag is made of the white skin of aweasel. The initiators then raise the candidate to his feet and with-draw to the eastern end of the lodge, the following song being sung:No. 13. Third Initiation Song (Catalogue no. 63)Sung by Be^cigwi^wizansVOICK (^1 ? 80Drum J -_^ 96(Drum-rhythm similar to No. 1)
bi
48 BUKEAU OF AMERICAN ETHNOLOGY [bull. 45tors, and the oc'kabe'wis, personally thanking each for his share inthe ceremony.It is considered that after the distribution of these gifts the candi-date is fully initiated.The next event is the showing of their mi'gis by the four men whohave performed the initiatory rites. The leader requests them to dothis. A blanket is spread on the ground east of the medicine pole,and a man is appointed to stand beside the blanket and receive themi'gis. (Fig. 4 shows four mi'gis laid in the position indicated.)The ne'mita'mauii' leads the line of initiators. As they approachthe blanket each man in turn makes a rasping noise in his throat andtakes a mi'gis from his mouth. These shells are received by the manappointed, who lays them in order on the blanket. When all the mi'gishave been deposited there the ne'mita'maun' looks along the line tosee that all are ready. The men are watching him, and at his signalthey all replace the mi'gis in their mouths with a uniform motion.After showing the mi'gis the initiators return to the miti'gwakik'and sing together. The ne'mita'maun' holds the stick and pla3^sthe drum first, the others shaking their rattles. Then he hands thestick to another of the group, and so on until all have played thedrum. Four cici'gwan (rattles) are used in this portion of the cere-mony, no two having exactly the same tone. (See pis. 1,2.)The miti'gwakik' is then removed to a position between the stoneand the eastern entrance (see fig. 4) ; the leader takes his place atone side of it and the oc'kabe'wis at the other, the leader poundingthe drum and the oc'kabe'wis shaking a rattle. When they begin tosing the members of the Mide'wiwin sitting on the south side of thelodge spring to their feet, advance toward those on the north side,and "shoot" them with their medicine bags. The latter fall insensi-ble, but in a short time recover consciousness and advance towardthose now seated on the south side, "shooting" at them with theirmedicine bags. These in turn fall insensible, and the ''shooting" iscontinued until all present have been "shot" with the medicine.This ceremony of initiation usually lasts until late in the afternoon.Meantime food is being cooked outside the lodge and when the
''shooting" is finished this feast is served and anyone who lik>^s mayfreely enter the lodge. This is the social feature of the event. Onlymembers of the Mide'wiwin are present at the initiation, but allthe members of the tribe may share in the feast and the dancewhich follow. The nature of this feast is not prescribed. The dogwas a feature of the ceremonial feast which took place in the earlypart of the ceremony. Food for this feast is provided by variousmembers of the tribe and a portion is usually carried home by eachperson. According to custom, the old men are served first.The following song is sung when the food and tobacco are broughtin and placed before the leading members of the Mide'wiwin:
DENSmore] CHIPPEWA MUSIC 49No. 14. First Song of the Feast (Catalogue no. 65)Sung by Ki^tcimak'wa (" big bear ")Voice ^ ^ 69( Recorded without drum)
^^_
Ni-k9,n-ftg e e nin-da - ca- mi-gog e
_^ ? ' p .(2 (2-
-&- t:^ 3:t=: e ni - kan i hii-TT-,f=2 (2 =?^-Fna ni - kan-1ig e nin-da- ca-mi-goo e ni- kS,n+m^$^^EE^$=Pf T=F=F=Ef ^mF=a.-2
^^tifea =1= ni - kan- fic^=::i=i=^==^:^j nin-da - ca- mi-gog-i ! ^--7^- -4 ^ *? IS*:a: Sz^ ? 3-ni - kan Ae na ui-kan- ftc Aem^^^ m^ 1:2:fc -5*-
-s*-ni - kan ca - mi - gog he iii-kau e he na ni-kan-fig
-(2 (?'
e nin-da- ca-mi- gog e he ni-kS,n- i hi na
Nikan^ug My Mide^ brethrenNinMaca'migog^ Have given me this feastAnalysis.?This is a particularly free melody, begin-ning on the second, ending on the fifth of the key, andhaving very little feeling for the fundamental chords ofthe key. The intonation usually falls on the second of song picturetwo similar tones. The rhythm of the song is peculiar, han'dis^shownthe first five measures constituting a rhythmic unit.The repetition of this unit is regular throughout thesong. A rhythmic unit regularly repeated suggests thata rhythmic idea or impulse may be the nucleus of themusical composition. It is of interest therefore tonote the occurrence of the rhythmic unit in this series of songsAfter the feast is served the following song is sung
:
12692??Bull. 45?10 4
bestowing thefeast, whichthe singerstretches u phis own handto receive.
60 BUKEAU OF AMERICAN ETHNOLOGY [bull. 45No. 15- Second Song of the Feast (Catalogue no. 66)Sung by Ki'tcimak^waVoice J = 76Recorded without drum?53=?=^ ??^?^= ??3S =t=?=FCa - we - ni - mi - wa - ad ni - kau - Cig e Tie he ca -
rg?-=t^t=E: ^F=t3^f^ :P=^-we - ni - mi - wa - ad ni - kan - Cxg e he he he caaa SS: -J????
?
?
-E a 1?F=?^we-ni-mi-wa -ad ni-kS,n-fiQ; e ?ie Tie ca - we-ni-mi -wa -ad ni-
3kau-dg e he he ca - we-ni-mi-wa - ad ni-kan-fig e he he
Cawe^nimiwad' I have received great kindnessNikan'ug '. From mj^ Mide^ brethrenAnalysis.?The phonograph record shows an interesting featureof this song which it is impossible to transcribe. On the second andthird counts of each measure the tone is soundedsHghtly before the proper time, giving a pecuhareffect of rhythmic irregularity. This may be dueto the fact that no drum was used and that thedrum is usually struck slightly before the metro-nome time. The voice may have unconsciouslyimitated the drum in this respect.The joyful character of this melody presents acontrast to the serious ceremonial songs which pre-cede it. The tones are those of the fourth five-toned scale and the song is distinctly melodic incharacter.After the feast is finished the men wdio havereceived gifts carry them to their own lodges withtheir portion of the feast; later they return to join in the dance,
"which is of an entirely social nature. At this dance a man may sing
Song picture no. 15.The MIde'wInl'nlholds in his hand theblankets and othergifts which he has re-ceived from the per-son initiated.
DENSMORB] CHIPPEWA MUSIC 51his favorite "medicine song" and any others who know the samesong may rise and dance. A great variety of Mide' songs are usedat this final dance.When it is time for the company to disband, the four initiatorsstand together at the southeast corner of the Mide'wigan, the ne'mi-ta'maCifi' at the head of the hne. The music is very Hvely andeveryone is in the best possible humor. The initiators are the firstto leave the lodge, dancing out at the western door, followed by thecompany and the newly initiated person, the leader being the last toleave the lodge. The person who has been initiated takes with himthe medicine pole and the stone, which are his personal property;these he carries to his lodge and makes a feast in their honor. Afterthe feast he takes both the pole and the stone to some secluded placein the woods known only to himself. There he often goes, keepingthe place clear of rubbish and undergrowth. The stone remains therealways, but the pole may be removed by its owner for use in futureceremonies.The person who has been initiated also retains as his personalproperty any songs which he can remember from hearing themsung during the ceremony, it being considered that his gifts to theleaders are sufficient to entitle him to these without further payment.Each of the men who assisted at the initiation ceremony andreceived gifts is expected to make a feast after the ceremony andinvite the newly initiated. At this feast he gives the newly initiatedthe mi'gis which he exhibited at the ceremony. Thus the initiatedreceives one mi'gis from each of the men who assisted at the cere-mony. These he keeps in his Mide' bag, adding from time to timesuch medicines as he has learned to use.Ceeemony for a Dying ChiefAn opportunity for the writer's personal observation of this cere-mony occurred in July, 1907, at Leech Lake, Minnesota, during thelast hours of Nigan'Ibmes' ("leading bird of prey"), the hereditarychief of the Pillager band of Chippewa. Nigan'Iblnes' was son of thefamous chief Flat Mouth and was always known by his father's name,which is used therefore in this description of the ceremony.After the agency physicians in consultation had concluded that theold chief could live only a short time, he asked and was granted permis-sion that a Mide' ceremony be held in the hope of prolonging his life,or at least of making his last hours more comfortable. Accordinglypreparations were begun and a man named Na'joi'se ("two personswalking ") was selected as oc'kabe'wis, or herald. It was decided alsothat the leader of the ceremony should be Ge'miwiinac' ("bird thatflies through the rain"), the oldest Mide'winl'nl on the reservation,
52 BUREAU OF AMERICAN ETHNOLOGY [bull. 45almost totally blind, but supposed to be very powerful (see pi. 9).Invitations were sent to eight members of the Mide'wKwIn. Theseinvitations were in the form of round sticks, about 5 inches in length.Each member brought his invitation-stick with him, and prior to theceremony the sticks were tied in a bundle and laid on the ground atthe foot of the medicine pole.For several days before the ceremony the Mide'wInrnI sang withthe Mde' drum in Flat Mouth's wigwam. The singing was also con-tinued at intervals throughout the entire night. The ceremony tookplace on the afternoon of July 24, 1907. Early on the morningof that day a Mide' lodge was made and Flat Mouth was takenfrom his wigwam, carried thither, and laid upon a bed of boughsshaded by small birch trees stuck into the ground. The inclosed spacewas about 60 feet long and 20 feet wide, with rounded corners. Atthe openings, at the east and west ends, blankets were hung betweentall poles. The inclosure was formed of pine branches stuck into' theground and woven together, forming a barrier about 3 feet in height.Flat Mouth was laid in the place of honor at the south side of theeastern entrance. A medicine pole was erected in the center of thelodge about 20 feet from the eastern entrance, and between this poleand the entrance were located a fire, and a kettle in which a dogwas cooked.The ceremony was given according to the fourth degree, whichwas the degree held by Flat Mouth. The decoration of the pole cor-responded to this degree.In the morning six members of the medicine party entered thelodge, one of whom sang; he was evidently in charge of this part ofthe ceremony. The songs were unaccompanied, the rattle beingused by him while marching and while "treating" Flat Mouth. Therattle was similar to that shown in plates 1 and 2.After each song the leader led a procession around the lodge, shak-ing his rattle and ejaculating Wa hi hi hi hi', Wa hi hi hi hi'. Behindhim came a woman with food in a pan, then a man with a rattle, thena woman, then a man and a woman, each with food in a pan. Aftercircling the lodge several times the party stopped at the easternentrance and the leader made a speech, to which the others frequentlyanswered ho'. Then the leader walked before Flat Mouth, shakinghis rattle at arms, limbs, and body with ejaculations of ho ho ho'.This continued during the morning.In the afternoon Flat Mouth was laid upon a bed of boughs in thecenter of the lodge, west of the medicine pole. At this time theceremony proper took place, under the direction of Ge'miwvlnac',while Na'joi'se continued to act as herald and another member ofthe party took charge of the cooking of the dog.
DENS more] CHIPPEWA MUSIC 53The members of the medicine party were in the center of thelodge, the relatives and friends of Flat Mouth being seated along thesides of the inclosure. At the opening of the ceremony Flat Mouthwas carried several times around the inclosure on his green blanketand laid gently upon the bed of boughs.Then a man from Pine Point said he wished to brew a medicineof his own for Flat Mouth. He told of the virtue of this medi-cine and said that it might not cure Flat Mouth but he believedthat it would make him more comfortable. He said that the secretof this medicine was given him in a dream as a boy; tliat the prin-cipal ingredient was part of a large animal which he saw in his dream,and that he always carried this ingredient in his medicine bag.The consent of Flat Mouth being secured, the man proceeded tobrew the medicine. As he did this, he gave the ya a hi' , a hi, a hi, hihi hi hi, so frequently heard in the Mide'. He was joined by anothervoice, beginning about a fourth higher and sliding down to a unison.When the brewing of the medicine was completed Na'joi'se tookthe steaming cup and carried it five times around the old chief; thenhe gave the cup to Flat Mouth, who drank the medicine.This was followed by a ''prayer to the medicine pole," interruptedby frequent ejaculations of he he he.Then the feast was served. This consisted of the cooked dog,with the broth. It was required that all of this be eaten in thelodge. There were also bread and wild rice, portions of which werecarried away by the guests at the close of the ceremony.Each member of the medicine party carried a medicine bag, cor-responding to his degree in the Mide'wiwin. The members now stoodin a circle around the chief and each in turn sang a song, after whichthey marched once around the inclosure. The first few songs werewithout accompaniment, while the others were accompanied softlyb}'" the Mide' drum. There was a marked individuality in the songs,suggesting that each person may have been singing his special medicinesong. Next the members of the party, each chewing his own medi-cine, marched around the dying chief, and spit into a box of sawdustat his feet. A man then stirred this mixture, which was rubbed onthe soles of Flat Mouth's feet. Each member also laid a pinch of iton his body.Following tills, each of the medicine party sang a song and marchedaround the chief, "shooting" his medicine bag at him.Then all marched around the chief, carrying M3fde' shells in theirleft hands. Each person laid one shell on the chief's body in pass-ing, and after circhng his body took up the shell again. These shellswere similar to the mi'gis mentioned on page 48.By this time the old chief was failing so rapidly that it was deemedadvisable to carry him into his wigwam. This was done, the men
54 BUREAU OF AMERICAN ETHNOLOGY [bull. 45bearing him gently on his green blanket. Then they sang in hislodge. Instead of the Mide' drum they used the sharp, thin, doctor'sdrum and two rattles. The songs were different from those previouslyused, and of a melancholy cadence, the interval of the sixth beingflatted.Two hours later Flat Mouth died, his death being announced bytwenty rifle shots. This is the custom of the tribe, a few shotsannouncing the death of a child and a larger number that of anadult. As is customary with the tribe, the body was immediatelyarrayed in the best apparel and ornaments of the deceased ; beside itwere laid his pipe, fan, and rifle, also a cushion with a woven cover.In the early evening the ceremony was concluded briefly, as few" hadthe heart to dance. Flat Mouth's widow sat next the eastern en-trance, where he had lain that morning, and the dancers ''shot"their medicine bags at her as they passed. The chief's sister helda Mide' shell in her hand and frequently extended it toward FlatMouth's widow, who breathed on it, whereupon the sister danced againaround the drum.The Mide' drum used on this occasion was decorated in black,with a border at the base consisting of a broad band and four deeppoints. This was said to represent the pointed top of the ]\Iide'inclosure. Above this was the recumbent figure of an animal similarto that shown in the drawing of song no. 94 (catalogue no. 1). Thetop of this drum was of tanned deerskin, held tightly in place by ahoop wound with cloth. The singers stood and held the drum bythe corners of the leather which formed the top. Occasionally thewidow of Flat Mouth rose and, taking hold of a corner of the leather,stood silently and sadly beside the singers a few moments. Therewere usually four singers at the drum, one after another acting asleader; each pounded on the drum. One or two rattles were alsoused.At the close of the dance the medicine party went to their respec-tive lodges, each carrying a bundle of small gifts. All that night thesound of the Mide' drum and the monotonous singing were heard.The next morning the Mide'winl'nl conducted what correspondedto a funeral ceremon3^ The lodge was tightly closed, but the voicescould be plainly heard. The leaders were rehearsing the beliefs ofthe Mide' and assuring the family of Flat Mouth of their reality.Then they addressed the spirit of the dead chief, as it is believed thatthe spirit lingers near the body until burial. One after another theysat beside him, telling him to be careful to avoid certain turns in theroad to the Spirit Land, or to trust certain spirits who would meetand assist him. They spoke with extreme rapidity, punctuating thewords with occasional sharp beats on the drum.



BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE
DE'BWAWEN'DUNK
DENSMORE] CHIPPEWA MUSIC 55At the conclusion of this ceremony the writer was permitted to pho-tograph the dead chief. (See pi. 7.) On entering the lodge, the medi-cine party were found eating the funeral feast, which consisted of fruit,cakes, bread, and rice. The body of Flat Mouth was concealed by acurtain of white cloth. When the feast was concluded several photo-graphs of the dead chief were taken, the upper coverings of the wig-wam being removed to admit the light. Immediately afterwardthe body was lifted on its green blanket and laid in the casket,which was the best that could be purchased at the neighboring town.Beside it, in the casket, were placed the fan, pipe, war bonnet,and cushion. The fan consisted of an eagle wing decorated withdots of red in a design which belonged especially to Flat Mouth,being used by him alone. The cover of the cushion was a bag wovenof yarns. This weaving of, a bag without a seam is becoming a lostart among the Minnesota Chippewa.A long procession followed the body of Flat Mouth to the "heathencemetery," a village of low wooden shelters above the graves. Therewas no ceremony of any kind when the casket was lowered. The gravewas dug very large and almost circular in shape. Visiting the spot afew months later, the writer found that a pointed wooden house hadbeen erected over the grave, according to the custom of the Chippewa.The name Nigan'Iblnes' was painted on a narrow board i)laced on thepeak of the roof, and beside the grave floated an American flag.Songs for Initiation into the Sixth DegreeSuns; by DE''BWAWEN^Di7NKThe songs of an initiation ceremony difi"er with the degree whichthe person assumes, each degree having its special songs. The fol-lowing songs given by De'bwawen'dtink" (pi. 8) are those used wheninitiating a member into the sixth degree.Before singing the first song De'bwawen'dunk made a short speechin Chippewa, speaking to the four MIde' manido', explaining that hewas not going about the city belittling their religion, and beggingthat they be not offended because circumstances made it impossiblefor him to smoke the customary pipe before singing. This speechwas recorded by the phonograph.The singer stated that if these songs are to be sung in private or ata small gathering the men lay down their medicine bags, as they areto "sing to the bags." The man who is to sing the first song fillshis pipe and smokes it; then he calls on the four Mide' manido', wholive in the four "layers" beneath the earth. One song is sung byeach man.
o An old man from the Bois Fort reservation, a most devout adherent of the MIde'. These songs vi^ererecorded at Washington, D. C, whither De'bwawgn'dAnlc had come with an interpreter on businessconnected with tribal aflairs. The translations were given by his interpreter, Rev. Frank II. Pequette.
56 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 16. FmST Song (Catalogue no. 122)Voice J - 144Drum J =144( Drum-rhythm similar to No. 1
)
S5^^^
DENS more] CHIPPEWA MUSIC 57worthy of mention. In this as in other Mide' songs the pulse is notmechanically regular and the same variations are found in the secondas in the first rendition. This variation usually consists in a veryslight prolonging of the accented tones. This song and the succeed-ing song contain syncopations, which are extremely rare in the Chip-pewa songs. No. 17. Second Song (Catalogue no. 123)Voice J ,:= 72Drum J::= 126( Di-um-rhythra similar to No. 1
)
? ? -9- ^r-^p.. o?|??t?rt r ??r^ ??r??????-:-?' ?E!i: ^E=E=Wen-dji - mo - ki - yan e e e wen-dji - mo - ho - ho -ki - yan
^^ r- SE -1 m m & EEESE^HE =F=e he he wen-dji- mo- ki-yan e he Aewen- dji-mo - ho- ho -k.i-ya,n
^^^=i=:t^ =^^- :EE^EEF^E=r=EE=^he he . wen -dji -mo-ki - yan e he he wen-dji -mo- hom^ :F- ll^^S ;E==E=^dho - ki - yan e na-wo-kfim-i-gau a ge he he wen - dji
Nawo^kumigan^ In the center of the earthWen'djimo^kiyan^ Whence I comeThis and the remaining songs of the set were recorded a few dayslater than the first song. At this time tobacco had been provided,which the old chief smoked in silence. When hewas ready, he seated himself before the phonographand again made a speech, translated as follows:I am not doing this for the sake of curiosity, but I havesmoked a pipe to the Mide^ manido^ from whom these songscame, and I ask them not to be offended with me for singingthese songs which belong to them.Analysis.?This song is of unusually small com-pass, and it is interesting to note the drop of aminor third to D with a return to the tonic F.This is rare in the Chippewa songs recorded, but has been noted inother primitive music. In this song the metric unit is the measure,the pulses of the parts of the measure being less uniform and regular.The song closely resembles a chant.
Song picture no. 17.The "center of theearth'" is plainly indi-cated in the drawing.
58 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 18. Third SongVoice J ? 96Drum J r= 1 52( Drum-rhythm similar to No. 1
)
(Catalogue no. 124)
Nil! - go - ^0 - saS^^h: ^m^-^=m^^sa ha ha win -go -ho - sa uiu-go-^o-sa uin-go-sa nin-go-
=9-S?t-^?IsSilE^^ =t=^
sa nin-go-^o-sa niu-go-sa niu-go-sa uin-go-sa ni - gi
wa - a-min e - bid e ma - ul - do i ne iiin-go-sa uiu - go - saWORDSNingo'sa I am afraid ofNikan' My Mide^ brotherNigTwam'in In my lodgeE^bid Who dwellsAnalysis.?The chief musical interest of this sono; lies in the factthat the first word is variously accented. We find the musical accentfalling on each of the three syllables. In all Mide' songs the wordsare subordinate to the music, a peculiarity which is well illustratedin this instance. The beginning of the song on theimaccented portion of the measure is somewhatunusual.The remaining songs of the series are given in out-line instead of full transcription. This shows thetrend of the melody, but does not indicate either therhythm or note values. The metronome indicationwhich precedes the songs has no reference to the sym-bol as written, its only purpose being to show themetric unit of the voice and of the drum, for the pur-pose of comparison.The beat of the drum is almost uniform through-out the series, being in unaccented strokes, two of which are equiva-lent to the metronome beat 126 or 132. Thus by metronome test thereare approximately four pulses of the drum to one of the voice, butthis correspondence is not evident to the ear. The relation betweenthe two is not accurate, for the rhythm of the voice varies, while thedrum does not vary, being entirely independent of the voice.
Song picture no. 18.The MIde' lodge andthe person to be ini-tiated are shown.
densmore] CHIPPEWA MTTSIC 59The words of the songs are continually broken and separated bythe syllables Jii hi hi, which occur even more frequently than in theinitiation songs of the lower degrees.Only two of these songs are of minor tonality. One of these, no. 19,is interesting in that the singer began the last half slightly too high,thus changing the key from C minor to C sharp minor. The relationsof the tones in the last half are well sustained.In this series we fmd three songs containing the tones of the majortriad with the sixth added, two instances of the octave completeexcept the seventh, one instance of the octave complete except thesecond and seventh, one instance of the octave complete except thefourth and seventh, and two songs of minor tonality.Musically, the chief value of these songs lies in the relation of voiceand drum and in the peculiar ending of the songs. Compare thesesongs in this respect with the melody outline of songs nos. 25-34. Itwill be readily seen that the latter have a much stronger feeling for adefinite close either on the tonic or with the tones of the tonic chord.An indefinite manner of closing a song may be considered character-istic of a primitive stage of musical culture.No. 19. Fourth Song (Catalogue no. 125)Voice without, percei)tible metric luiitDrom 1? 126BiH2zwm^^El3
WORDSAwe^nen Who is thisDe^wene^ Sick unto deathBema^djiug^ ; Whom I restore to UfeThe words of this song refer to the person who is beinginitiated. Many sick persons are initiated in orderthat they may be restored to health. The Mide' com-prehends health of body, mind and spirit in one generalidea. It is supposed to benefit the individual as a wholeand the lines of demarcation between his various needsare not sharply drawn.
Song pictureNO. 19. Onthe body ofthe person tobe initiatedare seen linesrepresent-i n g the"strength "he is to re-ceive throughthe MIde'.
60 BUREAtr OF AMERICAN ETHNOLOGY [bull. 45No. 20. Fifth Song (Catalogue no. 126)Voice ^ := 60Drum Jr= 132( Drum-rhythm similar to No. 1 )
ESfc ^0
Song picture no. 20. This is the onlydrawing of a pipe which occurs inconnection with these songs.
WORDSNiwi'dubima^ I am sittingNai'ud In the fourth lodgeOpwa'giin With my pipe
The meaning of the word translated ''lodge" is not clearly defined.It refers to a progression in the Mide', a similar idea occurring insongs. No. 21. Sixth Song (Catalogue no. 127)i Voice ^ = 60Drum J= 132( Drum-rhythm similar to No. 1 )Eg^JjE^E^
Ni^jawen^imigog' They have taken pity on meGawa'bikwe'djig The white-haired onesIt is said to be the white-haired Mide' spirits who enablethe members of the Mide'wiwin to attain long life.The chief purpose of the Mide' is the securing ofhealth and long hfe to its adherents. Combined withthe assurances of its power to confer these benefits are ^c>ng picture no.strict injunctions concerning rectitude, obedience to its LruWcdTyrlp-instructions, and temperance. These qualities doubt- resents one of theless united to produce the promised results. mw spirits'''"^
densmore] CHIPPEWA MUSICNo. 22. Seventh Song 61(Catalogue no. 128)Voice J= 60Drum J =132( Drum-rhythm similar to No. 1
)
WORDSWewe^ni DiligentlyBizin^dau Listen thouKaiya^gigidoMjig To those who speak
H
No. 23. Eighth Song
Song PICTURE NO. 22.Pie who speaks andhe who listens areshown.(Catalogue no. 129)Voice ^^60Drum J =1,32( Drum-rhythm similar to No. 1 )W- m
WORDSGe^ga AlmostBizinda^gonan^ He will listen to usManido^ Manido''Song picture no.23. This outlineis frequentlyused to repre-sent a manido'. . , . _,, .(Compare draw- Analysis.? ihis song comprises tlie compass of anings of songs nos. octavc, extending from the dominant above to thedominant below the tonic. The melody is based onthe tonic triad with the sixth added, and, as frequently occurs inthese songs, the entrance of the tonic is delayed. More of therecorded Chippewa songs begin on the twelfth or fifth than on anyother tone and the first interval of descent is frequently a minorthird. This is repeated several times and is followed by the descentof a major third, which completes the major triad and introducesthe tonic.
62 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 24. Ninth Song (Catalogue no. 130)Voice J =.60Drum J =132( Drum-rhythm similar to No. 1 )^T ? ???
^
?? ???
?
-? ?-?> =n
Ca^cabondeckwa'gwan . . They are going through all theManidog^ Rooms of the Mide' lodge, it appearsBi'tawaka^mig The Mide^ spirits, who liveA^bidjig^ In the four layers of the earthCeremonial SongsSung by Na^jobi'tunoSong picture no. 24. The following tweiitj-six songs consist of fourThe subject recurs to . i i ? -i i <? ? i ?,that of the first song in seiTes, eacli liaving its own type 01 music and itsthe series and the circle distiuct character of woids. The first series mayis again shown, with , i ,i i e ,i jione of " the people who D^ suug at tlic close 01 aceroiiiony; the others arelive in the fourth layer connected with the initiation of members. Theunder the earth." . . , ... i ? i imusic is the most primitive which the writer re-corded, with the possible exception of the songs given by De'bwa-wen'dunk of the Bois Fort reservation.SERIES 1 analysisMusically, the songs in the first series are very similar, yet notwo are exactly alike. The songs were sung firmly and withouthesitation, showing that they were not improvised. Before singinga song Na'jobi'tun sometimes retired to the next room in order quietlyto hum over the song and to be sure that he remembered it correctly.Many of the songs were sung several times, the renditions beingidentical, except occasionally in unimportant measures near theclose.The words of the first series relate to the water-spirit?his dwell-ing, his action, and his manifestation as a male beaver. Mention ismade of the mermen. It is believed that manido' in the form ofboth mermen and mermaids live in the water and at times appeal' tothe members of the Mlde'wlwm.Song no. 3.3 furnishes an interesting example of the difficultiesencountered in securing translations of these songs. The first inter-preter said the last words meant "I will gather it in the place of
a An old man living at Boy Lake, a portion of the Leech Lake reservation ahout 30 miles from theagency, reached only by water. Na'jobi'tlln ("two men walking") was almost blind and was in everyway the most isolated individual with whom the writer came in contact. He was a firm believer in theMIde'wIwIn and its power.
DENSMORE] CHIPPEWA MUSIC 63
a circle;" later, another interpreter gave as the meaning "a placewhere the water moved in a circle;" the place was finally iden-tified as a portion of Lake St. Clair where the water is said to formeddies or small circles. This suggests that the song may have comefrom Walpole island, where many C^anadian C^hippewa make theirhome, or from some other group of Chippewa in that vicinity. Inthis case it is reasonable to assume that the ''hmg rapids" referredto in no. 25 are the rapids at Sault Ste. Marie.These songs are not fully transcribed, only the outline of themelody being given. This takes no account of rhythm or notevalues, but shows the melodic trend of the song more clearly thana full transcription. The songs contain frequent interpolations ofTii hi hi hi; the syllables of the words are repeated; and in manyinstances the songs resemble chants.The musical material of many of these songs consists of the majortriad with the sixth added, yet the principal interval is the descendingminor third. The descent of the minor third characterizes the mostprimitive music, and the five-toned scale characterizes music whichmay be termed semideveloped. The major triad with the sixthadded is the five-toned scale lacking the second, and in songs nos. 28,30, and 33 of the present series we find this tone present as a passingtone, thus completing the tone material of the five-toned scale.In all these songs, except no. 20, the feeling of the tonic chordis very strong. The ending of no. 20, as written, suggests a transitionto the relative minor, but as sung it gives us the impression that thesong is suddenly left in midair. Yet the ending was conclusive,followed by the customary ho ho ho ho. The accidentals in songsnos, 26 and 27 were firmly given, but seem intended as an ornamenta-tion rather than sussestinp; modulation.'&&" No. 25 (Catalogue no. 16)
^iim^^^^E^^^^^^^^^^
WORDSKeno^'djiwanun^ At the long rapidsNimadwc^nadomi'go.. .1 j n j *m-,.,,. ,, } ^ am called to go mTciobm^digean^ JNikan'ug , . , , . My Mide^ brethren
fcJQNa PICTURE NO. 25.
64 BUREAU OF AMERICAN ETHNOLOGY [bull. 45m No. 26 (Catalogue no. 17)
Song picture no. 20.
=911
Kiga''winanan^domigog' We may call upon you forassistanceKikan^ug We, your Mide^ brethrenMiziwe'mide^wiig Assembled from every-whereNo. 27 (Catalogue no. 18)Jt i?? ]lt
^m ^m
Daya^wengumi^Daona^gumi''Daonun'gumi'Geundjima^mwekiyan.
[Free translation]When the waters arecalm and the fog rises,I will now and thenappear
No. 28
Song picture no. 27. Thecircle represents the sky,which is overcast withdrops of moisture; emerg-ing from this is the face ofthe manido'. (Comparedrawing of song no. 97.)(Catalogue no. 19)ii I
Song picture no. 2s. TlieMIde' lodge and the per-son being initiated areshown.
WORDSKigacob'unde' You will pass throughEndad' The dwelling ofManido' The water spiritNikan^ My Mide' brethren
DENsmoke] CHIPPEWA MUSICNo. 29 65(Catalogue no. 20)^?-^^-
66 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 32 (Catalogue no. 23)gi^^^^^^^^^^^^5E^^^^^,r^^^=::fl
Dabima^mwekiwug'. . Now and then there will ariseout of the watersNikan^ug My Mide^ brethrenNigigwug^ The ottersSong picture no. 32. Thecircle represents a lakefrom which two otters rise. No. 33 (Catalogue no. 24)I^^ 31=^:
WORDSBeba'mamoyan' I am gatheringWananan^dawioyan^ . . That with whichWawiya'tamting'' I will treat myselfGefmdina'man In the Lake of EddyingWaters, I will obtain it Song picture no. 33. In hishand the man holds somesubstance gathered from thelake, which is believed tohave medicinal properties.No. 34 (Catalogue no. 25)
-_ m a
WORDSKeget' VerilyNimanidon' I am a spiritMuki'yan To be able to become visibleNabe^mikowiyiin' I that am a male beaverSERIES 2 ANALYSISThe second series consists of songs used at theinitiation of members in the Mide'wKwhi. In songsnos. 35, 38, and 40 the initiators speak; in nos. 36,37, and 42 the person to be initiated speaks; andnos. 39 and 41 appear to be the words of a manido'
SB:S
Song picture no. 34. Abeaver is seen risingfrom the water.
DENSmore] CHIPPEWA MUSIC 67
represented by or existent in the leading man's medicine pouch. Themention of metal in nos. 37 and 42, as well as the mention of the highhill in no. 39, would indicate that the song had been used in a partof the country where minerals and mountains were familiar to thepeople.These songs show somewhat better musical material than those inthe first series. Two of the songs are on the fourth five-toned scale,five contain the tones of the major triad with the added sixth, thuspresenting the partially formed five-toned scale mentioned in theanalysis of the first series, while no. 36 contains only the tones ofthe minor triad.Song no. 39 of this series is of more than usual interest and is tran-scribed in full. No. 35 (Catalogue no. 26)
^m-fc i
Kigawa'bamag You shall now beholdMide^widjig They of the Mide^
No. 36
4-^Song pictxjre no. 35. This draw-ing shows the MIde'wIgan, themedicine pole, the stone, and theassembled members of the Mlde'-wiwln. The candidate for initia-tion sees and hears the ceremonymentally before entering thelodge. Note the eyes and the earof the candidate.(Catalogue no. 27)
^i^-- l
Song picture no.3 6. The twofigures are ex-actly alike, theheart beingshown and thestraight linesindicating"strength.
"
Thus the candi-date assures him-self that he willreceive all thebenefits enjoyedby other mem-bers of the MI-
^e'wiwin,
WORDSNa ListenMlgaye^nin I shall also be blessedMinawin' And my life prolongedEnMayan' LikeMide^wSg Those of the Mide^Endiwad^ Whom I now beholdThe candidate for initiation is assured of the bene-fits which he will derive from the Mide'. This assur-ance is often needed as the candidate regards theinitiation as a difficult ordeal. He has a part whichmust be properly performed, in which he has beeninstructed by the initiators.
68
^ftE
Song pictureNO. 37. In thisdrawing bothstraight andwavy linesdiverge fromthe figure.The wavylines are saidto indicate
"the song "and thestraight linesto indicate
"strength."
BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 37 (Catalogue no. 28)
WORDSMi^nawina' Is it thatAin'nweya.n'' Which my voice resembles?Biwa'bikun Even metalAinVeyftn^ The sounding of my voice?
No. 38 (Catalogue no. 29)ia^sisI*
Anindf Where isAbigwen^ The dwellingManido' Of the greatest spirit?Nikan' My Mide' brethrenWabtinan^ In the eastAbigwen^ Is the dwellingManido^ Of the greatest spiritNikan^ My Mide' brethrenMioma^ HereAbigwen^- Is my dwellingManidoViyan' I who am the greatest spirit
Song picture no.38. It was statedthat the horizon-tal figure andhead representedthe East man-ido' and thatthe upright fig-ure and headrepresented theSouth manido'.This record was played for Na'waji'bigo'kwe, a mem-ber of the Mlde'wlwln, who drew the pictures for theseseries of songs ; she said that this is a new form of an old song, andthat the younger men of to-day are arrogant enough to use it, butthat the old and correct form of the song gives the last two words asfollows
:
Cawamin^ Toward the eastAbigwen^ Is his dwelling
dexsmore] CHIPPEWA MUSICNo. 39 69(Catalogue no. 30)Voice ^ . =z 69Recorded without drum
-?- -?- -ie>- -?-
?aEt^t=M? f=E -s)-* -?^.a ^E^F V- 1Wa-dji-win gre en-da-nwe-wi - da - m3, - S.u wa-dji-wiii-gre en-da-
^ -(S^! (&-:?r=F=F-U4 I?V^ SFnwe-wi-da - lua - au wa-djT-wiil ge eu -da-nwe-wi-da - m?, - ?,n^ :f= ISF ??
f
-#^ -S'-^V=^-G>-^ s)-wa-dji-win ge eu-da-nwe-wi- da - mS, - ?,n wa-dji-wm ge en-da-
nwe,-wi-da - ma - an wa-dji-win ge en-da-nwe-wi-da - ma - an
Wadjiwing^ From beneath the highhillEnManwewidaman^ My voice echoes forth Song picture no. 39.Dancing begins with this song and continues durino- in this drawing thethe remainder of the series. " t^ "^"^^"'^ "No. 40 (Catalogue no. 31)m^ ^^^
Song picture no. 40. In thisdrawing the circle representsthe earth; note the interrup-tion of the circle at the lower
WORDSAnawi'na -i I will cause it to ap-Nimo'kiwina' j pearTibickoka^mig That which is beneaththe earthEbigwen^ "1,,^, , ^^ .Anawi'na ^ li" h '^ "^Nimo^kinina' J " ^
70 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 41 (Catalogue no. 32)m^^ ^^^^
Song picture no. 41. In thisdrawing the circle representsthe sky; note the interrup-tion at the upper edge. Men-tion of a bird occurs with spe-cial frequency in songs of thesecond, third, and fourth de-grees.
Nipo^niyan' I am about to alightTciwa^bamiyau^ That you may see meTibic^koka^mig Upon the levelgroundTciwa'bamiyaii^ That you may see meNipo^niyau^ I am about to alightTciwa'bamiyau^ That you may see me
No. 42 (Catalogue no. 33)^ ^
Wabik^ The strength of metalOwiblyan^ Has entered into myarrow pointManido'' A spiritNinda^nisa^ I could killWabik'' The strength of ironOwibiyan^ Has entered into myarrow pointSERIES 3 ANALYSIS
Song picture no. 42. A bearand an otter are representedin this drawing.
The words of tlie third series are characterized by very strongaffirmation of the power and beauty of the Mide' rehgion. In thisseries the affirmative used is man'dan, which is the customary wordamong the Canadian Chippewa, the affirmation used by the MinnesotaChippewa being Icegeif, or gegeif. This suggests a Canadian origin forthe songs.The translation of no. 50 was the subject of much discussion by theinterpreters and members of the Mide'wiwm, as the words containthe idea of a year and also the idea of indefmite continuity. It maybe best explained as meaning that the power of the inspiration isindefmite, but that it is expected that members will reassembleat the end of a year for the purpose of strengthening and confirmingtheir faith.
i::.vsmoke] CHIPPEWA MUSIC 71Musically, this series presents interesting material. The first twoongs are on the second five-toned scale.The tonality of no. 45 is of unusual interest.Songs nos. 46 and 47 show the octave complete except the seventh,while nos. 48, 49, and 50 show the incomplete five-toned scale men-tioned in the analysis of the first series. The principal interestcenters in the first three songs of the series.No. 43c (Catalogue no. 34)mm^aEE
WORDSAnawi^'na AlthoughManido'' He is a spiritNikan^ug My Mide^ brethrenTcimaya^wmiiiV I will raise him up
No. 44
Song picture no. 43. TheMIde'wJnI'nl holds inhis hand an otter, repre-senting his MIde' bag.(Catalogue no. ,3.5)^ ;h
Song picture no. 44.In the center of theMIde'wIgan are twopoles, siiggestingthattwo persons are to beinitiated. Above thelodge is a star in thecircle of the sky.(Compare drawingsof songs nos. 2 and10.)
WORDS [Free translation]AwinegiVig K .../,? 1 / ' I Beautiiul as a star hanging mNaawfed^....^......'..!"! *^? ^^^ ^^ '^"'' ^itleModge
The words of this song are idiomatic and a trans-lation was secured with difficulty. The song wasrecorded at Leech Lake, where two interpretersworked on it. Later the phonograph record wasplayed for Na'waji'bigo'kwe, at White Earth. She drew the songpicture and this translation was finally decided on as giving theessential idea of the song.
72
u??:
BUREAU OF AMERICAlSr ETHNOLOGY [BULL. 45No. 45 (Catalogue no. 36)
Song picture no. 45. Theman holds in his hand ami'gls, or white MIde'shell, its power being in-dicated by the manido'rising from it.
w^m
WORDS [Free translation]Niwawa^gawia I have gained such sjjirit-powerthat I can tame it in my handManMan It is trueGibinan^ Even our white shellNiwawa^gawia' I can tame it in my hand
No. 46 (Catalogue no. 37)a%sn- -m 0.^mbS 1
Gi'cigWi'kanma'. . . .
.
Manidowan'Nin^aWen^dabiyan'...
[Free translation]The sky is clear where onebrother in the Mide^ is sitting Song picture no. 4ti. Theseveral circles representthe several skies whichare supposed to exist, oneabo\"? another. In one ofthese the MIde' brother isseen to be sitting, whilebeside him are the moonand the stars.If the flay is fair it is considered that the person to be initiatedwill be especially blessed; stormy weather is considered an unfavorableomen. The song does not express a desire or hope for fair weatherbut affirms it as a fact. Compare song no. 70.Dancing begins with this song and continues during the remainderof the series.
DENS'SIORE]
^.
CHIPPEMM MUSICNo. 47 73(Catalogue no. 38)^m
(Addressed to a sick person whose infirmity makes it impossible for him to walk)[Free translation]You will recover; you will walk again.It is I who say it; my power is greatThrough our white shell I will enableyou to walk again
Ani'yankiin^ .Nin^naMan^danBimose'hinanGibinan^ ....
No. 48
Song picture no. 47.The lines on theman's liml)s indi-cate the"strength"which he is to re-ceive through theMIde', enablinghim to walk. (Com-pare drawing ofsong no. 19, inwhich the straightlines are on thebody, the desiredstrength here be-ing of a more gen-eral nature.)(Catalogue no. 39)
;0^'
WORDS
T ". /"","'"'/ r Do not speak ill of the Mide^Inota'waken' |Nikan' My Mide' brethren
^ ,'y
I
[Be sure to heed my wordsSONG PICTURE NO. 48. Inota^uiscm )In this as in no. 49 Nikan' My Mide' brethrenwavy lines are usedto represent speech
.
Analysis.?The descending minor third is the principal interval inthis song. The tonality is major and the melody follows the tonesof the major triad, the sixth being added in the latter portion of thesong. In common musical terms the song would be said to be inthe key of F, yet the tonic does not appear until the middle of thesong. Comparison will show this to be a marked pecuharity ofChippewa songs. The progression F-D-F does not occur frequentlyin the songs analyzed.
74 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 49 (Catalogue no. 40)^|?3m_m
Song picture no. 49.
Gego^ 1? . / Tj. / } Do not speak ill of the Mide'Nikan^ My Mide^ brethrenNmgotci^ Wherever you may beIkwe^wan Do not speak ill of a womanNikan^ My Mide^ brethren
No. 50 (Catalogue no. 41)^ I
Song picture no. 50. In hishand the MIde' wini'nl holdsa Mide' shell.
Tci^gigiwa^basogwen'. . . We may live by it alwaysNikan' My Mide^ brethrenManido^wan It is spiritualNin^esewin^ The inspiration we receiveSERIES 4 ANALYSISThe fourth series is composed of songs whichare sung after a man has been initiated and hasbeen given a medicine bag corresponding tothe degree he has taken.Song no. 54 contains a reference to the water spirit.De'bwawen'dlink stated that song no. 58 refers to a yellow bear,whose shaggy fur resembles feathers. As already stated, the bear isclosely connected with the MIde'
??No. 59 refers to the fact that the white shells used in initiatingmembers into the Mide'wiwin are supposed to penetrate the skin,and it is the duty of the initiators, having "shot" these shells, toremove them. The work of these shells is a cleansing work, and ifany of them remain in the body it is supposed that the cleansing isincomplete and the person suffers correspondingly. These shellsissue from the mouth of the person being initiated.
DENSMORE] CHIPPEWA MUSIC 75In the instance of this song one of the shells was difficult to removeand was found to be in the heart of the person under initiation. Asan example of this, a woman stated to the writer that her arm hadbeen lame ever since she was initiated into the Mkle'wiwin. Shesaid that her husband asked her if she was sure that the initiatorsremoved all the shell or "medicine" and stated that if any remainedit might produce this lameness, which had continued about thirtyyears.The words of no. 60 refer, of course, to a manido'.These songs are in a different style from the three preceding series,yet it is impossible to indicate this in the melody outline, the pro-gressions being about the same. Most of the songs in this series arechanted in a very dignified and impressive manner, producing a pecu-liar effect, quite different from that produced by the same tonematerial in the form of the more rhythmic songs.No. 51 presents the minor triad with minor seventh added. Thiscombination of tones is fully considered elsewhere in this paper (seep. 130).No. 52 contains the major triad with the second added, a somewhatunusual feature.Nos. 53 and 54, one in the major and the other in the minor, showthe octave complete except the seventh.No. 55 is on the fourth five-toned scale, and nos. 56 and 57 are onthe second five-toned scale, lacking one tone.No. 58 is an interesting study of tonality. The ending was givenfirmly and the melody is particularly effective.Nos. 59 and 60 consist of the tones of the fourth five-toned scalewith the second lowered, the first song being minor and the secondmajor in tonality. No. 51 (Catalogue no. 42)S-^S2* WORDSUmbe''., ComeNagumoda' Let us singUmbe'sano'ecigabo^ida Come, we are now Song picture no. 51. In thisstanding before drawing are shown the Mlde'-you, bendingdown ^''g'^n- t^? P^^^' ^^e stone, theoc'kabe'wis at the entrance.Nikan' My MIde'' brethrenKibimaMiziwin^dotaman'' We ask long life for the candidate for initiation. Asyou this series of songs is used forMisanin^ingegigabo'iyan^ That is what I my- initiation into the second or? ?? ?' !? f third degrees, the leader has anself am seeking tor assistant who is seated betweenthe leader of the ceremony, andyou him and the novitiate.
76
aS:
BUREAU or AMERICAN ETHNOLOGY [bull. 45No. 52 (Catalogue no. 43)^^^^B
iCNG PICTURE NO. 52. Theman holds his weasel-skin medicine bag.
WORDSEwina^ Here it isHawina' Here it isA^cigosi^wayan^ The weasel skin (medi-cine bag)Geda^bimun^ Through it I shoot thewhite shellsNo. 53 (Catalogue no. 44)
:istem
sas
WORDSNi''bawiyan'' Here I standNa BeholdBoske''asin'' A stone is filledMa^nidowid^ With spirit powerNibanin' With it I shoot
No. 54
-? a ?-
Song picture no. 53. AstoHe is at the point ofthe man's arrow.(Catalogue no. 45)m 1
Song picture no. 54. The mi'gisis shown in the circle of the sea.
WORDSNawigitci'gami'we. ... In the middle of the seaGenodog^gitcigami^ The lengthy room of theseaAndana''biyan^ There I am sittingNo. 55 (Catalogue no. 46)
^^' WORDSWaka''oseyan'' Walking aroundMide'watiguiV The Mide^ poleManine^aman' Coming upon it stealthilyMiyuwen'tciayasoseyan^. I make a noise as I fall,leaningNiganoseyan' When I lead them all Song picture no. 55. Comparesong drawings nos. 2 and 10.
densmore] CHIPPEWA MUSIC 77In this song the singer represents himself to be a bear, walkingaround the Mide' pole and trying to strike it. (Compare fig. 6, p.42.) No. 56 (Catalogue no. 47)B^B^
WORDSNinbeba'miseyan' I that hasten aroundNabosedini^niwejiud^ I shoot at a man and he fallsin a tranceNigagwe^dina^ Then I feel with my handNinbeba^miseyan^ To eee if he is still alive
Song picture kg. 56.A wavy line connectsthe bird and the sky-circle. The doubleline before this draw-ing divides the seriesinto two parts, aswritten on the birch-bark strip. The peo-ple dance during thesucceed in g songs
.
<>^ WORDSAnima^kizine' Going with footwear on his feetThis song is said to be about a bear's paw.
Song picture no 57. No. 58
?ififc
(Catalogue no. 49)
? ? ?
WORDSWa^cine^biyan^ I who live in a caveKimico^misinan^ Our grandfatherOnika^sa Arms he hasOmi^gwaniin^ With feathersWa^shiiie^biyan^ I who live in a cave Song pictuke no. 58.The"featheredarms"are shown in thedrawing.
78
wm.
BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 59 (Catalogue no. 50)m
WORDSNikanun^ My Mide^ brotherNa^donamawin^ Is searchedOdeiiV In his heart is foundMi^konamawa^ That which I seek to removeMigisun^ A white shell
Song picture no. 59. Themi'gis is shown in the heartof the Mide'. (Catalogue no. 51)
Cingus' WeaselNan^domiyan^ Thou art calling me
Song picture no. 00. Inhis hand the man holdsa weasel , representing hisMide' bag.There is a large number of songs which may be used during theinitiation of a member of the Mide'winln. Each of the old menaccustomed to lead the ceremony has his favorite songs and bringswith him the birch-bark rolls on which the songs are written. Beforeeach ceremony these rolls are exammed and the songs discussed bythe initiators but the selection is usually left to the leader.The three following songs are not parts of series but are detachedsongs belonging to the portion of the ceremony in which the candidateis "shot" b}^ the initiators.
densmore] CHIPPEWA MUSIC 79No. 61. Initiation Song (Catalogue no. 69)Sung by A^gwitu^wigi^cig ("skipping a day")Voice ^ ? 96Recorded without drum
Gi - a- win nin -da- sa ya ha nin daag=^ 4: :^=fi=p:
sa ya ha nin da gi - a-wifinin-da-sa ya ha
-?- -?- -0- -0- ^ g, -s>- -?
gi - a -win nin -da-4:4=- -^?^-
a a aiiiiiiina-ni-do-wid nin-da - sa ya ha nin da gi - a-winnin-da-y=h9f|^ I/S ^_^11^-^?^-Ljzt:4:?= ^tf=f=f^ I^-IVAsa ya /la nin da gi - a-wiii nin-da - sa ya ha nin da
Gi^awiiV luto thy bodyNindasa^ I shootManidowid^ The spiritThis song is sung while the initiators march around tlie Mide'lodge, the man to be initiated being seated beside the medicine pole.Analysis.?A particularly pleasing melody is shown in this song.The principal tones are those of the major triad, the second andfourth being used as passing tones. With the exception of the lastmeasure of each phrase the rhythm is a triple rhythm throughoutthe song.The following narrative concerning the Mlde' shells was given tothe writer by Mr. Charles Moulton, a member of the Otter Tail bandof Chippewa. Mr. Moulton stated that several years ago in the fallhe shot two ducks. In one of them his wife found two small whiteshells of the variety used in the Mide', commonly known as M!de'shells. His wife is a granddaughter of De'dadj, the leading Mlde'-wlnfnlof the Otter Tail band, and from her childhood has heard thetraditions of the Mltle'wiwin. She knew that these shells are rarelyfound in ducks and that to find two in the same duck was "very greatmedicine." Accordingly she showed the shells toDe'dadj, who said,"Put the shells into a box, wrap the box tightly in a cloth, do notopen it for a year, and at the end of that time you will find four
80 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
shells in the box instead of two." She followed his instructions.The box was placed at the bottom of a trunk and not disturbed fora year. It was then opened and was found to contain two smallshells in addition to the two originally placed there. It was im-possible that De'dadj could have put them into the box, as he wasalmost blind at the time and furthermore did not know where it washidden.Mr. Moulton stated that a member of the Mkle'wiwin would havekept these four shells very carefully, secured small particles of themby rubbing them on a piece of iron and placed these fragments inwater as a medicinal drink for the sick.
No. 62. Initiation SongSung by A^gwitu'wigi^cig (Catalogue no. 70)Voice J = "6Recorded without drum
Ni - mi - de - wa - yan
-g__^ -^- -#-' -> ni - nil -de - wa - yanw tm w 1 w m nL^;^,^?
!
^^^-^=
ni - mi -de - wa - yan e ni - mi -de - wa - yau&-=?
e ni-mi-de-wa-yau e ni-mi-de-wa-yan e ni-mi-de-wa-yan
ni - mi - de - wa - yan ni - mi - de - wa - yan e
Ni^mide^wayan'' My Mide^ bagDuring this song the person to be initiated is "shot"by the initiators.Analysis.?The tonality of this song is obscure. It isSong picture transcribed exactly as sung, the different renditions beingNO.G2. In his identical, yet the key is not definitely established, neither
^l^A ^ll^ "T^" are moduhitions indicated with sufficient clearness to beholds the ani-mal which rep- safely assumed. The steadily descending progressionhere found is interesting and the melody itself is unusu-resents hisMIde' bag. ally attractive.
densmore] CHIPPEWA MUSICNo. G3. Initiation SongSung by Main^ans
81(Catalogue no. 254)
Voice J =168Drum J- 176(Drum-rhythm similar to No. 3)M: 0?tt?lt--s=t^ :?=^ ^?^?fL-t:Ba - do-gwen e gi-bi-uan e ba - do-gwen e gi-bi-nan
^^.
ba - do-gweii e gi - bi -nan e ba - do-gweu e gi - bi - nan
^"^ s)- ^^il^iinizfcat:ba -do-gweu e gi-bi-nan e A.in de-nm-sa gun?!fe? -^=P=P= ^=e:4: ?^ 3tzt-# ^gi-wi-ne - wa ba - do-gwen e gi-bi-nan e ba- do-gwenieiba - do-gwen e gi - bi - nan cgi - bi - nan
i^en^ It never failsGibinan^ The shellDemusa^ Goes toward them Songpictureno.GiVinewa^ And they fall 63. This draw-ing represents aThis song is sung during the ''shooting" of the can- ?''^''-didate for initiation. The song is unusual in that the first descentof the voice is the interval of a fourth. The melody follows closelythe minor chord, all other tones being readily identified as passingtones. No. 64. Initiation SongSung by Ki^tcimak^wa (Catalogue no. 67)Fair weather is symbolic of health and happiness. Thus the wordsof this song predict health and happiness for the person to beinitiated.Analysis.?An unusual number of vowel syllables are used to fill outthe measures of this song. Longer than most Mide' songs, its spe-cial musical interest is the manner in which quadruple measures areintroduced into a triple rhythm.12692??Bull. 45?10 6
82 BUREAU OF AMEEICAN ETHNOLOGY [bdll. 45
zgijaVoice J? 80Recorded without drum^^ ^ -04; -m^mm.^ ?^ -P-r^ ^czp: -4:-|g f-^4:We-go- nen i wi ne e e wa-ya- he - he- he- da- mo - non ha ha
^'?i'^ f ^ UfS?
DENSmore] CHIPPEWA MUSIC 83charm songs and that he may be joined by any other persons whosespecial medicine pertains to the hunt and who know the same songs.The following set of five hunting songs were sung by Be'cigwi'-wizans ("striped boy") and are of this character. They were sungby their possessor before starting on a hunting expedition.The first, second, and third songs assert the abilit}' of the Mlde'-wlnfnl to control the wild creatures of the woods; the fourth andfifth songs are concerned with the means which are employed.No. 65. Hunting Song (a) (Catalogue no. 56)Sung by Be^cigwi^wizansVoice J = 152Recorded without drum
-t- 1 -[-
I
1 -r?(i2-= W f^=i^=fi?U- ?Me - gwli-yak ka nin- dou - dji - bi4f- ^ ^ ^ ^ ^ -? hai^-^: ^??
?
4:
me-gwft-yak A;a nin-don-dji - bi - na gi - ga- gi - kwa - wi - ni - naiigsi^j^ :SP=F=f: i2i^- ?me-gwti-yak ka nin-don-dji-bi - na me-gw<i-yak ka nm-don-dji -bi -t^^^^--
84intiaccurately given
BUREAU OF AMERICAN ETHNOLOGY I BULL. 45teresting to note that the F flat and succeeding F natural wereNo. 66. Hunting Song (b) (Catalogue no. 57)Sung by Be'cigwi^wizansVoice J? 176Recorded without drum^^MS^ =i=p^ ^-e-Ai t= JEB^^Ite^gig a^83=11=^=>M-I =1/ =P=JC itzt -^^^ -4?^-.WollDSNinba^gaako'kwan . My war clubGi^cigun Resounds through the skyDee^agwe^wesiiV.. To summon the animals to mycallAnalysis.?The words of this song were too indis-tinct for transcription. This is an instance inwhich the entire song constitutes a rhythmic unit.Each tone in the first measure was given with equalSong wcture no. 66. acccut, the tempo throughout being unusually wellAbove the singer are marked. The major third is the largest intervaloccurring in this song.seen his war club andthe resounding sky. No. 67. Hunting Song (c) (Catalogue no. 58)ilung by Be^cigwi^wizansVoice 1761 Recorded without drumf? f=EE ^i^: ^^=bUm-be sa ta - di - da ci - ci srwe ta - di da we gin-
a - ta - gi - ma - ui - doWORDS wa a hiUmbe' ComeSa BeholdAta^dida^ Let us have a contestCici^gwe rattlesnakeGina^tagimanido^ . . Most subtle of reptilesCici^gwe O rattlesnake
e hn na
Song picture no. 67.
DENSmore] CHIPPEWA MUSIC 85This song is addressed to the rattlesnake as being the most dreadedand subtle of reptiles, which always succeeds in whatever it under-takes. The idea of the song is that the Mide' has enabled the manto compete successfully with even the wiliest of creatures.Analysis.?The rhythm of this song is as subtle as the subject.Attention is directed to the melodic and rhythmic effect in the fifthand sixth measures. The minor third is the largest interval occurringin the song. No. 68. Hunting Song (d) (Catalogue no. 59)Sung by Be^cigwi^wizansVoice J=z: 192Recoi'ded without druma^iM -(e_^_IS^ -#?^-:t=?t:^A-ya dja-kfiiu-Ig e mo-ki-yan a-ya dja-kCm-Tg
=9^^ :p=P= -#-j-#-J '^ ?ki-yan hi jail - we - ci-wa-yan a i jail-i5fe?533-Ewe - ci-wa-yau a jau we - ci - wa-yau a
Aya^djawakum^ig From all parts of the earthMokiyftn^ I make my appearanceJanwe'ciwayan^ Clothed with the skin of themartenThe singer stated that the words of this songrefer to a Mide' bag made of the skin of a marten,which "has power to drive together the animalsfrom all parts of the earth." It will be remem-bered that the manido' mentioned in the accountof the origin of the Mide' (p. 23) carried livingotters in their hands. Song no. 13 (p. 47) speaksof a sound as coming from the Mlde' bag, and songno. 60 (p. 78) contains the words, "Weasel, thou art calling me," thesong refeiTing to the Mlde' bag carried by a member of the fu-stdegree in the Mlde'wiwin. In song no. 81 (p. IDS'; a medicine bagmade of the skin of an owl is represented as speaking. A comparisonof these songs is of interest.Analysis.?This is one of the few songs m which the first progres-sion is an upward progression. Rhythm constitutes an importantfeature of these hunting songs, yet the rhythm of each is distinctand peculiar.
Song picture no. 68. " Allparts of the earth " are rep-resented by two circles,between which is seen theform of the marten.
86 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 69. Hunting Song (e) (Catalogue no. 60)Sung by Be'cigwi^wizans
=iaVoice J = 168Recorded without drum m a |f_=t=^-5^ ^-P^-^A-nun-guii we he na a ni gwe he
-^?ft-^s> ?- a -nun-guna^^i^ ^m^^^Ewe he na a ni gv)e he a-nun-gun we he
-?' -?- -?- ^=9ii=g=Et^ IV- --^na a ni gwe he a - we - sin ha-na-ba - mig he na#?^-r-S' ?- ^t-m?m-^^ 5EE a=e: s?^a ni gwe he a-nun-gun we h^ na a ni gwe heWORDSAnun'gufi Like a starNindina^bamig I shineAwesin'' The animal, gazing, is fascinatedby my lightSong picture no. G9. Thecorrespondence between T^e Writer was informed that the use of a hghtthe man and the star is . , , . , . , , , i .1 t 1 ?indicated by a straight m hunting at night was known by the Indiansline. before the coming of the white man.Analysis.?This song shows a distinct rhythmic unit of fourmeasures. Tliis unit occurs three times at the opening of the song,is followed by five measures in a different rhythm, after which therhythmic unit is used in closing the song. Such regularity of musicalform is seldom found in these songs.** It is also unusual for rests tooccur, even the repetitions usually being given with no appreciablepause.There appears to be no limit to the number of times a song is sungand the continued repetition has a rhythmic swing of its own. At asocial dance the drum gives a signal indicating that the song will besung only once more. This is understood by the dancers, but isscarcely noticed by an outsider. The time for this signal is deter-mined by the man at the drum, who started the song.
<? Songs recently secured show greater regularity.
densmoue] CHIPPEWA MUSIC 87No. 70. Song for SEcuRma a Good Supply of (Catalogue no. 64)Maple Sugar
Voice J = 72Recorded without drum
-ft- ^ ^ A- -n.^^ tJ: :t62:
Suno; by Ki'tcimak^wa
^^-^-IffiEEEE il -ft?p p p- IWi-dji-ga - wi-ni - na - ha hln-di-yan - e wi-dji-ga- wi-ui-
na - ha hin-di - yau - e wi-dji-ga- wi-ni - na - ha hin-di - yan
-
. +-12-W^Sa r^ fc'^?'g
?
^?d?d d^=:i:El:^ Sie wi-dji-ga-wi-ni - na - ha hin-dl-yan - e wi-dji-ga-wi-ni -
:^ tr- itl|3^B?EHna - ha hln-di - yan e niT-li-ga wi-ni - na - ha bin-di-yan-asteiEEaEEEE^figEe^ia t:2: P?P?P -3i if:^?
*
e gi-gi-gog wi-ni - na - ha hin-di-yan - e wi-dji-ga- wi-ni-
:9irfc^=^:Sp: =]=::n=:t:^?=jtii3t SE^^EtitE^tt=-^=-^=B:d=e=:^=F=i: Ina - ha hin-di-yan - e wi-dji-ga- wi-ni - na- ha hin-di-yan -eWORDSWldjlga^viwina'ha (Obsolete)Hin^diyane^ (Obsolete)Mitigon^ From the treesGion^gigog^ The sap is freely flowingThe making of maple sugar constituted a pleasant "ITXTindustry among the Chippewa. From their scattered /Jj\^abodes they assembled at the sugar camp in the spring, ^o^g picture no.The events of the winter were fully discussed, and gen- IL mripteral sociability marked the gathering. Maple suo-ar is ^'^'''i flowing intoa favorite luxury and is prepared in various attractive Ltfi'lhe Itforms. An abundant supply is greatly desired, and ^^'^ siiown inthis song is supposed to secure it. ^^' '^'^''''"^?The words furnish an example of the affirmation which stronglycharacterizes the Mide' songs. There is no request; the song simply
88 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
asserts that the sap is flowing freely, thus presenting to the mind avivid picture of the conditions which would produce the desiredsupply of maple sugar.Analysis.?This song shows a characteristic tendency to lowerslightky^ the pitch on the second of two similar tones. Throughout thesong a double measure is followed by a triple measure. Each rhythmwas given distinctly and for that reason it was not deemed advisableto combine two measures in one 5-4 measure. The principal wordsare mispronounced, as frequently occurs in the Chippewa songs.LovE-cHARM SongsSung by Na^waji'bigo^kweThe love charm is a very popular form of magic among the Chip-pewa. Of the following set of four love-charm songs no. 72 was firstsung for the writer by a woman on the Red Lake reservation, thecircumstances being as follows: The writer was engaged in the col-lection of folk-tales and persuaded this woman to tell a story. Sheconsented with reluctance as it was the summer season and she saidthat snakes would certainly bite her at night if she told stories in thesummer. After writing down a story the writer asked her to tellsomething about the Mide'wiwin and to sing one of its songs. Thisrequest was received with still greater reluctance. The womanfinally consented to sing one song in some secluded place where shewas sure no one could hear her. When asked what the song wouldbe she replied that it was a love-charm song. She was a womanabout sixty years of age and was the most dirty and unattractivewoman with whom the writer has come in contact. In a thin, nasaltone she sang the song, which was noted down by ear, no phonographbeing available. With coy shyness she said the song meant that shewas as beautiful as the roses. She also drew a crude picture of thesong. Later this picture was shown to Na'waji'bigo'kwe at WhiteEarth. She recognized the picture at once and sang the song intothe phonograph. When the transcription of this record was com-pared with the memorandum made at Red Lake the identity of thesong was readily discerned. The singer at Red Lake promised tocome back and sing other songs the next day, but some friends whoknew that she had sung a Mide' song threatened her with calamityand she did not return. The singer at Wliite Earth said that thisis the first of a set of four songs. All were recorded by Na'waji'-bigo'kwe, but the first is the most interesting of the set; only thewords of the others therefore are given.Analysis.?One measure constitutes the rhythmic unit in thissong, being repeated with absolute regularity. Attention is directed
CHIPPEWA MtrSIC 89to the range of voice. The singer was a woman, but her voice wasin the tenor register. This was found to be the case with the voicesof other women who sang the Mide' songs, being due, perhaps, tothe fact that they were accustomed to singing with the men andadopted a unison tone. No. 71 (a) (Catalogue no. 7.3)Voice J = 88Recorded without drum
A - ni - na - ]'i - a - ne a - ui - na
a - ui - na ]i - a - ne a - ni
ji - a
rT^rr-u '" ^ ^-- V?'-f^ f \ f ^ ^-- ^ w 1
]i - a - ne
-/. 1?3?6't=zt:=t-:?tz :^==t .^^.i^l=t=t^la - ni - na ji - a - ue a - ni - na l=? ne^i^-
liHfc a - ni - na ji - a - ne gi^^ ba - un%-=X:.
=iii
a - ]i - na go - o - yan a - ni - na
a - ni - na ji - a - ne a - ni - nair=t if==w:t^--=t; =^P=F=
]i - a - ne
ji - a - ne
a - ni - na ji - a - ne a - ni i
WORDSA^ninajun' What are you saying to me?Ogini^baguii' I am arrayed like the rosesAjina^ooyan^ And beautiful as they Song picture no. 71.The heart of the fig-ure is shown. (Fordrawing of roses,compare song no. 99.)
90 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 72 (b) (Catalogue no. 74)
Song picture no. 72.The lines divergingfrom the figure of theman were said torepresetit "feeling."(Compare drawing ofsong no. 103.)
Niwawin^'gawia'' I can charm the manEnFniwa^ He is completely fascinatedby me
Ninda''agagia^FenFniNamundj^En^dogwen'..Wi^agudjiilg^
No. 73 (c)
[Free translation]I can make that man bashful. Iwonder what can be the matterthat he is so bashful
(Catalogue no. 75)
Song picture no. 73.No. 74 (d) (Catalogue no. 76)
WORD.SMi^sawe^kdmig' In the center of the earthA'yagwen^ Wherever he may beAna^makiiV Or under the earthSong picture no. 74.
densmore] CHIPPEWA MUSICNo. 75. Love-charm Song 91(Catalogue no. 52)Sung by Manido^gicigo^kwe (" spirit day woman ")Voice J= 72Recorded without drum
SP ^It li:3=5=3= ir-ir -4r
The singer of this and the following song is awoman whose personality is unique and interest-ing."Analysis.?It is impossible to indicate by anynotation the peculiar nuances of this singer. Aslight prolonging of certain tones gives the songsa fascinating effect, heightened by a slight glis-sando. The songs are also sung with the nasalquality affected by the Chippewa when singinglove songs.Attention is directed to the fact that this, like many other Chippewalove songs, has a slow metric unit.
Song picture no. 75. Thepower of the love charm isshown by the manner Inwhich the woman attractsthe man, who appearsrather reluctant.
a A description of this singer is given in connection with song no. 133. See also pi. 11.
92 BtTREAtJ OF AMERICAN ETHNOLOGY [bull 45No. 76. Love-charm Song (Catalogue no. 53)Sung by Manido^gicigo^kweVoice J =84Recorded without drum
Songs Connected with the Cure of the SickThe treatment of the sick is conducted by the older members ofthe Mide'wiwin, special songs being sung in connection with theuse of medicinal herbs. This treatment is frequently given in con-junction with an initiation ceremony, the person being initiated inorder to cure him of his bodily illness. Reference is made to songno. 47 (p. 73), the words of which are more characteristic of theMide' than the words of the songs which follow under this headingand which are connected with personal incidents. In song no. 47the power of the Mide' to cure the sick is affirmed and emphasized,it being further stated that the white shell is the means used to thatend. This element of affirmation is very strong in the Mide' and toit may largely be attributed the power of the Mide' over the mindsof the Chippewa.Mi'jakiya'cig (" clearing sky"), an aged woman who is a memberof the Mkle'wiwin, sang the two following songs associated withher personal experience."We'nabo'jo and his grandmother are the principal characters inChippewa folklore. We'nabo'jo is also connected with the Mide',though the connection is not clearly defined.
a Mi'jakiya'clg stated that she was very ill when she was a young woman. Her parents prepared afeast and sent for a MIde'wInf'nf. After partaking of the feast the Mlde'wlnl'nl "spoke to the nianido',"saying that she wished to have her life prolonged by means of the MIde'. He then smoked the tobaccowhich her father had provided. A few days later a larger feast was held and many members of the Mlde'-wlwln were invited. After all had smoked, the first Mlde'wlnl'nl told them her desire; then he sang thesetwo songs, the people dancing as he sang. Mi'jakiya'clg stated further that her health was entirelyrestored.
densmore] CHIPPEWA MUSICNo. 77. Healing SongSung by Mi'jakiya^cig
93(Catalogue no. 78)
Voice J= 104Recorded without drum
"We - on - di - kwe - bi - wiig e We - na - bo - joiteiS3= :^^=kuo - mis fin on - d!i feP ^' kwe r Vbi - wug dl
We'ondikwe^biwiig^ They are in close consultationwith their heads togetherWe'nabo'jo We'nabo'joOkwomisiim^ And his grandmotherAnalysis.?Two strongly ascending progressions atthe first of this song mark it as different from the ma-jority of Mide' songs. The dotted quarter at the begin- g^j^^, picture no.ning of each measure forms the foundation of a simple 77. we'nabo'jorhythmic unit which is repeated with little change motherLeshownthroughout the song. in this drawing.No. 78. Healing SongSung by Mi^jakiya^cig (Catalogue no. 79)Voice J= 100Recorded without drum
Ni-ma-ni-do- wi - ua - wa ui-kan-<ig i hi e ni-nia-ni-g m&^E^?fcfc^ird: tt:do - wi - na - wa ni-kan-fig i hi e ni-ma-ni^ B-fii do - wi - tab=i V?i- \^wa ni - kan -tg i hi ni - ma - ni - do ni - kan - t.g
94 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
Nimanido^winawa^ I see a spirit likenessNikan^ In my Mide' brotherNimanido^-vvitawa^ He speaks with spirit powerNikan^ My Mlde^ brotherAnalysis.?The rhythmic unit of this song occurs four times andis readil}'' discerned. Attention is directed to the range and tenorregister of this song, which was sung by an old woman. The voicewas harsh in quahty, but fairly accurate in intonation.No. 79. Healing SongSung by O^deni^gun (Catalogue no. 71)
i^ilii
Voice J= 116Drum J? 116( Drum-rhythm similar to No. 1 )I -M-^t?ft. +^ :^' F f4- _
?^=^=1^ s is4=?! ^????-e=p.+^?n?ft. -^L_(f fL.3m :p=p:i^=Ud:A - di- zo - ka- n(ig a - di - zo - ka- nfi^ o he o hem '-r=^^E^ =p=p= ^i?g^nin - do-ta-wi-o -ge-dji-ga - gi - gi-do-yauF F-lt- ^^* *
^~l=P^=P=p:=^ a ?- -<s)--F ^L_^_^
-ft?ft-ft-f^ +i^=f^
-^^-'^
^
?
w?n?F +a:4: " ^ ^?a
?
P?-m-
+ +m =^^=p=p=^i?-r ^SEg^g^fe+

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 9
GE'MIWUNAC
DENSMOREJ CHIPPEWA MUSIC 95WORDSA''dizoka^nilg In a dreamNiuanMotagog'Djigagi^gidoyan^ >I was instructed to do thisNarrative.?The singer gave the following history of this song:Many years ago there lived at Gull Lake a man named Niogi'cig ("four days").This man had lain for a long time upon a bed of suffering and there seemed no helpfor him. At last he decided to send tobacco to the Mide^ men and see if they couldhelp him. They made him a drum and he played on it and sang this song, whichhe composed himself. The words mean, "It was told me m my dream that I shoulddo this and I would recover."Analysis.?-The rhythm of this song is pecuHarly energizing, andwhen once estabhshed would undoubtedly have a beneficial physicaleffect. The surprising feature of this case, however, is that the songis said to have been composed and the rhythm created by the sickman himself.A repetition of this song was secured from the same singer after alapse of several months. The second rendition was identical withthe first, beginning on the same tone and showing faulty intonationon the same tones. No. 80. Healing Song (Catalogue no. 14)Sung by Ge^miwunac''"From the musical and the dramatic standpoint this is one of thefinest songs in the entire collection. It is a song which would besung when a member of the Mide'wiwin was dying?when death wasexpected at any. moment. The music in the lodge at the time ofFlat Mouth's death was similar to that here given. It represents atype of song which members of the Mide'wiwin are especiallyreluctant to sing.Analysis.?A peculiar quality of sadness and pleading is found inthis song, a quality heightened by the upward progression at theopening of the song and the frequent use of the flatted second. Thisaccidental was always given accurately. Attention is directed to thedescent of a perfect fifth, followed by the descent of a perfect fourth,at the close of the song.
o An aged man, one of the most eminent Mlde'wlnl'nl in northern Minnesota. ( PI. 9. ) His name wasknown on all the reservations and he was held in the same high esteem everywhere. He was in chargeof the MIde' ceremonies which were held during the last hours of Niganlblnes' (see p. 51). The writerhad no conversation with him at that time. Returning to Leech Lake several months later she metGe'miwtoac' again and asked him to sing. It was probably owing to a remembrance of incidents con-nected with Flat Mouth's death that he was willing to sing this song. He stated that it was similar tothose sung during the last hours of Flat Mouth, but that he was then so overcome that he could notrecall exactly what songs were used.
96 BUREAU OF AMERICAN ETHNOLOGY [BULL. 45
Voice J = 56Recorded without drum
? t?J^ ^?V- g^^^g^iKi - ma - ui - do - we hi na iva ki - ma - ni- do - we^s^^^^m^^m^^hi na iva ki - ma - ni-do- we hinawa ki - ma -ni-do -we
en-da-ni - kan e ma-ni - do-wa-ne we hi a we
l^^^lgjg^lf^^ma - ni-do - we hi na wa ki - ma - ni-do-we hi na wa ki-
^u^:^^^r=f=^?E#ISeSS^blI: -J^.i^^i^^^l^ima-ni-do-we hi naxoa ki - ma-ni-do - we hi na wa hi
Kimanido^wihe^ You are a spiritKimanido^wiin I am making you a spiritEnda^nabiyan^ In the place where I sitKimanido^wiin^ I am making you a spiritSongs Connected with Kare MedicinesSung by O'deni^gunThese are examples of the songs which may be sung at the dancefollowing an initiation and also in the lodges during the eveningswhich precede the ceremony. They are songs which can be sung onlyby those who purchase the right to sing them. O'deni'gtin, whosang all the songs in this group, is said to be "one of the mostpowerful medicine-men on the White Earth reservation." (See fig. 7,p. 100.)The word "medicine" as here used refers to any substance bymeans of which results are supposed to be mysteriously attained.The narratives concerning these songs were given by the singer andare transcribed as nearly as possible in the words of the interpreter.
DKNSMORE] CHIPPEWA MUSTC 97No. 81. Song of the Flying Feather (Catalogue no. 191)Voice Jrzr 100Drum J - 108(Urum-rhythm similar to No. 1)
^ n-P ^
-^- ,^?
!
i ! 1 ^-1=^="^'-^ -^ ^:t: ^Ta Aa ?/a ha mon o - do-no-dji - i - gou ya ha ya ha
-*?? ? ? ? TI-JS-*-^m^^^^^^^mm^^^^^?=^= .F=^mon a-do-no-dji - i-gon ya ha ya ha mon o- do-no-dji -i-goii
a en - di-mu-sa -o - no -dji-gan
ya ha ya ha mon o - do-no-dji - i - gou 7ja ha ya ha
?non o - do - iio-dji - i - gon i na ha we a hi a
HARMONIC ANALYSIS3 measures 5 measures 2 measures 5 measuresi
Migwun The featherO^donoMjiigon' Is coming towardEndimo'nondjiigan' The body of the Mide'wini^niNarrative.?In a wigwam lived a man and his wife, butafter a time the woman ran away. Then the man went to anold Mide'wini^nl and said to him, "My wife has run away; Iwish that you would take pity on me and bring her backagain . '
'
The old man replied, "Your wife will come back to-night."Then he added, "I am sure of this, because the sound of mydrumming is heard all over the world and when she hears itshe can not help coming back." So he began to drum and to sing this song, and theman's wife came back to him. Then the old man gave him a charm so that higwife ivould never run away again.12692??Bull. 45?10 7
Song PICTURE NO. 81. Inthis drawing tlie personsmentioned in the songare represented twice.The man and his wifeare sliown in tlie wig-wam; the man is sliownalso beside the wigwam,wliile his wife is at adistance. (Comparedrawing of song no. 1.)
98 BUREAU OF AMERICAN ETHNOLOGY [liULL. 45Explanation of the flyingfeather and the flying man.?All the old Indians know aboutthe flying man. lie was a very powerful Mide'n who could cause a feather tocome to him out of the air. This feather would come toward him and enter into hisbody. Then the man could rise up and fly like a bird. The Chippewa dependedupon him in the wars with the Sioux, for he could fly through the air and spy out theenemy. Once the Chippewa suspected that the Sioux were near and they sent thisflying man to look over the country. As the Sioux were sitting in their camp theysaw the flying man coming toward them in the air, and the leader of the Sioux said tohis men, "Fill up that pipe as fast as you can; " so they filled the pipe and lighted it.They held the stem of the pipe up toward the flying man. They pointed it at him andhe could not see the crowd of Sioux. He did not see them at all. So he returned tohis friends and said that he did not see the Sioux anywhere. Then the Chippewamarched across an open field. The Sioux were watching, but they let them pass.Then the Sioux shot and killed them all, even the flying man.Analysis.?This song is harmonic in character, beginning on theoctave, descenthng a minor third, and then following the tones of thetonic triad. The song contains a short rhythmic unit which occursfive times, giving the song its forceful, energetic character. Therhythm is exceptionally strong and clearly marked throughout thesong.No. 82. Song of the Man Who Succeeded (Catalogue no. 192)Voice 100Drum J= 108(Drum-rhytinn similar to No. 1
)
3Riiii^^t
Nin'sa I myselfNingagwe^djisea^ Will test my powerNarrative.?There was once a man who had never tested thepower of his medicine in the hunt. It was a time of starvationin the camp. The man himself was starving. A very old Mide'had been training him for a long time, but the old man livedfar away. The man found himself thrown on his own resources.He resolved to do his best, so he composed this song and went forth to hunt. Theventure was a desperate one, but he succeeded, and killed a bear. Afterward thiswas his medicine-song.
Song picture no. 82.
oin conversational Chippewa the term Mlde' is frequently used instead c.' Mide'wini'nt, referring toa male nieniber of the MIde'wiwin.
DENS more] CHIPPEWA MUSIC 99Analysis.?The transcription is from the second of the four rendi-tions on the phonograph record. In the third and fourth renditionsthe words are shghtly changed, thus affecting the note-vahies, themelothc trend remaining the same. Even in this rendition the wordsare too broken by interpolated syllables to be transcribed.The intonation of the first note of the song is always clear. Theaccidental is also clear, but the intonation is wavering in most of thesong. The accidental is the lowered sixth, which occurs frequentlyin the Chippewa songs under consideration. There is no repetitionof a rhythmic unit in this song, although the various parts bear avery close resemblance to one another.No. 83. Song of a Scalp Dance (Catalogue no. 193)Voice J =r 104Drum J - 138(Drum-rhythm similar to No. 1}
?-. -'5>- #?
^
|iSPE?=S^EH^
-^^^ ipzrp: S=B'i:^
WORDSNinga'onde^nimigo' Some will be enviousGi'witagi'cig '. Who are in the skyNina^niminan' I am dancing aroundIni'niwi'stigwan' A man's scalp ?Narrative.?This song carries us far into the past with its warparties and wild rejoicings of victory. It was sung on the returnof the Chippewa from the Sioux country, with scalps. Afterthe usual scalp dances there was held a special dance called a' round dance," because it took place around a grave. If pos-sible, this was the grave of a person killed by the Sioux, oftenthe grave of the person whose death had been avenged by thewar. At the close of this "round dance " the poles bearing thescalps were stuck into the ground at the head of the grave, topoles should decay and fall. The drawing of the song showsduring the dance, but only one placed at the head of the grave,scalp of the person who killed the buried Chippewa.
Song picture no. S3.The drawing .showsthe dancing circle,the men carryingscalps upon poles, thegrave of the Chip-pewa, and the pole atthe head of the grave.stay there until thethree scalps upheldThis may be the
100 BUREAU OF AMERICAN ETHNOLOGY [BULL. 45Analysis.?Beginning on the sixth and ending on the thu'd, thismelody is somewhat unusual. The voice accent and consequentmeasure lengths are unmistakable, the only irregularity being in thefirst two measures after the rest, these measures being a trifle shorterthan the metronome time. The drum is exceedingly rapid and themelody in very moderate teni]:)o, a combination often found in songsof mental excitement.
Fig. 7. Birch-bark rolls containing mnemonics of the songs connected with rare medicines, and used byO'dSni'gfln when singing these songs.No. 84. Song of Good Medicine- (Catalogue no. 194)Narrative.?There were once two men, the elder of whomwas very disagreeable toward everyone, and would not believeanything that was told him. The younger man was hisconstantcompanion, but wasentirely different from him m every respect
.
One day the younger man secured a thread from the clothingof the elder and took it to an old Mide', asking him to changethe disposition of the elder man by means of medicine. Theold Mide' took a feather, cut the quill, and put the threadsinside the quill with a little medicine. Then he fastenedthe quill together in such a way that the cut was not visible.The old Mule' also gave the younger man a feather whichlooked exactly like the one with medicine in it. On his returnthe younger man gave his friend the feather containing theSong PICTURE NO. 84. Thefeathers are seen nearthe Mlde'wlnl'nl.
DENSiMORE] CHIPPEWA MUSIC 101
medicine and his friend placed the feather in his hair, supposing it to be an orna-ment. Both men wore the feathers in their hair. After a time the disposition ofthe elder man began to change. He grew kind and amiable toward everyone until atlast he was entirely cured of all his disagreeable qualities. This was the work of thegood medicine and the singing of the old Mide^.Voice J? 92Drum J= 116( Drum-rhythm similar to No. 1
)
m^^^ Sg^=^ ?^ ^ e^.-#- -#-
[Chippewa words not transcribed] [Free translation]I control him by means of thefeather so that he will lead a goodlifeAnalysis.?It was extremely difRcult to find the metric unit of thissong. It was finally found in three consecutive tones which bore anevident metric relation to one another. It was then discovered that thesame metric unit underlay the remainder of the song, and workingfrom these three tones it was possible to divide the song into note-values; the notes were then grouped into measures according to theaccents. Having transcribed the song according to this process, therhythm, which seemed hopelessly obscure, was seen to be quite clear.By tapping the rhythm of this song with a pencil one may gain anidea of its peculiarity, and of the unmistakable manner in which theentire song constitutes itself a rhythmic unit. The song was recordedseveral times, the repetitions being identical in rhythm.The tone marked ?) was given in every instance less than itspro])er time.This song offers a distinct problem in tonality. The tones arethose of the fourth five-toned scale on G flat, but the first part of thesong affiliates only with the chords of the key of D flat and the lastpart only with the chords of the key of G flat. Neither key is wellestablished by the melody. In this, as in similar instances, thesignature at the beginning of the staff should be understood asaffecting the tones on the lines or spaces indicated, but not as imply-ing that the corresponding key is fully established by the melody.
102 BUREAU OF AMERICAN ETHNOLOGY [bdll. 45No. 85. Song of the Crab Medicine-bag (Catalogue no. 195)Voice J = 104Drum J =116( Drum-rhythm similar to No. 1
)
A - ca wi he he a ne a - ca we he he a ne hi hi
hi hi hi a-ca we he he a he a, -ax, we a ni ni hi hi hii^ -[-?-hi wa - ca we he he^=?.i^F=t=t^=tfni wa - ca we he he ya we
^^=t^=^^ S^:t^r-lr\^ ^Mr-i^^^^
ni hi hi wa-ca we he he a ni wa-ca we he he a ni
nin-da-we-dja ha ni hi hi ya ha ni hi ni hi hi hi hi hi wa-caWORDSAca'gecen^ Like a crabNinda'badjia^ I am using itNarrative.?Two women are mentioned in this song. Theirgrandfather gave them each a medicine-bag made of the skin ofa small crab. The twowomen wore these medicine-bags aroundtheir necks and after receiving the bags they never lacked foranything?they had all that they wanted. This was a good kindof medicine-bag, for the crab has claws which hold very tightly, sothe medicine-bag enabled the women to hold on to everythingthat was good.Analysis.?This song resembles a chant. Theaccents and the grouping of tones are clearly marked, but the metricunit (J=104) varies constantly, the variation not being sufficient tobe indicated. The first word is so dismembered as to lose its identity,only the first two syllables being retained. The syllable ne marks theconclusion of the succession of syllables which represent the word.The second word is mispronounced. The song continues one acci-dental tone.
(^ -O- ^?^Song picture no. 85.The drawing repre-sents a MIde' bagwith two nii'gis be-side it.
DENSMORE] CHIPPEWA MUSIC 103No. 86. Song of the Fire-charm (Catalogue no. 197)Voice J:=69Drum J =126( Drum-rhythm similar to No. 1
)
^af=giB^=l^ ~^~ft- 3is^^g^-a=gi
ya ha ha ui-ya - Ave he he i- na-ko-ne ya ha ha ni-ya-gi^=^=^=f=^ggiig^=|g^g?=j^g^^^|we he he i - na - ko - ne ya ha ha ui-ya
we he he i- na-ko-ne ?/a hi hi ui-ya-we
1 ^. , =- - r^ ^ ^ ^ It fi~^g a a
104 BUREAU OF AMERICAN ETHNOLOGY [bull. 45and then gave the ejaculations wa hi hi hi hi, wa hi hi hi hi, afterwhich he began at the beginning and sang the entire song again; thisbeing contrasted with the custom of repeating the hist portion of thesong an indefinite number of times without a pause. Three completerenditions were recorded by the phonograph. The slow voice-rhythmand rapid drum are found in this as in other songs of mental stress.The pulse of the measure-lengths is uniform thi'oughout tlie song,though some measures are in 2-4 and some in 3-4 time.No. 87. Song of Starvation (Cataloguo no. 199)Voice J= 108Drum J =126(Drum-rhythm similar to No.l)a Ya - w6 - lieu ge - ma - uia- dji - dodt V- yau ya- we -uenge - ma - ma-dji -dod ni - yau ya - we - neu ge - ma - ma - dji -dod^ ni - yau lu - de - mu - sa - ?/o - gi - o - ji - ton ni - yau
ya - we - nen - ma-ma- dji - dod yau ya- we - nen
je-iua-nia-dji-dod ni - yau ya-we-neu ge-ma-ma-dji-dod ni - yau
Awenen'' WhoGemama'djidod' Will takeNiau^ My body?Fkwe A womanInde^musa''ogio^jiton^ . Is making the medicineNarrative.?In the olden times the Indians had noweapons except bows and arrows, and they often suf-fered greatly for lack of food. In those days they were very jealous of each otherbecause some could get more game than others. Sometimes a man who had plentyof food was later "starved out" by other Indians until he was so hungry that hecould eat grass. This was accomplished by means of medicine.Once a man who was nearly starving went to an old Mide' and asked for his help.The old Mide'' said, "Well, my grandchild, I will do what you wish because I fur-
SONG PICTURE NO. 87.
densmore] CHIPPEWA MUSIC 105
nished to the other parties the medicine which hat^ harmed you." Then the oldMide^ hired a woman to go to the other camp and steal some small object from theirfood supply. Ue wanted her to bring him a small bone from some of their game,but at the last moment she refused to go. Then he hired another woman. Sheworked at the other camp, and she brought the bone which the Mide^ wanted. Firstthe Mide^ put medicine on the bone ; then he hid it and began to sing this song. In ashort time the people at the other camp could get no game at all. They almost starved,but the man whom the Mide^ was helping could get all the game that he wanted.
.Analysis.?The accidental forms the chief musical feature of thissong. The sixth is lowered a semitone each time it occurs except inthe last word. In the first syllable of that word the F sharp issung accurately in each rendition of the song, while in the followingmeasure the tone is about midway between F sharp and F natural.No. 88. Song of the Owl Medicine (('atalogue no. 200)Voice ^r= 104Drum J= 112(Drum-rhythm similar to No. 1
)
Nin - go - ca niu - ga - gwet - ni - se - a nin - go - ca niu - ga - gwet -ni- se-
niu -go - ca nin - ga - gwet - ni - se - a nin -go - ca nin-ga
^Ji=9fc t=t=- f==Fgwet - ni - se in -de - um - sa gi we da ni no gi
go - ca nin - ga - gwet - ni - se
VEB
nm - go - ca nm - ga
gwet - ni - se :t: -t: t: .^niu - go - ca niu -ga-gwet - ni - se ;g
Nin'goca'' I am the oneNingagwet^sea^ Who is trying to flyInde'musa^ He is making it (the medicine)Narrative.?This song was composed by the same old Mide^ as the preceding songand most of the other songs in this series.Once a man and his wife came to this old Mide^. He could see that they werestarving, and he said, "Stay here at my camp to-night." The snow was 3 feet deep,and the man and his wife had been obliged to eat most of their dogs. The Mide'gave them food and made them comfortable.
106 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Late that night the old Mide^ got ready to siug, and while he was singing he sentan owl over to the camp where the Indians lived who were trying to starve this manand his wife. The owl carried the bad medicine and sat at the head of their campthat night, but they did not know it. This owl was just the dried skin of an owlwith the medicine inside of it.The old rule was that if a man killed an animal he must first divide it among thecamps; then he must cook his own share of the meat and invite allthe old men to come and eat it with him. If he failed to do thisthey would be jealous and would ' ' starve him out, ' ' as was the casewith this man and his wife.After singing this song and sending the owl to the other campthe old Alide^ was sure that the man and his wife would have nofurther trouble. He also gave them medicine to carry, so thatthey could get near to the animals when they were hunting.All that the Mide^ said was true. The other camp could get nofood after the owl went to the camp. The Indians there nearlystarved, but the man and his wife had plenty of game.
Song picture no. 88.The Mlde'wlni'nl',the man and hiswife, are seen in thewigwam .fromwh ichthe owl is flying.Analysis.?This sono; contains no change of rhythm, an unusualfeature in a Mide' song. The key of A minor is plainly implied bythe melody, although there is very little to establish the key. Thesong begins on the ninth and ends on the fifth. It contains no repe-tition, the syllables ho ho 7io ho, which indicate the conclusion of asong, being given after each rendition.Additional Mide' SongsNo. 89. Song of the Bear Path (Catalogue no. 236)Sung by Main'.\nsThis is said to be the oldest Mide' song known. If this were sungin a Mide' gathering, it would be necessary to make large gifts tothe singer, and before singing he would call on theMide' manido'. No one would sing this song whohad not purchased the right to sing it.Analysis.?The syncopation in this melody, as wellas the slight prolonging of many of the tones, makesit difficult of accurate transcription. The melodyfollows the intervals of the minor triad and fourth,but it is the rhythm which impresses the ear moststrongly. This very peculiar rhythm is maintainedthroughout the various renditions. The tone iswavering, with the vibrato so frequently used inthese songs. The seventh of the minor scale doesnot occur in the song. The seventh of the secondfive-toned scale is the fifth of the fourth five-tonedscale, and is seldom omitted. Its omission seems to indicate a feelingfor the minor tonality as such, rather than a use of the tones of thefourth (or major) five-toned scale with a different keynote.
Song PICTURE NO. 89. Inthe Mide' there are saidto be many "paths;"this song relates to the
" bear-path " and a bearis shown In the draw-ing. Birds are closelyassociated with the sec-ond, third, and fourthdegrees, and a bird ap-pears in this drawing,though it is not men-tioned in the song.
densmoreI CHIPPEWA MUSIC 107Voice J^- 168Dkum J?9&(Drum-rhythm similar to No. 1)
-#. -^ ^. f. -f-t^ElS: t^ HH -^ ^4^A - ni - xii - kwa - bi - klin
^=
ni - ni - kwa - bi kiln - u
1 ni - kan e he af?
I
h I 1 !
ni - kan he
^:^^?r
?
r?^?^
?
ff^?F??
?
ni - ni - kwa - bi kfui - u ni - kan he =E
ni - ni - kwa - bi kUn - u ni - k2,n he 'J?a -
-<=|t ? ? ? ? ?- ?
ni - ni - kwa - bi kCin - u ni - kanm
-\ 1 i 1
?
ni - ni -kwa-bi illi?i^llktin-u ni - kan e nin - dan-di- wa-yanWORDSA^nini^kwabikun'u We are following the bear pathNikan^ Aly Mide^ brotherNo. 90. "TlIEY ARE Making Me Old " (Catalogue no. 248)Sung by Main^ansVoice J^ 120Drum J= 120(Drum-rhythm similar to No. 1)
- * ^--H^M. .^. ^ ^. ^t F?.?.?-J-r-f-?f?-f?,Ma-ni -do - wi-djTg he. he he he he nin-ge - ka - i -gog o hoZ^IZJlslip; :t=F=t|: S^SS^ge he he en -da-na -bi- an t hi hi hi hi yo a he he he
-(^i ^?^
?
?^?0?m- :=t:=t:EBt^=^=B =tf=^=F=tfc^=^^=F=t[:: ;byo a he yo a he he he he he he he yo a he yo a he
108 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
Manido^widjig'' Those who are spiritsNingeka^igog^ Are making me oldEndana'bian^ Where I am sittingAnalysis.^This song is purely melodic in cliar-'^ ' acter, following the intervals of the second five-soNG PICTURE NO. 90. toucd scalc. It clearly illustrates the custom of
of the Mide' a man interpolating Syllables in the words of the Mide' songs.lives to be so old Thjg is Said to be a very old song.that he leans on astaff as he walks. No. 91. "To THE Spirit Land"Sung by Main^ansVoice J =138Drum Jz=112(Drum-rhythm similar to No. 1)
-?- -?- -?- -?-? :?- ?--?:-?--?- m
.
(Catalogue no. 253)
^m !p: A-ni-ma-dja ha ha a-ni-ma-dja ha ha a -ni-ma-iii?p^^^igig ^?^?^?rT^dja ha ha a-ni-ma-dja ha ha a-ni-ma-dja ha ha a -ni-maPi-B^ftpE^'=-r- ^^ i^? =ddja ha ha dja - da - ua - wiiitp^^i^he he hin - di - no he he^Si^^l^lEiE^iE a - ni - maf ^ ^_:t--t=tzz&fei dja ha ha I - ni - ma - dja ha haW?0 ^ a - ni - mai: ^E34 :EE? ?^dja ha ha ha a - ni - ma - dja ha ha a - ni - ma - djaWORDSAoda^nawme' To the spirit landA^nimadja^ I am goingHn/dinose' I am walkingBefore singing this song the singer said, "It is hard now when aman dies, but death was more tragic among the Indians in the olddays."
DENS more] CHIPPEWA MUSIC 109Analysis.?This song has the smallest range of any song analyzed.It was simg five times, each rendition ending on F sharp. The tempois plainly 5-4, and the pulse of the measure-beginnings is exact, thoughtoo slow to be indicated by the metronome. The divisions of themeasure are imperfectly indicated by note values, the first tone in sev-eral measures being slightly prolonged beyond the value of a dottedquarter. It is these delicate distinctions in time values which giveto a song, as sung by the Indian, its peculiar expressiveness andap])ealing quality. As in other songs of this character, the accidentalis the lowered sixth. At first the singer did not sing this accurately,but later gave it with c^orrect intonation.No. 92. "I Will Sing"Sung by Main^ansVoice J ? 84Drum J? 92( Drum-rhythm similar to No. 1
)
(Catalogue iiu. 255)
Ni - da - zon -ga-gi-dan da - zou -ga-gi-dau
E?=!:t2:^4=^3i=^=p=li
ni - da zon - ga - gi - dan ni - da - zon - ga
-
gi - dan
ni - da - zon - ga-gi-dan e ni - da - zon - ga - gi - dan
-P5i^i=&:|.~w=i^:i=i:p=p:zL,i=p=zpz=p:
ni - da - zon - ga - gi - dan e :t=t=^tlni - da - zon - ga - gi - dan^H^E^^^ -#??-^=^=^i!^illMr -de - wi-wiu ni-da- zon - ga-gi - dan ni- daWORDSNidazon^gagidan^ I will sing with the great powerMide'wiwin Of the Mide^wiwinThis song was sung during the preparation of the medicines, notduring the ceremony of initiation.
110 BUREAU OF AMERICAN ETHNOLOGY [BULL. 45Analysis.?This song contains one accidental tone, which occursonly in the introductory measures. Considerable freedom is allowedthe singer in beginning a song. The portion of the song followingthe word ' ' Mide'wiwin " is recorded seven times, eachrepetition returning to the point indicated and com-pleting the circuit with no variation except that thetwo measures between the double bar and the word" Mide'wiwin " are once omitted. The transfer ofthe accent from the second to the first syllable of thefirst word is clearly marked. The melodic progres-sions are of slight importance and the intonation isfaulty, the transition from one tone to another beingfrequently glissando, but the metrical repetition of one word is con-tinuous and emphatic.
Song picture no. 92Wavy lines represent the song.
No. 93. "I AM Walking'Sung by Main'ans (Catalogue no. 256)Voice J = 92Drum J ^ 92( Drum-rhythm sunilar to No. 1
)
Da - bi-na-wau gi - no - se - yan i ne da - bi - na
-
#?^- -^?^?^?f* f??|i-m^^wan gi-no-se-yan i ne mCi-ka-de-wa-kfim-ig o-se-
yan ^:da - bi - na gi - no - se
yau da bi - na wan gi - no - se yan
Dabi^nawa^ Toward calm and .shady jdacesNinMiiKjse^ I am walkingMak'ade'wakdm'ig . . . On the earth
Song picture no. 93.Analysis.?The rhythm of this song is so irregularas to make it difficult of transcription. The tempois rapid and the accents are slight. The phono-graph record contains four renditions of this song, which are iden-tical in every respect, both the peculiarity of the melody and
DENSMOKEl CHIPPEWA MUSIC 111the variations in rhythm being accurately reproduced. This is themore interesting as the tonality in the first part of the song is soexceedingly irregular.No. 94. "There are Spirits" (Catalogue no. i)Sung by Geo we^djiwe^binun^ ("trial-thrower ")WORDSNigigwa^niwiii At Otter TailEa' There
? Manido^ Are spirits Song picture no. 94. The two figuresWenenikiin' Who is thi.s, my Micle' represent MIde' manido', or spirits.brother Plates nos. l and 2 show similar fig-
,T. -J /, ? / rn, T ' . . . , ? 11 res on a MIde' drum. The animalNiwawida^bima^ .... That I am sitting with? ,,as said to be a "lion," also a " largeIn his dream the singer is sitting with "^^^'iih horns.'- a similar figure was'^ ^^^'^'^f^ vviuji drawn on the MIde' drum used dur-the manido' at Otter Tail. ing the ceremony for Nigan'Iblnes'.(Sec p. 54.)No. 95. "TiiEY Think Me Unworthy" (Catalogue no. 2)Sung by Gegwe^djiwe'binun'
Song pictukp; no. av The ob-long r e p r e s e n t s the Mlde'-wlgan; the two larger figuresare manido' and the smallerones members of the Mlde'-wlwln.
WORDSNin^danawe'nimigog . .
.
They think me unworthyNikan^iig My Mide^ brethrenNucke^ekundeg' But look and seeNiwi'giwam^ The length of my wigwam
No. 96. "The Water Birds will Alight" (Catalogue no. 3)Sung by (iEowe'djiwe^binun''WORDSKeget' Surelyinda'bunisin''dangug^ Upon the whole length of my formBines^iwug^ Irp, , ,? , -n ,? ,.'='
. the water birds will alightiikwa yaweyair J
Song picture no. 9G. The MIde'wIm'ni is representedin his own form and also in the fonii of a fish, uponwhich the water birds alight. Ability to attract wateranimals is greatly desired by members of the Mlde'-wiwln.
112 BUREAU OF AMERICAN ETHNOLOGY [Bl'LL. 45No. 97. "The Sky Clears"Sung by Gegwe^djiwe^binun'WORDSKeget' VerilyMijakwat^ The sky clearsNimitig^wakik' AVhen my Mide^ drumMedwe^undjin SoundsNin^a For meKeget^ A'erilyA^natin^ The waters are smoothNimitig^wakik^ When my Mide^ drumMedwe^undjiu' SoundsNin^a For me
(Catalogue no. 4)
Song picture no. 97. The arch represents the skyfrom which rain is falling. The two ovals repre-sent quiet lal^es. In his left hand the man holdsa MIde' drum and in his right hand a stick forbeating the drum.No. 98. "I Walk in a Circle''Sung by Gegwe'djiwe^binun'WORDSNikan^inan' My Mide^ brethrenNiwVninose^ I walk in a circleMa^kwa The bearA'niija' Goes on beforeMide^wigan^igmeduii To the Mide^ lodgeNingikino''amawa' TellingGitina^ciua^be The old IndianObagi'tciganui/ What gifts to s;iveUHTT
Song picture no. 98. On a pole are hungblankets and other gifts, which are to be dis-tributed according to the directions of the bear.The person to l)e initiated appears in the draw-ing, also the bear, which is entering the Mlde'-wlgan. Curiously, the bear's footprints precedehim, indicating the path he is to travel.
(Catalogue no. 5)
DENSMOKE] ^ CHIPPEWA MUSIC 113No. 99. "Our Dwelling is Royal" (Catalogue no. 6)Sung by Deda^bicac^ (" bird flying low toward the earth")
WORDSNinda'binan^ Our dwellingOgimawan^ Is royalNinda^binan^ Our dwellingAyayadoMamin^ Is widely renowned Song picture no.The MIcie'wInl'nl issoon in his own lodge,roses tjeing introducedto express the idea ofbeauty or luxury.
Song picture no. 100.Wavy lines representthe song.
No. 100. "Vermilion, I Sing of Thee" (Catalogue no. 7)Sung by Deda'bicac/
Onama''nahoinaya^ Vermilion, I sing of theeWe''namana^homaya ... 0, Vermilion, I sing of theeVermilion paint was frequently carried and usedby theMlde'.
No. 101. "There Stands a Man"Sung by Deda^bicac'
WORDSNi'boinfni ]_,, ^ ,?, .,.?,. inerc stands a manWanihinr ni }^^ . . , . ^ ^ ,,,. ,,.. ,, , , It IS lor nim 1 standMiwe'djiga'boeyan' J
No. 102. "I Stand"Sung by Deda^bicac'WORDSNiba'wiyan^ I standGid ub^ena' Are you present?Wa'weciga^bowiyan^ I rise, I stand12692??Bull. 45?10 8
(Catalogue no. 8)
Song picture no. 101.(Catalogue no. 9)
114
Song ticture no. 103.The many straight linesdiverging from the heartand body of the mansuggest the importanceof being selected tosharein the division of theoffering.
BUEEAU OF AMERICAN ETHNOLOGY [bull. 45No. 103. "I AM Named" (Catalogue no. lO)Sung by Ge^miwunac^
WORDSNimadwe^winigog^ I am namedMide'winiwug^ By the leaders of theMide^Wewflno'dtimowad'' To receive a share of theoffering
No. 104, " I AM Unable to Harmonize My Voice " (Catalogue no. ii)Sung by Ge^miwunac^
Ningwinani'inwe
.
GwinawFnowe' . .
,
Ni^tcanicina'be . .
.
Endanwe^nid uiVNi'tcanicina^lie . .Endanwe^nidun'
.
Ningwa^nani'ina^
.
[ Free translation]
I am unable to harmonize myvoice with the voices of myfellow Indiana which Ihear at a distance
Song picture no. 104.In this song tlie ques-tion is that of Ijeauty,or " liamionizing thevoice," and a rose talcesthe place of the wavylines which represent asong when sung withthe "power of theMide'wiwln." The
^ other singers are repre-sented by the figure inthe background.105. " They are Feasting with Me " (Catalogue no. 12)Sung by Ge'miwunac' WORDS
Song picture no. lo.").This drawing suggeststhe square bag used bythe Chippewa for stor-ing and carrying rice.
Niwido^pamigog . . . They are feasting with meAgwatci'siwayan^. . . The outside medicine-bagKima^nidom'' You are the spiritGigani^nigo'. . . , . You will be called
DENSMORE] CHIPPEWA MUSIC 115No. 106. "The Sound is Fading Away " (Catalogue no. 13)Sung by Ge^miwunac'.
WORDSA^niwe''we The sound is fading awayNa^nowe'wc It is of five soundsWa'naki^meniwa FreedomGi'niwe^we The sound is fading awayNa^nowe^we It is of five sounds Song picture no. I0(i.The five wavy linosrepresent the "fivesounds."
Song picture no. 107.The person atl-drcssed is r e p r e
-
sentcd as a nianido',in foiin like thosethat appear in thewater.
No. 107. ''You ARE A SpiritSung by Ge^miwunac^ (Catalogue no. 15)
Ninma^nidowe^nimigGima^nido'wiin^ . . . ,NikaneNiyiln^Mandun'Ninikan^Manidowa^nogwcn^
.
[Free tran.slatiou]
You are a spirit, my Mide'brother; you are pre-pared, my Mide' brother
Tabulated Analysis oj 90 Mule' SongsMelodic AnalysistonalityMajor tonality 65Minor tonality 2590Catalogue numbers of songsMajor tonality.?Id, 17, 18, 19, 20, 21, 22, 23, 24, 25, 2G, 28, 29, 30, 31, 32, 33, 37, 38,39, 40, 41, 42, 43, 44, 46, 48, 49, 50, 51, 52, 53, 55, 56, 58, 59, 64, 65, 66, 67, 69,73, 78, 79, 122, 123, 127, 128, 129, 130, 189, 190, 191, 192, 193, 194, 197, 199, 237,238, 240, 241, 242, 253, 254. Total, 65.Minor tonality.?27 , 34, 35, 36, 45, 47, 52, 53, 54, 57, 60, 61, 70, 71, 80, 124, 125, 126,192, 195, 200, 236, 239, 248, 256. Total, 25.Total number of songs, 90.
116 BUREAU OF AMERICAN ETHNOLOGY [bull. 45TONE MATERIALFourth five-toned scale 18Second five-toned scale 11Major triad and sixth 19Major triad, sixth and fourth 2Minor triad 1Minor triad and fourth 2Octave complete 3
Octave complete, except sixth 2Octave complete, except seventh. . . 10Other combinations of tones 19In two keys 3Total 90
Catalogue numbers of songsFourth five-toned scale.?19, 21, 22, 24, 41, 48, 52, 53, 59, 79, 189, 190, 192, 193, 237,238, 241, 242. Total, 18.Second five-toned scale.?34, 35, 45, 46, 53, 124, 197, 23(5, 239, 248, 254. Total, 11.Major triad and sixth.?16, 17, 18, 20, 23, 25, 26, 28, 29, 31, 32, 33, 39, 42, 122, 129,130, 191, 240. Total, 19.Major triad, fourth, and sixth.?127, 128.Minor triad only.?27.Minor triad andfourth.?61, 62.Octave complete.?56, 64, 73.Octave complete, except sixth.?71, 126.Octave complete, except seventh.?37, 38, 44, 46, 50, 58, 66, 67, 255, 256. Total, 10.Other combinations of tones.?30, 36, 40, 43, 49, 51, 54, 55, 57, 60, 65, 69, 73, 78, 80,123, 195, 199, 200, 253. Total, 19.In tu'o keys.?70, 125, 194.Total number of songs, 90. BEGINNINGS OF SONGSOn the twelfth 33On the fifth (compass less than atwelfth) 29On the ninth 5On the second (compass less than aninth) 5On the octave 11
On the seventh 2On the sixth 1On the fourth 1In two keys 3Total. 90
Catalogue numbers of songsOn the twelfth.?IG, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 31, 32, 33, 37, 38,54, 55, 66, 69, 71, 80, 122, 189, 190, 237, 238, 240, 241, 242. Total, 33.On the fifth. ?30, 39, 41, 42, 43, 44, 46, 47, 48, 50, 51, 52, 60, 61, 62, 63, 67, 73, 78, 79,80, 123, 126, 127, 129, 130, 197, 255. Total, 29.On the ninth.?192, 195, 199, 200, 253. Total, 5.On the seco7id.?3G, 40, 59, 65, 194. Total, 5.On the octave.?3i, 35, 49, 58, 64, 124, 191, 236, 239, 248, 254.' Total, 11.On the seventh.?45, 56.On the sixth.?193.On the fourth.?57.In two keys.?70, 125, 256.Total number of songs, 90. ENDINGS OF SONGSOn the tonic -. . . . 56 I On the third 10On the fifth 21 | In tivo keys 3Total number of songs, 90.
densmore] CHIPPEWA MUSIC 117Catalogue numbers of songsOn the tonic?IG, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 35, 38,41, 42, 43, 45, 51, 53, 55, 56, 57, 58, 61, 63, 64, 66, 67, 71, 79, 80, 122, 123, 124, 126,189, 190, 191, 192, 195, 197, 236, 237, 239, 240, 241, 242, 248, 254. Total, 56.On the fifth.?ZA, 37, 39, 40, 44, 49, 54, 59, 60, 62, 65, 73, 127, 128, 129, 130, 199, 200,253,255,256. Total,, 21.On the third.?S6, 46, 47, 48, 50, 52, 69, 78, 193, 238. Total, 10.In two keys.?10, 125, 194.Total number of songs, 90. ACCIDENTALSSongs containing no accidentals 73Songs containing accidentals 14In two keys 390Table of accidentals, shoiving catalogue numbers
Accidental.
118 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Catalogue numhers of songs in which metric unit of voice and drum is different.?52, 53,61, 123, 124, 189, 190, 191, 192, 193, 194, 195, 197, 199, 200, 236, 237, 240, 241, 242,253, 254, 255. Total, 23.Catalogue numhers of songs beginning on the accented portion of the measure.?39, 52, 54,55, 56, 57, 59, 61, 62, 65, 69, 71, 73, 191, 192, 199, 238, 239, 240, 242, 248, 253, 256.Total, 23;Catalogue numbers of songs beginning on the unaccented portion of the measure.?14, 53,58, 60, 62, 63, 64, 66, 67, 68, 78, 79, 83, 122, 123, 124, 189, 190, 194, 195, 197, 200,236, 237, 241, 255. Total, 26.Structural AnalysisMelodic x 70Harmonic 2090Catalogue numbers of songsMelodic?IQ, 17, 18, 19, 21, 22, 24, 26, 28, 34, 35, 36, 37, 38, 39, 40, 41, 43, 44, 45, 46,47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 64, 65, 66, 67, 70, 71, 73, 78,79, 80, 124, 125, 126, 127, 128, 129, 130, 189, 190, 192, 193, 194, 195, 197, 199, 200,236, 237, 238, 239, 248, 253, 255, 256. Total, 70.Harmonic?20, 23, 25, 27, 29, 30, 31, 32, 33, 42, 52, 53, 69, 122, 123, 191, 240, 241,242, 254. Total, 20.Total number of songs, 90.SOCIAL SONGS ON WHITE EARTH AND LEECH LAKERESERVATIONSIna'sUNDJIGAN NAGUMO'WIN (DrEAM SoNGS)The songs in this group are not composed in the usual sense of theterm, but are songs which are said to have come to the mind of theIndian when he was in a dream or trance. Many Indian songs areintended to exert a strong mental influence, and dream songs aresupposed to have this power in greater degree than any others. Thesupernatural is very real to the Indian. He puts himself in com-munication with it by fasting or by physical suffering. While hisbody is thus subordinated to the mind a song occurs to him. Inafter years he believes that by singing this song he can recall thecondition vmder which it came to him?a condition of direct com-munication with the supernatural. It is said that no drum is usedat this time, the drum being added when the song is rehearsed andsung afterward.These dream songs are considered under three divisions: First,songs of the doctor; second, song of the juggler; and, third, songswhich were composed during periods of fasting or of mental stressand were used later as war songs or in other connections. The songsof each division are preceded by an explanation of the circumstancesunder which they were composed or sung.
DENSMORE] CHIPPEWA MUSIC 119
1 . SONGS OF THE DOCTORThe Chippewa word dja'sakid is appHed to two cLasses of peo-ple?doctors and jugglers. It is dillicult for us to recognize therelation between these two, for we are accustomed to regard medicineas a science and jugglery as an imposition, but to the Indian mindboth are direct demonstrations of supernatural power received andmaintained by means of dreams or trances. For that reason it isnatural that the same word should be applied to each.'^The songs of a Chippewa doctor can not be bought or sold. Eachman must bear his own pain or endure his own fasting if he would ac-quire power over pain in others. Sympathy and affection were veryreal in the Indian wigwams. Definite knowledge of means for curingthe sick was very scanty, and in pathetic helplessness the Indianturned to the supernatural for help. The methods used in the treat-ment of the sick are repellent. For that reason it is good that wefirct consider the element of poetry which underlay the best attemptsof the old-school Indian doctors to relieve the suffering of theirfriends.The fasts which were practised by the Chippewa doctors usuallylasted ten days, the time being spent on a mountain or a great rock,or in a tree. A doctor frequently built a kind of nest to which heretired and whither he believed the manido' came to give him thepower to do his work.The Chippewa doctor treats the sick b}' singing, shaking his rattle,passing his hands over the body of the patient, and apparently swal-lowing one or more bones, which are afterward removed from hismouth. Each of these phases is considered indispensable to the treat-ment. The rattle commonly used is shown in plate 1. It is made ofdeer hide stretched over a wooden hoop and is 9^ inches in diameterand one-half inch in thickness, and contains two or three small shot.The manner of holding the rattle is shown in plate 2. The dis-coloration on the front of the rattle and a small hole on the back areindications of its being used in this position. The hole on the backis exactly where the deerskin would be pressed by the second finger.This hole has been roughly patched. Tlie rattle was procured fromO'deni'gim, a man said to be especially skilled in the use of medicine,who sang the Songs connected with Rare Afedicines, in the presentseries (see p. 90).
a The songs of the Chippewa doctor were recorded I>y Main'ilns (' 'IRtle wolf"), tlie younger, a man ofmiddle age, whose feet were frozen when he was a lad, and who walks on his knees. lie related to thewriter the story of his experience at the time his feet were frozen. Accompanied by his grandparents hestarted to walk from one village to another, but a heavy snowstorm and intense cold overtook the littleparty. Uis grandparents finally perished of cold and starvation, but he found his way to the villagewith both feet frozen. Years of suffering followed. When the pain was most severe these songs.Maifi ans said, one after another, " rang in his head.'' Tie spoke of the condition of intense pain as adream condition, implying that the intensity of the pain produced a state l)ordering on unconsciousness.Tie said that years afterward lie became a doctor and these songs were his special " medicine songs" inc.ring tlie sick.
120 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Two of the bones which are supposed to be swallowed are hereshown (fig. 8); these are 2^ inches long and about one-half inch indiameter. The texture of these bones indicates that they are very-old. They were procured by the writer from a man on the WhiteEarth reservation who had been a doctor for many years but had givenup the practice. His well-worn rattle was also purchased, but this isnot shown in the illustration. On another reservation the writer wasshown a string of ten or twelve bones which the owner said he repeat-edly swallowed in his cures of the sick. Large numbers of bonesare often ''swallowed," each doctor having a collection of bones forthe purpose; a number of these are frequently worn on a string aroundhis neck.The sick person lies on the ground, the doctor kneeling at his rightside. (See pi. 10.) The doctor holds his rattle in his right hand and at
Fig. 8. Bones used by Chippewa doctor in treating the sick.his left hand is a pan or bowl of water in which lie the bones to beswallowed. The doctor opens his mouth, protrudes his tongue, placesthe moistened bone on it, and "swallows" it quickly. After shakingthe rattle a while he "swallows" another of the bones; usually thisprocedure is continued until four or five bones have been disposed of inthis manner. One doctor stated that the bones lodge in the chest nearthe shoulder. It is also said that there is a spirit inside the doctorwhich takes the bones.After " swallowing " the bones the doctor strikes his breast with therattle ; then he leans over the sick person and strikes his back l:)etweenthe shoulders with the rattle. It is claimed that this enables him tosee where the disease is located in the patient.In giving the following three songs MainTins stated that he alwayssang the first song after he had looked at the siclc person and decidedthat he could help him. Afterward he sang the other two songs.
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 10
CHIPPEWA DOCTOR TREATING THE SICK

DENSMORE] CHIPPEWA MUSICNo. 108. Doctor's SongVoice J =76Drum J=: 126( Drura-rliythin similar to No. 1
)
121(Catalogue no. 244)
tSfeF
Meu - we - we - a - ci yan a - kin ge men - we-we - a
=aEFFSE?3^eEt=E?^Eg=pE^^g^BE?S yan a-kifi ge ke - dan-dji - ka - ba-we-yan a-kifi ge men
we - we - a - ci - yan a-kiii ge meu-we-we a - ci-yan a-kiil ge
Mgnwe^wea^ciyan^ I am singing and dreaming in my poor wayAkin' Over the earthKedan'djikaba'weyan' I who will again disembarkAkif/ '. Upon the earthAnalysis.?This song was extremely difficult of transcription. Whenat last the transcription was made it was found that the four renditionsof the song were identical except in one or two unimportant measures.The accidental in the first measure was given in all the renditionswith good intonation. The metric unit is very slow but is clearlygiven; the measure accent however is very slight. The rhythmicfeeling throughout the song is for the single count rather than for anygrouping of counts.No. 109. "I Go TO THE Big Bear's Lodge" (Catalogue no. 245)Voice J= 108Drum J? 132(Drum-rhythm similar to No. 1)g#r?- -0- -?- -0-. -0-TEEiE^ ;eh T-^=irrj==m=m=|:|Ki-tci-mak-wa he wl - gl-wam e bi- ma - bi - I In- di
Ki'teitoak'wa The big bearWi'glwam' To his lodgeBabla'dige' I go often
122 BUREAU OF AMERICAN ETHNOLOGY [BULI,. 45Narrative.?Beinre beginning this song Maiii'ans said, " In my dream I went to thebig bear's lodge and lie told nie what to do. He told me how to swallow the bonesand I often go back to his lodge that I may learn from him again. This is what I sayin this song which I made up myself. Every dja'sakid has his own animal which hesees in a dream and he learns from this animal what he shall do for the sick person."Analysis.?This song is so short that the phonograph cyhnder con-tains nine renditions of it. Tlie transcri])tion is made from the mostreguhir rendition, but the intonation is faulty. The singer found muclidifficuhy in starting the song on the octave, owing probably to thepresence of the tenth so near the beginning of the song. The tenthis a particularly hard interval to grasj). The rhythm is regularly main-tained, especially the rhythmic unit which consists of the dottedquarter or quarter notes preceded by eighths. The subdivision ofthe third measure shows some indecision; the rhythmic unit has beenclearly given out, and the interest lapses slightly until the rhythmicunit again asserts itself.No. 110. "Going Around the World" (Catalogue no. 246)Voice J ~ 72Drum J.- 138(Drura-rliytliin similar to No. 1)
Ka - wi-ta-kGm-i - gic - ka - man a-ki we mi- d\ve-kfim-i - glc-
-\?P?i^?t- ^'
ka - man a - ki we ka - wi - ta - kfim-i - gic-ka - man a-ki toe
:^:^-_^_^_
nil - dwe kum-i lin ?????
?
FF4-S ;Tc - ka - man a - kiJ"^==t -,^_^_(f-^^ =^mi - dwe - kum - i gic m^^^ i==t-i^-r- IIka - man a-ki we
KaVita'kfimi'gickaman^ I am going aroundAki' The worldMidweek umi'gickaman^ I am going throughAki^ The world
DENSMORB] CHIPPEWA MUSIC 123Analysis.?The chief rhythmic phrase of this sono; is short, clearlymarked, and frecjuently repeated. It is comprised in the second andthird measures of the soncj. This recurring? plirase is easily tracedand is always given in exact time. The intervening measures are inless regular time, the words somewhat resembling metric speech andthe note values varying accordingly. They are, however, indicated ascorrectly as possible. The use of an accented sixteenth note beforea dotted eighth note is not common in the White Earth songs, butwas frequently found in the songs collected at Red Lake. This songis melodic in structure, beginning on the sixth and ending on thethird of the fourth five-toned scale.
2. SONG OF THE JUGGLERThe supernatural power of the Chippewa doctor is shown by therecovery of his patient; the supernatural power of the Chippewajuggler is shown by a performance which is universal throughout thetribe. In this performance the juggler frees himself from the tightestcords, causes his lodge to sway as though blown by a tempest, andsummons the spirits of wild animals whose voices are heard by thespectators. The accounts of these performances are authentic, butthe ability to perform the feat has never been explained.The following description of a juggler's performance was given inconnection with the song, the narrator stating that he had seen theperformance by Ce'deens' and had heard him sing the song at thattime.The preparations were as follows : Eight poles were placed uprightin the ground. These poles were 12 to 14 feet high. They were sunkin the ground 2 or 3 feet and were placed about 2 feet apart. Theywere bound together by hoops, eight of which were fastened aroundthe poles at intervals. After the completion of this frameworkCe'deens' sang this song. Then he was bound with ropes madeof the inner bark of the basswood tree, his hands were tied behindhim, his feet were tied, a large stone was placed on his chest, andhe was bound around with stout gill nets, so that he was "like aball." Four men carried him eight times around the circle of polesand then threw him inside the inclosure. One of the four men thencalled, "Come, ye people of the sky, come and smoke." In a fewmoments the poles began to shake; the whole structure rockedand swayed as though a tornado were blowing; yet there was nowind and the sky was cloudless. Soon a voice was heard. Thevoice said, "Who is tying up my grandchild? I am going to breakthose ropes and throw them over where you are sitting."The people seated on the ground, watching the })erformance, heardthe voice, and in a few moments they saw the ropes coming throughthe air. These fell near the people, who hastened to examine them
124 BUREAU OF AMERICAN ETHNOLOGY [bull. 45and found that they were indeed the ropes with which the juggler hadbeen bound and tliat tlie knots in them were not untied. The ropeshad been sKpped from the juggler's body and he was free.The writer was recently informed by a reliable Indian that his unclewas accustomed to perform this feat in the old days, and that after hisuncle joined the Christian Church he asked him to explain how he didit. The old man replied that he could not explain it, as he was anentirely different being at that time. His manido' animals were thebear and the snake, and the Indian stated that, as nearly as he couldmake out, his uncle seemed to imagine himself a snake when givingthis exhibition. Two intelligent Indians have given it as their opinionthat the juggler imagines himself to be some animal supple and litheenough to work itself free from the cords, and that this imagination,or mental concept, is so strong that the body responds and does whatwould be impossible at any other time. It has been frequently sug-gested that the spectators are hypnotized and imagine they see whatthey do not see. The foregoing explanation suggests that the hyp-notic influence is exerted by the juggler on his own body. Musicis considered indispensable to the performance of this feat.The Indian stated that he had seen the lodge bend like a sapling,so that the top almost touched the ground, when his uncle was givingone of these demonstrations. Afterward three men entered thestructure. One stood on the ground, one climbed halfway to thetop, and one to the very top. These men tried with all their strengthto sway the structure, but could not move it in the slightest degree.A juggler's performance on the Grand Portage reservation wasdescribed to the writer by an eyewitness, who said that "a friendwho lived many miles away was suddenly present in the lodge"and that she "heard his voice distinctly." There were also manywild animals in the lodge whose voices she recognized. Spectatorsare not allowed to enter the lodge, but they hear these voices asthey stand outside.This account shows the association of music and mental influence,which was also mentioned in connection with the medicine songs ofthe Mlde'wiwhi.These performances were often given at the time of Mide' ceremo-nies, but were not directly connected with them. As stated else-where, the jugglers were not always members of the Mide'wiwin.Attempts were made at times to counterfeit the performances ofthe jugglers. The following incident was related to the writer:There was a man who pretended to be a juggler, but the Indians knew that he wasa fraud. This man said that he liked to have the lodge built on the shore of thewater whrti he gave an exhibition. That was because it would sway easier if thepolos were stuck in soft sand. Once this man was giving an exhibition and heclimbed up inside the lodge to shake it. Of course he had to do this because he wasnot a regular juggler and did not know how to do it right. He was almost at the top
densmore] CHIPPEWA MUSIC 125
and was swaying it back and forth when some boys pulled up the poles and threw theman and his lodge far into the water. No one paid any attention to the man afterthat. (Catalogue no. 213)No. 111. The Song of Ce'deens' (Juggler's Song)Sung by Ga''gandac'' ("one whose sails are driven by the wind ")Voice J- 120Drum J? 126m^3:4r_-p--^r- &#=f?=^'=?=^ =F=P==^
'i^ ?:=f:= H? ^ ^--
PP*i Ka-be-bln-de - ge no- sis a ki - wi-gi-wam-iii?_* :t^^i -^?
^
?^fe ti: ^P=^?
^
izzi: -z^ i
Drum-rhythmDrum J=: 126
:^5^=^ *^etc.
Kabebin'dige' I have goneNo'sTs My grandchildKiwi^giwam'ifi Into your lodgeAnalysis.?This song was sung three times and in each renditionthe sixth was lowered a semitone in the first measure and a smallerinterval in the remaining portion of the song. The second of themeasures containing the words was sung slower to permit the enunci-ation of the syllables; otherwise the rhythm of the voice was steadilymaintained. The drum was silent when the words were sung.
126 BUREAU OF AMERICAN ETHNOLOGY lUDLL. 453. DREAM SONGS AFTERWARD USED AS WAR SONGS OR OTHERWISELike the other dream songs, these were said to have been composedduring a dream or on waking from a dream. Many of them are asso-ciated with some animal which becomes the manido' of the dreamer.The words of many of these songs suggest that the dreamer contem-plates nature in a certain aspect so long and so steadily that hegradually loses his owti personality and identifies himself with it. Inother instances he imagines that animals or objects in nature are sing-ing and that he learns their songs. It has not been definitely ascer-tained whether the singer imagines he repeats the melody or only thewords of such songs.All the dream songs are supposed to be spontaneous melodies, andtherein lies their chief importance in connection with the analyticalstudy of Indian music.No. 112. Song of the TreesSung by Ga^gandac^ (Catalogue no. 206)Voice J= 100Drum 120(Drum-rhythm similar to No. Ill)
* l^iE^Sl^No-diu e - ta nin-eo-tanm^^'^^^mmm.& ;i
Nodin'' The windE^ta OnlyNingotan^ I am afraid ofNarrative.?The following explanation of this song was given by Main''&ns: The songbelonged to a certain man who sang it in the dances which were held before going towar. When this man was a boy he had a dream and in his dream he heard the trees
densmork] CHIPPEWA MUSIC 127
singing as though they were alive; they sang that they were afraid of nothing exceptbeing blown down by the wind. \\ hen the boy awoke he made up this song, in whichhe repeats what he heard the trees say. The true meaning of the words is that there isno more chance of his being defeated on the warpath than there is that a tree will beblown down by the wind
.
Analysis.?The rhythm of this song is energetic, vivifying, andfull of action. The rhythmic unit is short and easily recognized, con-sisting of a measure in triple time followed by a measure in doubletime. The song was sung five times, the renditions being identicalin every respect. The rhythms of voice and drum are greatly atvariance, but each is steadily maintaineil. The harmonic structureis evident and consists of a major triad in the upper and in the loweroctave with the sixth as a connecting tone.No. 113. Song of the Thunders (Catalogue no. 207)Sung by Ga^gandac^Voice j- 120Drum J- 120(Drum-rhythm similar to No. Ill)
Na - uiu - go - di - imuk i i toe uiu - ba - ba - ca- wen
=?i?L^?=t:dan ni - yau a=F
(* ^ ^-
ba - ba - ma - ci yan gi - cig
;ii3^
Na^ningo^dinunk' SometimesNinbaba^cawen^dan I go about pityingNiyau^ MyselfBaba^maciyan'' While I am carried by the windGicigun^. . ,.,,.... Across the sky
128 BUREAU OF AMERICAN ETHNOLOGY [bull. 45This song forms an example of the strange personation which char-acterizes many of the dream songs. In this the singer contemplatesthe storm mystery of the sky until he feels himself a part of it andsings its song.Analysis.?This song is divided into two parts. The first containsonly vowel syllables and consists of nine measures, in which therhythmic unit occurs twice. This unit is comprised in the first threemeasures. The second part of the song contains the words. Thispart of the song constitutes a rhythmic unit in itself. Attention isdirected to the harmonic character of the song, although the melodymoves with great freedom.No. 114. "My Voice is Heard" (Catalogue no. 208)Sung by Ga^gandac''Voice J =112Drum J =116(Drum-rhythm similar to No. Ill)
^m^^^_ tH-f^^ -P?
^
.t=Mi- si - we a - kin e nin-de - bwe- wi - dfim
i^^^^JF^^^=^=^ ^El ^1
densmoke] CHIPPEWA MUSIC 129
Misiwty All overAkifi The worldNin^debwe^widflm^ My voice resoundsIn this song, as in the preceding, the singer contemphites thestorm. He hears the reverberation of the thunder and in his dreamor trance he composes a song concerning it.Analysis.?This song is definitely major in tonahty and was sungin exact time throughout. The metric unit of the diiim is shghtlyfaster than that of the voice and produces an effect of hurrying thevoice. The lowered sixth occurs as an accidental. It is impossibleto indicate the exact deviations from pitch and the peculiar porta-mento of voice used in this song, but the manner of the renditionstrongly suggests that they are used to heighten the effect and donot form an actual part of the song.No. 115. "The Approach of the StormSung by Ga'gandac^Voice J- 112Drum J^ 116(Drum-rhythm similar to No. Ill
)
(Catalogue no. 209)
gwen ka - bi de - bwe - wi-dun
AbitH^ From the halfGiclguii'' Of the skyEbigwen' That which lives thereKabide'bwewiduii' Is coming, and makes a noiseThe Thunder manido' represents to the Indian the mysteriousspirit of the storm, and he imagines that this manido' sometimesmakes a noise to warn him of its approach. This is his interpreta-12692??Bull. 45?10 9
130 BUREAU OF AMERICAN ETHNOLOGY [bull. 45tion of the distant thunder which precedes a storm. Hearing this,the Indian hastens to put tobacco on the fire in order that the smokemay ascend as an offering or signal of peace to the manido'. Theidea which imderhes the song is, "That which lives in the sky iscoming and, being friendly, it makes a noise to let me know of itsapproach." This means much less to the white race than to theIndian. We are accustomed to noise; the Indian habitually ap-proaches in silence, unless he wishes to announce his presence.*^Analysis.?This song is harmonic in structure and contains thetones of the fourth five-toned scale. More than a year before themaking of this record the same song was secured from a youngersinger. On comparing the two records it is found that they differmuch less in rhythm than in melodic progressions. The youngersinger used exactly the same tones, but in some parts of the song heused the intervals in a slightly different order. The characteristicrhythm is identical in the two records.No. 116. "As THE Hawk Soars" (Catalogue no. 210)Sung by Ga'ganoac'The second word in this song suggests to the Chippewa the courseof a bird which flies forward a short distance, then circles, and thenflies forward again. The Chippewa thought that the hawks werehalfway to the top of the sky because they flew so high, and thissong was probably inspired by the sight of a flock of hawks flyingand circling high overhead.Analysis.?The harmonic structure of this song divides it into twoparts, the first based on the minor triad with the minor seventh^added, and the second on the tonic triad and sixth. The tones ofthe first chord are repeated during fourteen measures, the F sharpsinking to E on the fifteenth measure. This introduces the tonicchord in the key of A, and the latter part of the song is composedof the tones of the tonic triad and sixth in the key of A. The firstpart of the song suggests the close attention with which one followsmoving objects; the satisfying resultant chord and the free melodywith its even rhythm suggest the return of the singer's attention tohis song and to his more immediate surroundings.
a The Indian who composed this song is now a clergyman of the Episcopal Church, Rev. (Jeorge Smith.When he was a little boy he often painted his face and fasted five days because he wanted to be a " spiritman; " when he was 15 or 10 years of age he composed this song in his dream. The preparation for hislife work was according to the native customs, but he is doing that work in the white man's way.b Prof. J. C. Fillmore found this tonality among the Dahomey sangs collected at the World's Colum-bian Exposition at Chicago and Mr. H. E. Krehbiel (In a paper read before the Folk-lore Congress, July,1894) cited similar instances among the songs of the American negroes. Professor Fillmo'-e recorded asimilar song from the Nass River Indians living in British Columbia. This tonality is found also in thefollowing songs of the present series: nos. 51, IIC, 127, 172.
densmohe] CHIPPEWA MUSIC 131A correspondence between the idea of a song and its melody or itsrhythm can not be taken too literally or pushed too far. Music cannot imitate a scene in nature or express a mental concept, yet eithermay inspire a song. Under such circumstances the song may reflectin some degree the source of its inspiration, yet it would be impossi-ble, in any instance, to infer that source from the character of thesong.Five renditions of this song were secured, the only variations beingin the first part; the harmonic material remained the same, but theorder of progressions differed slightly. The second part was iden-tical in all the renditions.Voice Ji^ 112Drum J=r 126( Drum-rhythm similar to No. Ill
)
mmUm^sim^ t=^i
^feE?>-=- 2:-t4^^- i^itliiiSi
litEP^:^_E;tEE s^S^ ^=-'g-A - bi - ta wi - ?;i - cisr . . bi -
r^.U #?^ ? ? 1???
?
?
.?=P --(z-iiii-kwe-kwe - ki - ka - ba - wi - yan5^ jtniL IANALYSIS14 measures. 1 measure. 2 measures. 3 measures.
' I I I I I I (^m
Abita'wigi^cig Halfway up the skyBimikwe'kwekika^bawiyan^ I am flying
132 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 117. "In the Southern Sky" (Catalogue no. 211)Sung by Ga'gandac''Voice J- 112Drum J ? 116( Drum-rhythm similar to No. Ill
)
A-jig-wagi-cig - un ca-wHn - u - bi-IM ?z?z- si?
I
Iyan
Ajig^wa AlreadyGi^cigun^ In the skyCawun'ubiyan' I am sitting in the southAnalysis.?In harmonic structure this song is similar to thepreceding, the first fourteen measures being based on the tonesof the minor triad with the minor seventh added, the sixteenthmeasure containing lower E, the remainder of the song being com-posed of the tones of the tonic triad. The last part of the song issimpler than that of the preceding song, but the general character isthe same. It may be possible that both songs were composed bythe same man, this coming first in the order of composition. In this,as in the preceding song, the last part was always sung in exact time.No. 118. "Manido' Listens to Me" (Catalogue no. 212)Sung by Ga^gandac^Analysis.?This melody contains only the tones of the major triadand sixth. The song was sung twice, the second rendition beginningon the last count of the fourth measure, suggesting that the firstmeasures are an introduction. The custom of using an introductionto the first rendition of a song has already been mentioned. In thisintroduction the singer is allowed considerable freedom.
densmore] CHIPPEWA MUSIC 133The meaning implied in the Chippewa words is that the manido'who listens will grant all requests of the singer.Voice Jr=I12Drdm J? 120( Drum-rhylhm similar to No. Ill )
EpIjS^^^FNi^M <9 ?-=-???'- Iii?L^i^j iis^
^ :pr=p=pi:^^_ -u-7^- ?g^WORDSNin To meBisin'dag He listensBe'cig OneManido' SpiritNo. 119. Song of the Crows (Catalogue no. 260)Sung by Henry SelkirkNarrative.?The following explanation of the song was given by the singer:A young man was fasting where his father had taken him. It was in the fall, andthe flocks of crows were getting ready to go south. The young man heard the crowsin the trees and imagined that he learned this song from them. Afterward the crowwas his manido'' because it had given him power to understand the language of thecrows. The words of the song mean that the crows are the first birds to come in thespring, and so the old-time Indians thought that the crows brought the spring rains.This was first a dream song and afterward it was used as a war dance.
134 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Analysis.?This nielod}^ contains only the tones of the fourth five-toned scale. Both melody and rhythm are of unusual simplicity.Voice Jrz 108Drum J= 1 1
6
( Drum-rhythm similar to No. Ill
)
i Ee ba - iii hi nil! - di - gog hi -
-RT-t>?^????-
.tEE? -^-r ;^=^"A-^^^^ ?????-lie - si- wfio nin-weii-dji- gi - mi - wfiii an- deg-niu - di - go I
Be'Taani'gani'' The first to comeNinMigog' I am calledBinfi'siwug^ Among the birdsNinVendjigi^miwuii' I bring the rainAndeg'nindigo' Crow is my nameThe two following songs were not composed during dreams, butduring great mental stress. They are classed with the dream songsbecause they are spontaneous melodies, said to have sprung from thelips of the singers without conscious efToi-t on their part. Thesesongs were given by a particularly relia])le singer.No. 120. Song of the Deserted Warrior (Catalogue no. 259)Sung by Henry SelkirkVoice ^ . =z 60Drum Ji= 104(Drum-rhythm similar to No. Ill)? ^=P^ m^^ ==F=4; Nin da gi tci dCmi
^i '-(2-ba - mi - nan tci - ma - dja - yfin o ya a
tci
=]:
-2:*- iya
Nindagi^tcinisa'nendtjm' I would be very sorrowfulTciwa^baminan^ To see youTcimaMjay un^ Go awayNarrative.?About forty years ago the Chippewa were at war with the Sioux nearTurtle mountain in North Dakota. The Chippewa were concealed in a cornfieldready to attack the Sioux when their ami)ush was discovered, and in the fight one of
densmore] CHIPPEWA MUSIC 135the Chippewa was shot through the breast. The man's name was No'dinuk'wum,which means Wind-Thunder. His friends attempted to carry him with them, but itseemed that he would surely die, and their own lives were in danger; so they lefthim with his face painted and a feather in his hair, to die like a warrior. After theyhad left him they heard him singing this song. It was an entirely new tune and twoof the men remembered it and sang it after they reached home. The song affectedthe men as no entreaty could have done. They rushed back, dragged the woundedman to the water's edge, lifted him into a canoe, and paddled away safely. The manrecovered and now lives at Pine Point. The singer said that he recently saw theman and also the scar of the wound.Analysis.?The metric unit in this song is the measure, not the incU-vidual count in the measure. This unit is regular. The divisions ofthe measure are not always exact, but are indicated as nearl}^ aspossible. The meloily tones comprise the minor triad and sixth.No. 121. "I Am Ab^RAID of the Owl" (Catalogue no. 261)Sung by Henry SelkirkVoice J= 152( Recorded without drum)
-C|f-a?f ^___^ g , ^-f^ ^ fg g_^ ft f
136 BUEEAU OF AMERICAN ETHNOLOGY [bull. 45Analysis.?This song contains only three tones and may be said toconsist of the minor third with the tone above as a preparatory tone.The chief rhythmic phrase is the quarter note followed by two eighths,a subdivision of a double measure which suggests fear.Dream Songs? White Earth ReservationMelodic AnalysisTONALITY
Major tonality.
.
Minor tonality
.
Total.
Numberof songs. Catalogue numbers.
259,261
TONE MATERIAL
Fourth five-toned scale.
Major triad and sixthMinor triad and fourthOther combinations of tones.Total
200,207,209,210,211,244,246,200212,213,245,259261208
BEGINNINGS OF SONGS
Beginning on the twelfth.Beginning on the tenth. .
.
Beginning on the octave..Beginning on the sixth. .Beginning on the fourth.Total.
206,207,209,210,211,212,213244245,259,260208,246261
ENDINGS OF SONGS
Ending on the tonic.Ending on the fifth..Ending on the third.Total
206, 207, 209, 210, 211, 212, 213,245,260,201208244,240,259
First progression downward.
First progression upwardTotal
FIRST PROGRESSIONS
200, 207, 208, 209, 210, 211, 212,244,246,201213,245,259,260
densmoee] CHIPPEWA MUSIC 137Melodic Analysis?Continued.ACCIDENTALS Numberof songs. Catalogue numbers.
Songs containing no accidentals
.
Sixth lowered a semitone.
.
Third lowered a semitone
.
Sixth raised a semitone
206, 207, 209, 210, 211, 212, 245,246,259,260,261213208244Total. Rhythmic Analysis
138 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 122 (Catalogue no. 179)Sung by Aki'waizi' ("old man ")Voice J 1=69Drum J= 126(Drum-rhythm similar to No. 1)
Eiife^
Analysis.?This song is based on the second five-toned scale of Eflat, the harmonic divisions being the minor third E flat-G flatfollowed by the major third G flat-B fiat, the song closing with areturn of the minor third E flat-G flat.The rhythm of the voice is plainly J =69, while the beat of thedrum is in unaccented eighths, J = 126; if the drum- were J == 138 weshould have four drumbeats to one melody note, but repeated testshave failed to bring the two parts into this relation. The drum isplainly of a slightly difTerent unit from that of the voice and persist-ently retains that unit. The tempo of the voice is unusually evenin this song. No. 123Sung by Main^ans (Catalogue no. 182)Voice J = 76Recorded without drumS;
Analysis.?The principal intervals of progression in Chippewasongs are the intervals of the third and fourth. This song is veryunusual in that its principal melodic feeling is for the interval ofthe second. The dominant of the key is unusually prominent. Thethird 'of the ke^^ does not occur in the song, yet the song is readilyaccompanied by the tonic, subdominant, and dominant chords ofthe key. The song contains seven measures and is an excellent ex-ample of the entire song constituting a rhythmic unit. Six rendi-tions appear on the phonograph cylinder.
DENS more] CHIPPEWA MUSICNo. 124Sung by Ga'gandac'Voice J ? 200Drum J:^112(Drum-rhythm similar to No. Ill)gSteSiftS^ -a^?^-
139(Catalogue no. 205)
I#?
^
?!gB2Et^^ tEg;!igl: tl:4: :t=h4:*?: 1:^=^ 1 g=
^id2:|i,ii=i|=fc^^^i?^:-.^- ^?=::2 fc:#?l=il:#: _i:2 fi.X-- -^ ^ :t=tb#:::a:^Si^^ii^^ 1
^ fe^i ^ ?=t=^ :ti:4z^ ? ^::4:This song is said to have been used about forty-five years ago byChippewa who were trying to incite the tribe to an attack on the whitesettlers. The attempt was unsuccessful and it is the pride of theChippewa that they have never been at war with the white men.Analysis.?The chief interest of this song lies in the rhythm, thegeneral effect of which is martial and inspiring; yet the measure-lengths are very uneven, producing a rhythm which is fascinating inits irregularit3^ This is an instance of a special rhythm used for aspecial purpose. The object of the song was to control the will andinfluence men to act against their wishes and judgment. In view ofthis fact the peculiar rhythm of this song is worthy of attention.The tempo is very rapid, adding to the effect of the rhythm. Furtherconsideration of rhythm of this character is given in the chapter onMJde' Songs. No. 125 (Catalogue no. 215)Sung by Ga^gandac'Analysis.?This song is said to have been learned from the Sioux.Its harmonic structure is interesting. The song is in the key ofD flat, the melody showing the octave complete except the seventh.The song is in two ])arts, each of which ojiens with the chord of therelative minor. This passes to the tonic major chord by the change
140 BUREAU OP AMERICAN ETHNOLOGY [bull. 45from B Hat to A flat. The following section of each part containsonly the third F-A flat, with B flat as a bytone, yet the major chordof D flat is plainly implied.Voice J? 88Drum J -88( Drum-rhythm similar to No. 1
)
^i^ia feM!?^ iii: ?= :^
sai=E=iEE?^ ??r^ .f=t==^ 1HARMONIC ANALYSIS6 measures 5 measures 5 measures 5 measures^^ 1No. 126. Little Eagle's Song (Catalogue no. 229)Sung by Ga^gandac'This is a song in honor of a warrior named Little Eagle, who diedabout November 1, 1907, at an advanced ago.O'Mtci'ta is a Sioux word. White Earth was the old battle groundof the two tribes and the word suggests that the song was composedby the Sioux, who do not grudge their tribute to a brave man,though he may be their enemy.Analysis.?The tones of this song are those of the second five-toned scale of F, with G as a passing tone. The unusual interest ofthe song lies in the E flat of the fourth measure, showing the intervalof a whole tone between the seventh and eighth of a minor key.This is a characteristic of early English })lain song.The rhythm of the voice is maintained quite steadily at J =72,while that of the drum is J =108, each stroke preceded by a shortunaccented beat. It will be readily seen that this is in the ratio oftwo voice pulses to three drum pulses, but the stroke of the drum
DENSMORi:] CHIPPEWA MUSIC 141invariably follows the singing of the tone, and the voice and drumnever coincide. This song shows no descentling interval larger thana minor third, and the descent of the minor third occurs seven timesin the melody.Voice ,' =: 72Drum J i_ 108( Drura-rliythin similar to No. Ill )
^l! ^ H? ^ ? =t=t: 4=- :+:=r=L^- ^?-0i^^lmm a?^?0^0?b-s?e-"?
H
^S=r=^ O -ki-tci-ta mi - gi-sins
-#^-?- fi^-0 iWORDSO^kitci'ta Leader of the warriorsMiglslns' Is Little EagleNo. 127Sung by Ga'gandac'Voice J = 66 (Catalogue no. 230)Drum 80(Drum-rhythm similar to No. Ill
)
t f:^i ^ t ^ -^- -^ t^ -V-^^1
Bi^fcrb=L-f=f=p==S^^^L?^&5'
HARMONIC ANALYSIS3 measures 3 measuresH:n i
.Nsife
142 BUREAU OF AMERICAN ETHNOLOGY [bull. 45This song is said to have been learned from the Sioux. Themelody is divided into two parts of three measures each. The firstpart contains the tones of the minor triad with the minor seventhadded, the sixth being used only as a passing tone. This is a veryprimitive tonality. Among the songs of the Chippewa this tonalityis sometimes found in part of a song, but the song usually mergesinto a diatonic chord before the close. (See songs nos. 116, 117, 172.)Five renditions of this song were recorded; these are identicalexcept that the first measure occurs only in the first rendition. Theharmonic peculiarity of this melody is best seen by playing thechords which form the two parts of the song, as given at the close ofthe transcription. No. 128. Song of the Loons (Catalogue no. 271)Sung by Ga^tcitcigi^cig (" skipping a day "JVoice J = 96Drum j_116( Drum-rliythm similar to No. Ill )m^ J 1?^?|-I 1? ?
H
^- #=t=^
?
Pi-^~ft ^ -^^^^=^t: Ki-wi-
r^, . I
?
+^- 1 ^? I rl* ^-^J r^ ^??m
ta - gi - cig ban ga - bi - iie.s - i - mo - yan
Kiwitagi'cig Flying all around the skyGabin6s'imoyan' The loons are singing 'This is an old song, which was sung before starting on the war-path. The words refer to the Loon clan or totem which, accortlingto William Warren, was very powerful among the Chippewa, evenclaiming to be the chief or royal clan.Analysis.?Ilai-monic in structure, this song follows the outline ofthe major triad in the upper and lower octaves with the sixth as apassing tpne. This tone material is found in a large number of thesongs under analysis and is that of the fourth five-toned scale, lack-ing the second. It is a form of tone material which appears transi-tional from the simple major triad to the complete five-toned scale.(See p. 63; also tabulated analysis, p. 9.)
densmore] CHIPPEWA MUSIC 143No. 120. "I WILL Start before Noon" (Catalogue no. 276)Sung by Ga^tcitcigi'cigVoice J = 144Drum Jz^ 100(Drum-rhythm similar to No. Ill)
^imm iWORDSTcinau^hwakweg^ I will start on my journey beforenoonTcibwa^wabumi'igoyan^ Before I am BeenThe singer stated that he learned this song from his father, whowas a warrior, and in the old chiys was often sent in advance of thewar party as a scout. Before starting on such an expedition he sangthis song. In singing it the words were mispronounced ; they containmany interpohited syllables.Anahjsis.?This song begins on a very high tone. It is harmonicin structure and is a typical example of a simple song on the fourthfive-toned scale. No. 130. Song of Cimau'gANIC (Catalogue no. 277)Sung by Ga'tcitcigi'cu;In the old days it was customary for a woman to go out and meeta returning war party. If a scalp had been taken she received it atthe hand of the leader and danced in front of the war party as itneared the camp, singing and waving the scalp. The song underconsideration concerns such an event as this. The singer stated thathe had heard it sung by a woman on such an occasion. Sometimesseveral women went to meet the warriors, but one always precededthe others and received the scalp. The return to the camp was
144 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Voice J^ = 168(Recorded without drum)
-^ -m- -^-' -0- ^ -0-?te=t1= -tr_ tr X^ ti ^ ii^ i^i^ t?^=^miw^^^^^i^^^^ ^Ci - mau-gan- icmM^E^^^m :=:^[I:B=z=111 - ci- wed.
^^^-?-S~V-^-- M^=^ '^S I -^1:8= ^
^: t=ai^ i^^^jg^^aii^^^^I h-i
?
Ci - mau-gan-ic gi - ni - ci-wedSl^S^i^ili^^il^^
'^ ' ?r -?-Ci-mau-gan-Tc gi - iil-ci-wedm?:^= t: t:md k t-i^y^t?^i 4=1S --pi- :Uj: ?^EEf~wj~ ^-5?(?- t;t=t~iij~ -I-?h?I*'V t-' &<- iCi-ai^^^%^^^^i^^^^^^grainau-gan-ic gi - nl- ci-wed
?*l li^.t=?:B4P=* .J=d' :4r
DENS moke] CHIPPEWA MUSIC 145
Cimau^anic A man's name meaning "soldier
"
Gini'shiwed' He killed in waralways followed by a scalp dance. This was sometimes performedaround a pile of presents. Each scalp was fastened to a hoop at theend of a pole, and anyone to whom this pole was handed was obligedto hold it aloft as he danced alone around the pile of gifts. Thisis an old song in which the name of Cimau'ganic was introduced inhonor of his special bravery.Analysis.?In this instance the entire phonogrjiph record is tran-scribed. It consists of four renditions of the song and clearly showsthe points in which the renditions vary. In this respect it is therecord of a musical performance as well as the record of a song. Thesinger imitated the manner in which he had heard a woman sing thesong, the high notes being given in a falsetto voice but with goodintonation. The division of the measures into five counts is notmechanically accurate throughout the record. In certain measuresthe note values correspond exactly to the metronome beat ; in othersthey vary slightly, but the rhythmic feeling is still that of a five-partmeasure. This song is a very free musical expression and is of specialvalue, both from its structure and from the occasion of its use.No. 131. " The Shifting Clouds " (Catalogue no. 114)Sung by A^gwitu'wigi^cigVoice J =126Recorded without drum
\msi=s ^ ^z :t=-4:
A - ni - go - si - wa - qed ba - bi - kwa - si- go kweteB l5>-^ eiiSsife^i
Ana^qud The shiftingBa^bikwa^sin CloudsThis is one of the war songs with which a social dance is usuallyopened. Most of the singers carry some object in the right hand?
a
small gun whittled from wood, a turkey-wing fan, a bow with arrows,12692??Bull. 45?10 10
146 BUREAU OF AMERICAN ETHNOLOGY [BULL. 45
or even a war club with a wisp of hair (hmghng in imitation of anenemy's scalp. With this they point as if to various objects, as anenemy at a distance or a footprint on the ground. During this songthe dancer would point to the clouds.Analysis.?This song is harmonic in structure. The irregularity ofmeasure lengths is worthy of notice, as is the continuously descendingtrend of the melody. No. 132. Scalp Dance (Catalogue no. 116)Sung by Gi^cibXns^ ("little duck")Voice J =168Recorded without drum
-C^'
densmore] CHIPPEWA MUSIC 147Melodic Analysis?Continued.TONE MATERIAL
Fourth flve-toned scaleMajor triad and sixthMinor triad and fourthOctave completeOctave complete except seventh .Octave complete except second .
.
Other combinations of tonesTotal.
Numberof songs. Catalogue numbers.
271, 276114116229215230179, 182, 205, 277
BEGINNINGS OF SONGSBeginning on the twelfth.Beginning on the octave
.
Beginning on the tenth .Beginning on the ninth .
.
Beginning on the fourth.Total
.
114,271,276,277116, 182, 229215, 230205179
ENDINGS OF SONGSEnding on the tonic.Ending on the fifth .
.
Ending on the third.Total.
114, 116, 179, 205, 229, 230, 271,276182, 277215
FIRST PROGRESSIONS
First progression downward.
First progression upward . .
.
Total
114, 179, 182, 205, 229, 230, 271,276, 277116, 215
ACCIDENTALSSongs containing no accidentals
.
Sixth lowered a semitoneTotal
114, 116, 179, 182, 205, 215, 229,271, 276, 277230
Rhythmic AnalysisSongs beginning on the accented portion of the measure
.
148 BUEEATT or AMERICAN ETHNOLOGYStructural Analysis [BULL. 45Numberof songs. Catalogue numbers.
Harmonic .
.
Melodic . .
.
Totar
114,215,230,271,276116, 179, 182, 205, 229, 277
SA'GIl'DIWIN'lNA'GUMO'wiN (LoVE SoNGS)The love songs mark a distinct phase in the develoi)ment of musicas a means of expression. It is not uncommon to find the wordscontinuous throughout the song with httle or no repetition. Thischaracteristic has not been found thus far in any other branch ofChippewa music, and shows that in them the expression by meansof words is as free as the expression by means of musical tones.These words are seldom transcribed. From observation the writerbelieves that the words of a certain melody are often impromptu inexact form, though having a general similarity throughout the ren-ditions by various singers.The love songs are more free in melody progression than otherclasses of songs. Many of them have traveled far and are known tobe very old. They constitute a favorite form of music among theChippewa, and are sung with a nasal tone used in no other except thesongs of the scalp dance. This resembles the cry of an animal, yetthe interva;ls are given almost as accurately as where a direct singingtone is used. No. 133 (Catalogue no. 98)Sung by Manido^gicigo^kwe (" spirit day woman ")aAnalysis.?This was said to be a very old song. The peculiarquality of tone assumed bj the Chippewa in singing their love songsrenders it impossible to convey a correct impression by means ofnotation. This quality is nasal, with a slight drawling and a slidingof the voice from one tone to another.The range of this song is two octaves, and the intervals are foundto be correct, though difficult at first to recognize beneath their dis-guise of mannerism. The remarkable change of pitch in the tenthmeasure was given with more accuracy than many less wide intervals,following the general rule that uncommon intervals are more accu-rately sung than common intervals. A very explosive tone wasgiven on the notes marked with an accent.
a The singer of this and the following song is a unique personality, living all alone. (See pi. 11.) On eachside of her log cabin is a little lake. Back of it stretches the forest, broken only by a wagon road whosesingle track is marked by stumps beneath and drooping branches overhead . In this desolate place Manido'-gidgo'kwe and her dogs guard the timber of her government allotment, the while she gathers roots fromwhich she makes love powders to sell to the children of men. In her hand she usually carries a smallhatchet. There is a smoldering fierceness in her small eyes, but her voice in speaking is low and musicaland she laughs like a child.
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 11
MANIDO'GICIGO'KWE

densmore] CHIPPEWA MUSIC 149Tempo RttbatoRecorded without drum
'n^ :p^=p:?^^ :L_-t ??P=SF :if^=&:i^tttifiq!?5fcSt^^
:1=:^i^i:iV^=^?i= -H 1 hJt^-^^i^^^l^f"J- ^^^=t=E=:5=(!=ztir:
?*-?-? -?- ?I-
13?*- SAfe^^^S :p=ftii^=^^=
^ig^^^s^ *? > ?- -*- 3 iiNo. 134Sung by Manido^gicigo'kwe (Catalogue no. 99)Tempo RttbatoRecorded without drum^=^-m-^ i=^?i -fs-
-?- -0- f=j=Ffci--^ *?Jr-5-rrir atzt ? i<^ ? i^-irriS ^^?^ i^"-^-^^i^,E^E^ ^ ^^^Se^e^^B
Analysis.?This melody, though apparently simple in outline, isvery free in movement. The tones are those of the key of F, yet themelody does not affiliate with the principal chords of that key andshows little feeling for a keynote.
150 BUEEAU OF AMERICAN ETHNOLOGY [BrLL. 45No. 135. "My Love has Departed" (Catalogue no. lOl)Sung by Mrs. Mary English"Voice J = 132Recorded without drum
-^^&^mM^i.i^i m^Man-go-dfig - win nin - dl - nen-dum man-go-dfig-win niu - di - nen-dfim,4d:"---^ --^rni-gwe - na-win nin - i - uiu-ce e-ni-wa-wa - sa- bo - ye-zud.
Ba - wi - tin gi - ni - ma-dja nlu-i-mu- ce a - ni - ma-djafej:HE3=gtf=gz?a:r^ te3L-^j=fi=j4^=^[3p3353:ka - win - i - ua-wa nin-da-wa- ba-ma Si Man-go-dCig - winiE#4i-d^: :4: :a: ^=^=^J?i=ifi=t^: ^^=^dl iieu-dum man - go-dfig - win nin - d! - nen- dum,
-?- -d-m- -<s-mi-gwe - na-wIn ka - win - i-mu-ce, e-ni-wa-wa - sa - bo - ye-zud
Fart 1Mangodug^win A loonNin^dinenMum I thought it wasMFgwenawin^ But it wasNin^imucs' My love'sEni^wawasa'boyezud' Splashing oar
a, The singer of this song is a sister of William Warren, the historian of the Chippewa. Her family livedon Madeline island when she was a child, and this song came from there. It is a strange experience totalk with one who remembers when there were only one or two boats on Lake Superior, and who stoodon the present site of Duluth when it was peopled only by a few Indians. On one occasion Mr. Warrenand his sister, with a party of Chippewa, camped where Duluth now stands. As they were takingtheir departure Mr. Warren stood beside his canoe on the shore, stretched out his hand over the water,and said, "Some day this lake will be a highway of water where hundreds of boats will come and go;"then he pointed to the little group of tipis and said, "My brothers, you and I will never see it. but someday a great city will stand thtre." The Indians pointed significantly to their foreheads. Their brotherhad been too long in the hot sun, and even his sister entered the canoe with a heavy heart.
dexsmore] CHIPPEWA MUSIC 151Pari 2BaViting^ To Sault Ste. MarieGi^nimaMja He has departedNin^imuce' My loveA^nima'dja Has gone on before meKawin'inawa' Never againNindawa^bama'si Can I see himPart 3 is simihir to part 1.Analysis.?This is an example of a common form of Chippewa songs,in which the first and last parts are alike, the middle section differingslightly and often being the only part in which words occur. Likemost of the love songs, it was sung tempo rubato. The measure-lengths are clearly marked by the accents. This song in a less com-plete form has been found on other reservations.No. 136. "Why Should I be Jealous?" (Catalogue no. 104)Sung by Mrs. MeeVoice J = 88Recorded without drum ^^mo - den - da - ma - ban
-?- -t5>ma - dja-kwi - wi - ja - sis
Nabi^sa Why shouldNinMoma' I, even IGeoden^damaban^ Be jealousMadjakwiVijasis^ Because of that bad boy?This song is not without its humorous side. It is said that in theold times an Indian maid would lie face down on the prairie for hoursat a time singing this song, the words of which are so very independentand the music so forlorn. The song was as often sung by a youngman, the words being appropriately changed.Analysis.?This is one of the few songs in which the key is fullyestablished, as is shown by the fact that it can be readily accom-panied by the three principal- chords of the key of A. It is said to bea very old song and to be commonly used in recent times. The latterfact suggests that continuous use under semicivilized conditions mayhave modified the form of the melody to its present regularity oftime and intervals.
152 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 137. "I DO NOT Care for You Any More" (Catalogue no. 106)Sung ])y Ki'tcimak'wa (" Bia bear")Voice J =r .52Recoi'ded without drum
-?-? -?- -?- -?- -?- -?- -?-.
-y-^t =i*=P4: ^=t:Ka 8li gin gi - ba- ba - me - ui- mi- si- non+ + ka - win sfl. gin+^^^33 F^ -I?
F
?\?(-^-^ 3tzp: P H^^- :^-=t:=?^^^-" Igi- ba- ba - me-ui-mi-si-non ba- ka- ni - zi be-ba - me - ui-niug nin
Kawin^SCIGinGibaba'menimisinon'.Baka^nizi'Beba^menimug'Nin
[Free translation]I do not care for you any moreSome one else is in mv thoughts
The mournfulness of this song, like the preceding, suggests that theIndian has some difficulty in transferring his affections. Ki'tci-mak'wa, who sang the song, assured me that he was the best singeron the White Earth reservation. His voice is full and resonant. Atthe dances he sits at the drimi for hours at a time, leading bothsinging and drumming.Analysis.?E flat is the only tone occurring in this melody whichmarks it as minor, and this was sung slightly higher than the properpitch. This song is, however, plainly minor in tonality. Like mostof the love songs, it is widely known on the reservation.No. 138. "Do NOT Weep" (Catalogue no. 1 07)Sung'by Ki'tcimak'waVoice J ? 76Recorded without drum
-?- -?- -?-i53EEE^EEEFi:S4= :p=fi=^-^ -?'-? -?-r~T r"~^^~~^=E -????
?
t^"^-^iE^E=EtEGe - go - bi - na - ma - wi - ken, ge - go - bi - na- ma - wi - ken,
^.F^feEE^^ge - go - bi - na - ma - wi - ken , ka - win go - cu niu-da - ni - bo - si
dexsmoreI CHIPPEWA MUSIC 153
Gegobina'mawikgn^ 1Kawln^ Do not weepGocu^Nlnda'nibosi^ I am not Koina; to dieThis song is widely known among the Chippewa. It is one of thesweetest of all their love songs. In it we do not find the fancy ofyouth but the deeper love and the nearness of the deeper sorrow.Analysis.?Although this song begins with a downward progres-sion, it is more strongly marked by upward movement than many ofthe songs. In this and in its plaintiveness lies its chief interest.Reference is made to song no. 200 (catalogue no. 145), in the sectionon Red Lake reservation music, which shows a repetition of this songby a singer on that reservation.No. 139. "He Must be Sorrowful" (Oataiogneno. iio)Sung by Ki^osf/wini'ni ("fioon hunter")VoiCK J ? 76Recorded without drumm^^^m^^
mE^^SGi - na- ni - na-wen - da - mo- dog ga - ni - ci - wa - na - djT - gi - gad=ll2| i ;sme-gwa we-ski - ni - gi-yan e
GinanFnaw6n^damodog^ He [or she] must be very sorrowfulGaniclwana^djlgad^ Since he [or she] so deceived andforsook meMe'gwa DuringWe''skinigiyan^ My young daysAnalysis.?This, like no, 136, may be sung by either a man or awoman. The song is chiefly interesting because of the flatted thirdas an accidental. The expression of sadness by means of a minorinterval is not so characteristic of Indian music as of our own.
154 BUEEAU OF AMERICAN ETHNOLOGY [BULL. 45No. 140. ''When I Think of Him" (Catalogue no. 262)Sung by Henry SelkirkVoice J? 62Recorded without drummh -ts>- -?--?- -0-' -0- m ^ m:^SE^A-no-gi - ya - i -ki-do-puu e a-no gi - ya - i - ki-do-punS^ttfe& 4^EE ??
F
F^s:gi ya - i - ki-do-puu e a-wfin-djic-is^fc fi p p 0-Jft-z4; ES ^ ;^ E^=^ Pgo - ko nin-gac-keu dum ka - nii-kwe-ni-ma-giu a-no-gi - yaS^a^ mSESES -:t-^-^-i - ki-do pun a-djic a-no gi - ya - i - ki-do-puu e
Anogi''yayai^kidopun^ Although he said itA^wundjic'igoko^ StillNingac^kendflm I am filled with longingKa^mikwe^nimagin^ When I think of himThis is one of the old love songs of the tribe and may be sung byeither a man or a woman. Several months previous to the makingof this record a song resembling it was recorded on the Red Lakereservation. On comparison it is found that the Red Lake song ismore elaborate in both rhythm and measure divisions, but thegeneral trend of the melody is the same. See song no. 166 (catalogueno. 151).Analysis.?The accideiftal in the second measure of this song isvery effective and the compass of the song lacks onl}" one tone of beingtwo octaves. The ability of the singer to "pitch" properly a songof such range is worthy of note.No. 141 (Catalogue no. 275)Sung by Ga'tcitcigi'cigAnalysis.?A large number of words are used in the Chippewa lovesongs, but they are in the nature of conversation and do not form asufficiently important part of the song to be translated. New wordsare very often composed and names introduced into the song.This song is said to be very old. In a song of this character thelength of the tones varies with the singer and with his mood. This
densmoue] CHIPPEWA MUSIC 155
rendition is transcribed as nearly as possible, but one can not besure that repetitions by other singers would be identical. The songwas ?ung very slowly, with the peculiar nasal tone affected by theIndians when singing love songs.Voice J? 50Recorded without drum i^^i
^^m
-z^zz
&=Q=Love Songs? WJiite Earth ReservationMelodic AnalysisTONALITY
156 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Melodic Analysis?Continued.BEGINNINGS OF SONGSNumberof songs.
Beginning on the twelfth.Beginning on the octave..Beginning on the third. .
.
Total.
Catalogue numbers.
98,262,275101,104,106,107,11099
ENDINGS OF SONGS
Ending on the tonic.Ending on the fifth .
.
Ending on the third.Total
101.106,107,110,262,27598,99104
FIRST PROGRESSIONS
First progre.ssion upwardFirst progres.sion downward.Total
98,99,101,104,262,275106,107,110
ACCIDENTALS
Songs containing no accidentalsSixth raised a semitoneFourth raised a semitoneFourth and seventh raised a semitone.Total
104,106,107,110101,262,2759998
Rhythmic Analysis
Beginning on accented portion of measureBeginning on unaccented portion of measure.Total.
101,104,107,11098, 99, 10(;, 262, 275
Structural Analysis
dexsmore] CHIPPEWA MUSIC 157the elements of excitement and control which prevail in the game.Words may or may not be used, one instance being shown in whichthe words occur in different portions of the melody in the varyingrenditions of the song.The drumbeat of the moccasin game is a strongly accented strokepreceded by a very short unaccented stroke.In the moccasin game four bullets or balls are hidden under fourmoccasins. One bullet or ball is marked and it is the object of theopposing players to locate this with as few "guesses" as possible.The whole village knows by the beat of the drum when a moccasingame is in progress, antl the writer can testify to the energy withwhich the drum is beaten, having sat next to it for a long time, thecrowd of interested spectators nearly falling over her head. Therewas very little air to breathe, but the discomfort was amply repaidby the interest of watching the faces of the players.No. 142Sung by Main'ans (Catalogue no. 112)Voice J =192Recorded without drumSfiil ^nz^z '?L ^zzW^lz^T-tt#=U^
w=?^r=f=?cri^=i=p^fi T=t=: 3?^ ^- ~-0-^-?- J-F=P-?S
mm It:Analysis.?In this instance an attempt has been made to indicatethe embellishing of a melody by means of small melody progressions.Certain tones were sung less than a semitone higher than the pitchindicated and are marked in the usual manner. This song has nowords. The melody is of unusual freedom, progressing several timesfrom the highest to the lowest tones. It is peculiar in that the firstand last tones are the same.
158 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 143 (Catalogue no. 181)Sung by Aki^waizi^Voice J = 96Dkum J=116^^'^ t-EJE-ft^-^-t=: ?* +^iSEl^ ^?
a^sfeEE_i_fei2A? ei?^.m~ 2: -? -*
?
ri-ri-* =&^-?'-=?1-'5'- 1Drum-rhythmDrum Jz= 116
:^: letc.
Analysis.?The accidental in this song is the lowered sixth, and itis worthy of note that the accidental was given with more firmnessand better intonation than the other tones of the song. Four rendi-tions were secured, the rhythm being regularly maintained. Thedrum is very sharp and insistent, as in all the moccasin-game songs.No. 144. "If I am Beaten" (Catalogue no. 203)Sung by Nita^miga^bo ("leader standing")Voice Jrr 104Drum Jr= 120(Drum-rhythm similar to No. 143)
?1 3^ . r f?-t-"^Nin - gi -
DENS more] CHIPPEWA MUSIC 159Analysis.?Only the first two words appear on the phonograi)hrecord, yet five Indians were in the room when the song was recordedand they all agreed that these were the proper words for the song.This is one of the instances in which the melody is evidently moreimportant and constitutes more fully the identity of the song thanthe words. The melody shows great complexity of rhythm, a feat-ure to be expected from the nature of the words. The tones of themelody are those of the tonic triad.No. 145. " I HAVE Come After your Stake" (Catalogue no. 224)Sung by Ga^gandac^Voice J -69Drum J=r 120(Drum-rhythm similar to No. 143 )
-1
?
-ft n^ ?-
-^
A- -?-^i ::i=?Nim -bl - na - dl - nun ki - da- di - mi-nfin ?ii a ya a^ H ^^ L-.! LJ?F?1=? :^==:??li?ii?d?d d d?^ni - ta - wa - ta - gi- y un a yaWORDSNim'binaMinun^ I have come after itKide^imOn Your stakeNita'wata%iyun^ You good playersAnalysis.?The rhythm expresses the idea of this song in a veryinteresting manner. The voice rhythm is slow, steady, and deter-mined, while the drum rhythm is the quick, energetic beat of themoccasin game.Moccasin-game Songs?White Earth ReservationMelodic AnalysisTONALITY Numberof songs. Catalogue numbers.
Major tonality.Minor tonality.Total 181,203112, 224
160 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Melodic Analysis?Coutinued.TONE MATERIAL
Octave completeMajor triadMajor triad and sixth.Minor triad and sixth.Total.
Numberof songs. Catalogue numbers.
112203181224
BEGINNINGS OF HONGS
Beginning on the twelfth.BeginniBg on the tenth .
.
Beginning on the second.Total.
2 1 181,2031
I
2241 112
ENDINGS OF SONGS
Ending on the tonic
.
Ending on the fifth
.
To'.al.
112,181,203224
FIRST PROGRESSIONS
First progression upward . .
.
First progression downward
.
Total
112, 181203, 224
ACCIDENTALS
Songs containing no accidentals.Sixth lowered a semitoneTotal.
112, 203, 224181
Rhythmic Analysis
Begiiniing on accented portion of measure
DENS more] CHIPPEWA MUSICStructural Analysis 161
Harmonic.MelodicTotal
Numberof songs. Catalogue numbers.
181,203112, 224
Unclassified SongsNo. 146. Call to the Dance (Catalogue no. 105)Sung by Ki'tcimak^waVoice J ? 80Recorded without drum
-^?^t: -0- -?- -^ -?- :t=E^^a=t=:=4 ^:
--t- 1^ P: ^I?
?
t- i^s^^i^i^^^^i@i^ l^i
:9i i?- -f- * -?-:^=f jj^g_^gg|^^^
^2=^::IEE^ ifizzp: :p=^=t qtnW i^jThis song is sung by riders upon ponies, who go through the vilhigesummoning the people to the dance. With his usual conscientiouscarefulness Ki'tclmak'wa sang this into the phonograph with the sameshakiness of voice which would be produced by riding on his pony.Analysis.?The interest of this example lies in the rhythm of thesong as a whole. One must have this in mind to appreciate howwell it expresses the scene and the action of the rider going his roundsand summoning the people to the dance. Several renditions weregiven ami the melody was accurately repeated.The song contains no rhythmic unit and the rhythm is remarkablycontinuous throughout. There is no ''stopping place" in the mel-ody, yet the song as a whole can not be said to constitute a rhythmicunit; it simply reflects in its rhythm the motion of the pony andthe general gayety of the scene.12692??Bull. 45?10 11
162 BUREAU OF AMERICAN ETHNOLOGY [bull. 45No. 147. "I AM AS Brave as Other Men" (Catalogue no. I09jSung l)y Ki'osE^wiNi^Ni (" good hunter ")VoiCK ^?92Drum J - 92
xrri ?J-- :t=n: iS
r?=^n?" ?" fe .t=? i==p:^=tp=t=ti^=F=
^^j=q: s?s~^ -jlzzMizaLzjt --=t-bt=itz^-=
Inl'niwug'' Men who are brave and heroicEne^nimowucF As you esteem them to beMigo' Like themKayanin' 1 alsoEne'nimowOd Consider myself to beThis son<i: is similar to no. 148 and shows the Indian's manner ofim])ressing his greatness on his fellow-men.A repetition of this song was secured after several months andwas found to l)e particularly correct, even to the time as measuredby the metronome.No. 148. "My Music Reaches to the Sky" (Catalogue no. 274)Sung by Ga'toitcioi'cigVoice Jn 104I)ki:m J- 112
( Drum-rhythm similar Lo No. Ill )
# -#- -0- ?-# -# . #-S: --?^-^4=:!=: 3=3^^^S= ??1^ :1=^: -Id:?drGe da-iiiTn - a - we we - cka-mfui e a-\vadj-i - gi
Diu gi-clg
1^=^g-U^=^P W-i^^m^W=^ arjtiim
DEN'.SMOItK] CHIPPEWA MUSIC 163
Daminwe^weckamun' Music reachesAwadj^ginin^ MyGi'cig To the skyThis is one of the old songs. It was sung after all had assembledand just before they began to dance. It is said to have been aparticular favorite.Analysis.?Attention is called to the high tones at the beginningof this song. Its structure is similar to that of the preceding song.The measures containing the words are slightly slower than the others,to permit clearness of enunciation.No. 149. LullabySung by Mrs. Mee (Catalogue no. 102)Voice J ? 72Recorded without drum
we ive lue etc.
:? H:
--X :2: ;hThis hdlaby is very old and is widely used among the Chippewa,the syllables we we we corresponding to the ''by by" of the whiterace. The rhythm of this, sung in slow time, is very soothing.No. 150. Farewell to the WarriorsSung by Mrs. MeeVoice J =76Recorded without drum
(Catalogue no. 103)
g?^g^ pji^S^^ya lot a ya wi ya ya wi aWORDS ya wi aUmbe^ ComeA^nimadjag' It is time for you to departWa^sugi^dija^min We are going a long journeyThis is a very old song. The writer has talked with those who heardit sung long ago, when a war party left the little Chippewa village.
164 BUREAU OF AMERICAN ETHNOLOGY fBULL. 45
It was the custom for the women to accompany the warriors a shortdistance, all singing this song; later the song would be heard again,faintly at first, then coming nearer as the women returned alone,singing still, but taking up the burden of loneliness which is woman'sshare in war.Analysis.?Only one other song in the present collection no. 126(catalogue no. 229) contains the interval of a whole tone betweenthe seventh and eighth. This interval adds greatly to the effect ofthe song. The melody is of rare beauty, and is very graceful, despitethe wide intervals at the beginning.No. 151. Song of Thanks for a Pony (a)Sung by ('agan''asi^?(" englishman ")VoiCK J ? 96Drum J:=:160(Double drum-beat, accented
)
-F- 4? -?- -P- -?- -P-=t:
(Catalogue no. 91)
^1^i=r -f H?P^ :^_!? ic?,2-No. 152. Song of Thanks for a Pony (b) (Catalogue no. 92)Sung by Cagan^asiVoice J? 104Drum J^ 104( Drum-rhythm similar to No. Ill )
-tn .^. if: B=^=E=^=|=
^^^^I^S^pB
densmore] CHIPPEWA MUSIC 165No. 153. Song of Thanks for a Pony (c)Sung by Cagan'asiVoice J=z 104Drum J ^104(Drum-rhythm similar to No. Ill)
(Catalogue no. 93)
^11^^fi^f'-fi^s- ^-^-(2-^Analysis.?This is a set of three songs which are sung when a ponyis given away at a dance. The transaction would not be consideredcomplete unless these or similar songs were sung. This renditioncontains no words. A repetition of the same songs on anotherreservation contains the words ''The pony is mine."Attention is called to the syncopation in the second song. Thisis unusual, but was accurately given and repeated.Unclassified Songs? White Earth ReservationMelodic AnalysisTONALITY Numberof songs.
166 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Melodic Analysis?Continued.ENDINGS OF SONGSNumberof song.s.
Ending on the tonic.Ending on the fifth .
,
Ending on the third.Total.
Catalogue numbers.
92,102.103,109,27491,10593
FIRST PROGRESSIONS
First progression upward . .
.
First progres.sion downward.Total
92,102,103,27491,93,102,105
ACCIDENTALS
Songs containing accidentals.Fourth raLsed a semitone . . .
.
Second lowered a semitone . .
.
Total.
92,93,102,103,105,27410991
Rhythmic Analysis
Beginning on accented portion of measure.
DENSMORE] CHIPPEWA MUSIC 167dances were to be hekl. The conical cloth tipi ])revailed, smoke-stained and weatherworn, but a few white tents were pitched at alittle distance, showing their occupants to be slightly removed fromthe older Indian life. Very close together were the tipis of the
"old timers." No one need be ignorant of what took place in hisneighbor's tipi, although the openings were never exactly oppositeeach other.The work of putting up the tipi was usually done by the women,and it was interesting to watch the care with which they erected thethree main poles, tied these together near the top, laying the otherpoles upon their intersection ; finally they put one pole in each cornerof the smoke-hole flaps of the cloth, sj)reading the cover neatly overthe framework thus constructed, fastening it together over the door,and tying it to the stakes at the ground.The Indians in the camp numbered about 200, while many morewere visiting friends at the agency village.This celebration was conducted entirely by the Indians, solely fortheir own pleasure. A subscription had been made by the traders,agency employees, and leading "mixed bloods," which provided foodfor the camps and prizes for the contest, but the management restedwith the Indians. There were no formal exercises and no speechesby white men; indeed, the writer was the only white person there,except the agency employees.The evening of July 3 found all in readiness. A rope marked offthe large tlancing circle and outside this were ranged various lemonadestands and a platform for dancing provided with a covering of greenboughs.Although firecrackers were for sale at the stores they seemed tohave little attraction for the Indians, Some little boys solemnlyfired a few crackers in a secluded lane, and two rockets ascendedfrom the space in front of the Chippewa trading store. Aside fromthis a dignified silence prevailed.The writer was awake early on the morning of July 4. It was 3o'clock; the red dawn lay close to the pine trees in the east, andfrom the Indian camp arose the deep throb of a drum. Never wasnational holiday ushered in more impressively. He who sat besidethe drum greeted in his own way that which his race honoredbefore they ever saw the Stars and Stripes, and in their tipis hiskinsmen waked to say "the day is come."After breakfast the women were chatting good naturedly overtheir cooking fires. From one tipi came the jingle of sleigh bellsas a brave handled the costume he had prepared for the occasion;near the door of another lay a bundle of bright beaded trappings;everywhere were the dogs and the babies.
168 BUEEAU OF AMERTCAN ETHNOLOGY [bpll. 45It was about 10 o'clock when the ])arade started. There wereno carriages with smiling, bowing speakers prepared to instruct andinspire. About fifty Indians were riding. Their costumes were brightwith beadwork and gay streamers adorned the ponies. One man hadswathed his pony in a huge American flag, and thus garbed it walkedin the rear, following the procession like the s]:>irit of a soldier's horseslain in the ])order wars.The little parade took its way down the hill, across the bridge,and up to the agent's office. The leading men drew up their horsesin a circle before the door, and each made a patriotic little speechto the agent; then they filed out of the inclosure and across thebridge once more, stopping before one of the stores, where the sameprogramme was repeated. This finished, they went to the otherstore, a crowd following in their wake. (See pi. 12.)It was considered that the day was formally and properly opened,and the procession jingled away to the camp.The noonday sun shone hotly down, dogs and babies sought theshady side of the tipis, yet a general sense of joyous expectancyfilled the air. Soon the beat of the drum was heard in the direc-tion of the dancing circle with a low, vibrating lie lie as the singerspractised around the dmm, a shelter of boughs being provided fortheir protection.The war dance began about 2 o'clock. Only a few were presentat first, but soon dignified figures were seen coming from the tipis,each wrapped in a bright blanket or bedquilt. An Indian on hisway to the dance does not stop to parley or to greet his friends;he sees nothing but the pole which rises high in the center of thecircle, and he hears nothing but the throb of the drum. The lead-ing chief, Nae'tawab', did not join the war dance at first. A chairwas placed for him at one side of the circle, but he did not hastenhis entry.Throughout this celebration the costumes were more primitivethan those seen on other reservations. The difference consisted in amore extensive use of feathers, shell, bone, and horsehair in thedecorations. Only two or three men wore felt hats. The wearingof the hat in the dance constitutes a sharply defined line of demar-cation between the full-blood and the mixed-blood Indian. On otherreservations black felt hats were wound with red yarn, stuck withbright feathers, and adorned with yards of ribbon brilliant andvaried in hue, but no such motley garb marred the dignity of theRed Lake dancers. Everyone wore some head covering, but it wasof native construction. Stiff moose hair, dyed and fastened on a smallwooden frame, constituted a popular headdress. In sha]ie this resem-bled a huge flat rosette on top of the head with a strip extendingdown the back of the head to the neck and wuth one or two heron
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 12
INDIAN PARADE
INDIAN DANCETHE FOURTH OF JULY AT RED LAKE AGENCY

DENSMORE] CHIPPEWA MUSIC 169feathers erect on the top. For fastening this on the head it is nec-essary to braid a small lock of hair on top very tightly, pass itthrough a little hole in the wooden frame of the headdress, andsecure it by slipping a wooden peg through the braid. Some wore aband of fur around the head, and to this part of a horse's mane ortail was often attached. One man wore a headdress composed en-tirely of long feathers dyed in bright colors, fastened to a cloth insuch a way that they waved in every breeze and even hung beforehis face, almost hiding it from view.Brown woven underwear was a favorite foundation for a costume,over which was worn the beadwork consisting of the breechcloth andleggins and two large flat pockets with broad bands over the oppo-site shoulder, all of black velvet, on which the white and coloredbeads showed effectively. Beaded moccasins completed this por-tion of the costume. Sleigh bells were a favorite decoration, a bandof them being fastened around each knee and strings of bells tothe waist in the back. One large bell was often worn on each ankle.Many dancers wore the skins of raccoons or long ribbon streamersat their elbows; some had the tails of raccoons dragging from theirmoccasin heels. A few wore sleeveless velvet jackets beautifullybeaded and with these broad belts of beadwork with knife poucheson the hip. Small round mirrors were effectively used, being sewedon bands of cloth to form necklaces. One man wore an ''ejdiod"of red cloth thickly strewn with little mirrors; this garment, whichwas shield-shaped in the back and square in the front, being slippedover the head, is an article of Chippewa apparel which is rarely seen.One dancer wore the entire body of an eagle around his neck andanother had that of a huge blackbird on which he had fasteneddots of white. Still another had two strings of claws fastenedacross his forehead and temples. Several wore necklaces of bonewith beautifully polished clam shells as ornaments in the front;others wore the broad silver armlets which were given to the Indiansin the early days. The faces of all were gaily painted. Altogetherit was a brilliant assemblage which sat around the dancing circle.Some were smoking the red stone pipe with stem of willow; otherswere sitting quiet, wrapped in their bright quilts, but when thefamiliar lie Tie was heard from the singers at the drum they rosewith a rush like a flock of bright birds. Most of the dancers carriedsome object in the right hand?a turkey-wing fan, a bow witharrows, a stone ax, or one of the old clubs to which scalps were oncefastened. One club had a wisp of horsehair dangling unpleasantlyfrom it. These objects were used in the gestures, which form aconspicuous feature of the dancing, as the dancers point to someimaginary enemy in the distance, to a fancied footprint on theground, or to the peaceful summer sky. When the dancing had
170 BUREAU OF AMERICAN ETHNOLOGY [bull. 45continued for some time the chief, Nae'tawab', entered the circle,wrapped in a cotton blanket of large pink plaid. Smiling to all, hetook the chair placed for him and threw back his blanket, disclosinga magnificent suit of beadwork.Then began the formal reception of the visiting Indians. Thistook the form of speeches interspersed with war dances, the speechesbeing impromptu in the old Indian style.Nae'tawab' went across the circle to a row of visiting Indians andshook hands with each, giving some ])leasant word of greeting. Theydid not rise when thus addressed. After Nae'tawab' had returnedto his seat the drum gave out the rhythm of the war dance, and w4than exclamation of How how the men sprang to their feet and dancedaround the drum, each man dancing alone and using his favoritegestures and fancy steps. This gives unlimited scope for the exhi-bition of individual skill and proficiency. In these dances the mendid not all move in the same direction; often those nearest the drumcircled toward the east while an outer circle moved toward the west.As soon as all were seated a speech was made by an Indian fromthe White Earth reservation. He said: "My friends, there are manywhite people in the part of the country from which we come antl wefollow many of their ways when we are at home, but I want to tellyou that we have come to this celebration as Indians, riot as whitemen. We wish to be Indians in everything while we are with 3^ou andwe want you to think of us only as Indians, like those of the old days.I have done."The seated braves said How how how, and then danced again.After this another man made a speech saying, ''My friends, abouta month ago my little daughter died. I have been very sad eversince; but as I am with you all here to-day I forget my sorrow andam entirely happy again. I have clone."The braves said How how how, and danced again.There was no apparent order in these speeches. The speakerswalked back and forth before their little audience, using simplegestures and sometimes waiting to hear How how after a particu-larly telling sentence. Patriotic speeches were made exhorting theIndians to appreciation of the day and emphasizing the fact thattheir gathering formed a part of a great celebration which extendedall over the United States.Nae'tawab' reserved his speech until the last, delivering with greatoratorical effect a speech such as a chief should make. He statedespecially that there would be no festivities on the following day, asit was Sunday, and he wished his people to show due respect to theRuler of All by strictly observing the day.Then they danced for the rest of the day, singing the various war-dance songs familiar to Chippewa on the several reservations.
DENSMORE] CHIPPEWA MUSIC 171At about 8 o'clock in the evening the sound of the drum was heard.A crowd from the camp was moving toward an ohl store, Nae'tawab'leading and the drum in the midst. Before this building they stoppedand began to dance around the drum, all singing the high droningmelody of the "begging dance." Soon a shifting of the crowd showedthat they were going toward the Chippewa trading store. Nae'tawab'was the leader, dancing and waving a little flag. Standing beforethe store he faced the Indians, dancing with all his might and urgingthem to sing louder and louder. Soon the trader brought out a boxof oranges which he distributed; then the melody changed slightly tothe ' ' thanks-for-a-gift " song, and the crowd passed on to another store.The scene presented a picture never to be forgotten. A brightlight from the store windows flooded the grotesque crowd, whilebeyond were the gathering shadows of the night. Nae'tawab',growing more and more excited, was on the i)latform before the storewaving his flag and dancing. His suit of beaded velvet glistened inthe light and his dancing was wonderfully graceful.Later they took their way up the hill toward the camp. Singingtheir strange, high melody, they vanished in the night and only thesong remained.On Sunday the camp was quiet. Monday morning saw the fes-tivities resumed. Dancing began about 10 o'clock and lasted untillate at night. The feast was one of the chief events of this day andconsisted of boiled beef and soup. The beef is cut in pieces the sizeof a man's hand and boiled until there is very little taste in it.When served, it is dry and can be taken in the fingers. The brothis served separatel}^ as a drink, some of it being taken home by thepeople, who bring little pails for the purpose.At this dance a huge kettle containing the meat was brought intothe dancing circle. One of the men in charge of the feast thenselected five or six of the older men and led them one at a time to thekettle, where they seated themselves and began to eat. The firstmen thus selected were not in dancing costume, and the writer wastold that they were thus honored because of their bravery in the olddays. When one of them had finished eating he selected someonefrom the circle to take his place at the kettle, leading him forwardwith some little pleasantry. The Chippewa are a people whosesmiles come very readily when they are at ease and with their friends.Portions of the meat were also passed to those who sat in the dancingcircle, and the kettle was removed when the feast was finished andthe dance resumed.On Monday a pony was given away. It was done very simply.A "woman's dance"** was in progress, and a woman walked across the
a See p. 192.
172 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
circle and handed a little stick to a man, who took it and danced withher. The writer was told that he afterward gave her an equivalentin beadwork. It is the invariable custom that a valuable gift mustreceive an equal return and such an exchange at a dance is usuallyarranged between the parties beforehand.The principal "woman's dance" was held on Tuesday. Almostevery woman brought a bag of gifts. This she laid on the groundbeside her. In beginning this dance the drum gave the properrhythm and the singers began one of the "woman's-dance" songs.Three young men rose together and rushed across the circle with theswoop peculiar to Chippewa dancers when making a concerted move-ment. Stopping in front of three women, they danced before them,laid down their gifts, and then rushed back again, seating themselvesand instantly looking as though nothing had occurred. During thedance it is not customary for a man to ask a woman to dance unlessshe has previously asked him to do so. This was evidently a kindof preliminary demonstration. It was half an hour before the dancewas fairly started. At first the circle was small, only large enoughto reach around the drum, but later it occupied the larger part ofthe inclosure. In this dance the people faced the drum, movingslowly, the women with a sidewise shuffling step, the men often usingthe step of the war dance.The "woman's dance" is a merry one, and this was for pleasurerather than for the gifts, so it was continued longer than usual. If anexchange of gifts is the important part, it is arranged that each danceshall last only two or three minutes, the dancers then seating them-selves and gifts being once more presented. The gifts at this danceconsisted principally of calico, though some large pieces of beadworkand one pony were given away. Nae'tawab' presented his pink plaidblanket to one of the women. It is the custom for a dancer to holdaloft the gift he or she has received that all may see it. To thespectator this is more interesting when the gifts are more varied andfrequent, consisting of pipes, bead pouches, bead chains, strings ofsleigh bells, and beaded jackets. The writer has even seen a man ona similar occasion "dance away" his beaded velvet costume^ onepiece at a time, finally leaving the circle wrapped in a blanket.The dancing, which began in the morning, was continued with littleintermission until after midnight. The scene was lighted by a fullmoon, round and red above the pine trees. Hour after hour washeard the tireless throb of the drum and the shrill voices of thesingers; at last they ceased and the camp fell asleep?all but the dogs,which barked until nearly daybreak. At last they too were quiet, andone was reminded of the words of an old Chippewa war song, "Whenthe dogs are still I will be ready to do mischief." A gray light strug-
DENSMOKE] CHIPPEWA MUSIC 173gled across the sky. It was the hour most dreaded in Indian warfare,the hour when so many terrible attacks were made. Yet in forget-fulness of the past and without fear of the future the Httle villageslept. The Singers of Red LakeThe personality of an Indian singer must be taken into considera-tion when analyzing his songs. This is the more important if thesingers are of a primitive type. Under such conditions one en-counters strongl}'" marked individualities, each of which may offerits particular sort of song or sing familiar songs in its own par-ticular way.The songs secured at Red Lake are placed in their several classes,but a description of the singers is herewith presented, in order thatthose who wish to judge a song by the personality of the singer mayhave an opportunity of doing so.Six singers were employed, and 48 songs recorded, this materialbeing representative of the culture on this reservation.
1. GI'WITA'BINES ("SPOTTED BIRD")This singer was a man about 50 years old, who combined the oldand the new modes of Indian life and thought. He spoke Englishfluently and sent his children to the government schools, yet hisspecial pride was his singing, which he said was in the "regular oldIndian way."These facts regarding his personality must be taken into considera-tion in an estimate of his songs.He recorded 18 songs, 6 of which were major and 12 minor intonality. They were divided as follows: 6 moccasin-game songs, 3woman's dances, 2 war songs, 2 old scalp dances, 1 song concerninga vision, 1 song concerning an historical event, and 3 repetitions ofsongs secured elsewhere.All the songs except the first one were accompanied by the drum.In most instances the repetitions of the song filled the entire phono-graph cylinder.The value of this series of 18 records lies in its relation to the styleof Indian singing as well as to accurate preservation of melodies.Gi'wita'bines varied the songs which he sang five or six consecutivetimes, frequently repeating certain phrases or the last half of the song,and embellishing the melody. In transcribing these songs that portionof the record has been selected on which the song was evidently sungthrough once in a direct way, no attempt being made to transcribevariations therefrom which were clearly made for effect.It is worthy of note that in these songs the pulse of the measurebeginning is always repeated accurately, no matter how much the
174 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
subdivision of the count, the less important melody progressions,or the order of phrases may vary. The significance of this can beappreciated only after an examination of the songs, and those whowish to follow closely this study of rhythm may tap the rhythm ofthe songs with a pencil, following the note values as definitely aspossible. It is not necessary that one should be able to hear men-tally the melody; the general progression can be seen by the posi-tion of the notes on the staff.In these, as in songs previouslj^ considered, the tempo of the drumis steadily maintained, the tempo of the voice varying somewhatfrom the metronome indication.The special points of interest in this group are:(1) Two songs on the second five-toned scale, nos. 80 and 169.(2) Two songs based on the tonic and submediant chords, nos.186 and 159.(3) A slow melody with a very quick drum, no. 171.(4) A song interrupted by sharp ejaculations repeated on thesame tone, no. 176.(5) Range of the singer's voice from C sharp on the bass clef toB on the treble clef. Many songs have the compass of a twelfth.(6) A rhythm of three pulses of the drum equivalent to two of themelody, a rhythm in which the pulse of the drum has no apparentrelation to that of the melody, a practice of letting the drum followthe voice and of using an accented sixteenth note followed by adotted eighth are of frequent occurrence, but are found in the workof other singers also.
2. WABEZIC ("MARTEN")Wabezic' was a most interesting character. He was ])art Cree andbelonged to the Pembina band living farther north, but he married aChippewa woman and now lives at the village of Sandy River, onthe Red Lake reservation. He could neither speak nor understandEnglish. Wabezic' was short in stature and differentjn feature fromthe Chippewa. He was a wiry, active little man, with quick, keeneyes, a good dancer, and had the general appearance of a man accus-tomed to depend on his own resources. He said that he was namedWabezic/ because he was so small.This singer gave twelve songs, five of which were major and sixminor in tonality. One was so wandering as to suggest a ])ossibilitythat it was incorrectly remembered. It is transcribed, however, asit was sung. The main characteristics of these songs are the per-sistence with which the drum beat follows the voice, the frequentdescent of the minor third, and the tenacity with which the rhythmis maintained even when the melody is imperfectly repeated.
DENSMORE] CHIPPEWA MUSIC 175This singer was an excellent subject, but it was difficult for him tosing so many songs without preparation; thus some of the songsare sung more firmly and repeated more accurately than the others.
3. GI'NAWIGI'CIG ("EAGLE DAY")This singer was an old man who could neither speak nor under-stand English and was almost totally blind. He sang seven songs,six of which were minor and the other merged into minor at theclose. He was a typical old Indian and most of his songs are ofvalue.Musically these songs differ little from those of Wabezic'.
4. GAGE'BINES ("THE EVERLASTING BIRD")This singer was a young man, a mixed-blood, who had a pleasingvoice and a particularly agreeable manner, both in singing andspeaking. His features suggested the possibility of some negroancestry and his songs have a suggestion of the plaintive qualityand peculiar swing of negro melodies.He sang the })laintive songs so well that he was encouraged tokeep to that style; he gave eight songs in all, five of which were lovesongs and the other three woman's dances.It is noteworthy that two of the most plaintive songs were majorin tonality. Three of the songs were major, three were minor,and two were duplicates.These songs have a wide range, some of them having a compassof a twelfth. The love songs usually begin on a high note and theminor third is much used in the descending progression.
r,. WILLIAM PRENTISSThis singer was a young man, one of the best dancers and alsoconsidered one of the best singers. He spoke English freely andwas very intelligent. He only sang two songs. One (no. 187)was the "begging song" used on the evening of July 4; the other(no. 174) is of interest, as the rhythm so closely resembles that ofnegro music. Both the songs given by this singer were minor intonality. 6. JOHN MARKThis young man recorded only one song. This shows an inter-esting rhythm and a graceful melody, but as the voice was notadapted to the phonograph no further records were made. Theimportance of rhythm is shown by the fiict that singers who recordedonly a few songs usually gave songs of very peculiar rhythm. Tliissuggests that the rhythm is more readily remembered than the mel-ody. It has alread}^ been noted that in renditions of the same songby different singers the rhythm shows less variation tln.ii the melody.
176 BUEEAU OF AMERICAN ETHNOLOGY [DULL. 45In all the songs recorded at Red Lake the intonation is mostaccurate on the octave and fifth (or twelfth) and most noticeablyuncertain on the fourth and seventh. Accidentals are usually givenwith special firmness and accuracy. Secondary accents are seldomfound; thus the songs are divided into measures of 2-4 rather than4-4 time.The rhythmic peculiarities of certain songs, which resemble therhythmic peculiarities of negro music, may be traceable to a vestigeof negro ancestry among the Chippewa of northern Minnesota.Similarly, the melodic as well as the rhythmic features of certansongs, which suggest what is commonly known as "Scotch music,"may be traceable to songs heard years or even generations ago fromScotch traders, many of whom were connected with the Hudson'sBay Company. This is offered as a tentative explanation. If it betrue, it is an interesting point that both these elements should have
.
left a rhythmic stamp on the music of a locality. The melodicresemblance is less important, as the tonality commonly known as the
" Scotch scale" is found in the music of many primitive peoples.War SongsNo. 154Sung 1)y Gi'wita'bines (Catalogue no. 131)Recorded without drum
Analysis.?This song was said to come from Standing Rock, SouthDakota, and is one of the Sioux songs adopted by the Chippewa,though always credited to the Sioux. No words were used. Thesong was sung four times, without the drum. The length of the notesof the first ten measures varied slightly in the renditions, but from thetenth measure to the close the rhythm was regular and the tempo asindicated, J = 80. It is a peculiar rhythm, which makes the exact-ness of its repetition more interesting. In each rendition the differ-ence between the flat and the natural in the fourth measure from thelast is worthy of note.
DiONsMoni:]
Voice
CHIPPEWA MUSIC 177No. 155. "Inside the C'aVe" (Catalogue no. 140)Sung by Gi^wita'bines132Drum J = 132 ^i=1-^ ^^1=3^
-?- -?
-m-A - pic-kwe- ka - mi-gaug e ?- -0- ? ? - ?a - bi -dog iii - mi - co - uils1 qtuzjtz '-=t-iri-
Apickwe^kamigaug' Inside the caveAbidog' That is where, it seems,Ni'mico^mis My grandfather isThis is a very okl song. The phonograph record was played for aman on the White Earth reservation, who recognized it at once andsaid "That is an old Chippewa war-dance song of the days beforethey were friendly with the Sioux."Analysis.?This song was sung five times and in four of these ren-ditions the last part is repeated as marked.The beat of the drum is in quarter notes, preceded by an unac-cented stroke. No. 156Sung by Gi^'nawigi^cig (Catalogue no. 172)VoiceDrum ? 92? 96(Drum-rhythm similar to No. 1)iS|=_^^^ a^?i=E T?#-
^^=3^^ i=3??-?=i ^= :i miThis song shows a very rapid drum beat with a slow melodyrhytlim. In the beat of the drum we find an impetus to quickenedpulse and rapid action, while the slower melody rhythm suggests con-12692?~BuJl. 45?10 12
178 BUREAU OF AMERICAN ETHNOLOGY [BULL. 45trol and restraint. It is worthy of note that the tones marked (?were prolonged equally in each repetition, but not sufficiently to beindicated by a note value. No. 157 (Catalogue no. 178)
Voice J =168 Sung by Gi'nawigi^cIgMiRecorded without drum-(2- -^- :^ t-J- .t=d
This song contains three instances of a sixteenth note accented andfollowed by a dotted eighth. This subdivision of the count thus farhas been found only at Red Lake and is not a characteristic of Chip-pewa music. No. 158Sung by Gi'nawigi'cig (Catalogue no. 178)A'oicE J =104Recorded without drumilfeSpEEESFSEEEt^: f^--I?I?????
^
t:=^=t: :ti= ?=F^ ^^^
This, a short song, was sung seven times with no material variation.No. 159. Scalp Song (Catalogue no. 146)Sung by Gi'wita^binesVoice J= 104Drum J= 116( Drum -rhythm similar to No. Ill )
m?^?m
-^Analysis.?This song contains only the tones of the fourth five-toned scale on G and ends on the third tone of that key, and the onlytwo chords agreeable to the melody are the tonic and submediantchords. This melody is characterized also by the descent of the minorthird. There is no interval in the song larger than the minor third.
dicnsmoke] CHIPPEWA MUSICNo. 160. Scalp Song 179(Catalogue no. 147)Sung by Gi^wita^binesVoice J? 120Drum J- 120( Druiu-rhytlnn similar to No. Ill )
^3:pia -?- ^-3 , -?- -?- -?- -?- -#- -#- -?- -#- -?- -?--TT?r-r?t:'-t--*-^-^-rt--r-t:L4r-r r .r r r r p^i^^p{i3gig^^sj||^^^^^_^1^ #:^ ;t: :p=fE -f*?>?- ??
^
Analysis.?This song was sung four times, and no two renditionsare identical, the differences consisting mainly in the interpolationof long repetitions of the same tone and in a variety of ornamentalphrases. The rendition selected for transcription is the one contain-ing the least of such material.No. 161. Scalp SongSung by Wabezic^ (Catalogue no. 167)Voice Jz= 112Drum Jr= 112^sm^^^^M^^^. -t:--*^?^????-t=Q ^ES^Egeggg
^^= :q~=q^ =&= #=t:n?n^m-^?ft?? -n^-m-r=t m^fe atziziizMii#Eiiigt=p=^=|i=t:: :t=t:Analysis.?This song contains only the tones of the minor chord,and the fourth of the scale, which is used as a ])assing tone. It h as
180 BUREAU OF AMERICAN ETHNOLOGY [bgll. 45sung four times. The intonation was wavering but the rhythm wasrepeated exactly. The record shows the drum to be perceptiblybehind the voice, yet having the same metric unit.No. 162. "The Sky Replies"Sung by Wabezic^ (Catalogue no. IdG)Voice J 108Dkum J- 108( Druiu-rhythm similar to No. Ill )^?(^
-???-
-I? a -^_^_*-
^iteig^^&^T- ^t -0?0-
^=P=^=^? #=i:& ^= =5E?B :d=lWORDSWeja^wuckwago'deg The blue, overhangingGi'cig SkyNina'pomigwun' Answers me backThe singer said that he once killed a Sioux and sang this song withthe scalp.Tliis song was sung very firmly, without hesitation, and with goodintonation. The three records are identical in every respect. Thedrum beat always followed the voice. The words were not sungclearly enough to be transcribed.War Songs?Bed Lake ReservationMelodic AnalysisTONALITY
DENS more] CHIPPEWA MUSIC 181Melodic Analysis?Continued.TONE MATERIAL
182 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
Voice J =88Drum J =88
Love SongsNo. 163Sung by Wabezic^ (Catalogue no. IGl)
-^..i?zmM^M^^^^^w^^%^iB?^m 3^=b^=P: :p=Pi=2_i*r=tt: -^-^-#-ii^^^^ -?2-
?_#-#_^_==tj:: ^^?
f
ttE:^; _-p=p=pizir=^: :t:-i=prf:^HA-be - jic e e A-be -jic e eThe singer said that " in tliis song a young man asked a young girl togo and walk with liim and said that if she did not come this evening hewould come and ask her again to-morrow evening."In this transcription the sharps and flats indicate the pitch of thetones, but do not imply an established key.No. 164Sung by Gage'bines (Catalogue no. 155)Voice 69llecorded without drum
a?^^ E^ US^i
^E^=^iE :ti^=':Lp^=^pb ~ -Lj?jsas fr_J^_ -^- -?^V- .SE?^^:^^5f :[= ^^^^j/L.-y-m-i 1?
_
'^^^4m^^^ ?^SE?= :p=Pi=iSli ?u'- ^^E^-Ps^:^4l3?=S"t??
?
r^?w w?
I
--r=c ^^1?* br-*
ft -ft- mmm^
densmore] CHIPPEWA MUSIC 183
Tliis song is an interesting example of a plaintive melody in amajor key. No. 165. ''In her Canoe" (Catalogue no. 157)Sung by Gage'bines^Voice J^60Recorded without drumfcB32iES"^-^-^^-is? E^gHfi^fi^fg^^^ygi^efe^i -p~^-^-p-
^^^ii^feli^i^^l
-?t -^-i-rti^^te .^P ^i^jiti^-^iipzit t=? ^ig=Eg?|WORDSMiau^ I see herNin^imu^ce My sweetheartKaniwa^wasa'boye^su Paddling her canoeThis is a song of a young man who stands on the shore watchingthe maiden of liis heart as she paddles her canoe on the lake.The song is slow and is a good example of a plaintive melody in amajor key. No. 166. "I AM Going Away" (Catalogue no. 151)Sung by Gage^bines^Voice J =72Recorded without drum
-b'-i? I
?
\?I?1?I?paigigE^iii^[r-=g"^iisig^s^i^^m^^^mm H? ^ -a-pssfi:i^^=gii
^i^^. W?^-^ -^ -F--F-? -I?
^
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184 BUREAU OF AMERICAN P:THN0L()GY fBITLL. 45WORDSFirst verseUmbe ComeMa^noni^gamadja' I am going awayMa^no I pray youBln^a w ^AT- / /I- ILet me goNm'gamaMja JNeyab^ninga^wicin' I will soon returnGe^go Do notMawi''miciken' Weep for meSecond verseNa BeholdTci^miwSnda'min We will be very gladTciwa'bundiyung' To meet each otherDagnic^Ina^n When I returnGe'go Do not
,
Mawi''micik6n Weep for meAnalysis.?This melod}'^ is particularly graceful and pleasing.The tempo is not rigidly maintained. The metronome mark indi-cates the general tempo and the song is divided into measures bymeans of the accents. The words are not sufficiently distinct fortranscription. No. 167. "Come, Let Us Drink" (Catalogue no. 152)Sung by GA(ii</BiNEs'Voice J = 53Recorded without drumm^__?_ ft !lit_S~'?I?g-^^^H?1?1? ,1?T' 2z
ft-0 -0-0- i2z.l:4=-=[ :1=1: m^
Umbe' ComeMinikwe'da Let us drinkThis is the song of a lovelorn j^outh who meets another and asksif he ''has a bottle to cheer him up."Analysis.?This melody is not unlike the preceding, except thatit is set to a slower beat. The words can be recognized, but aretoo indistinct to transcribe.
dkxsmore] CHIPPEWA MUSIC 185Love Songs?Red Lake ReservationMelodic Analysistonality Number ofsongs. Catalogue numbers.
Major tonality
.
Minor tonalityTotal
.
155, 157, IGl151,152
TONE MATERIAL
Fourth five-toned scaleOctave completeOctave complete, except sixth
.
Other combinations of tones . .Total
Beginning on the twelfth
.
.Beginning on the seventh .Beginning on the thirdTotal
1
186 BUREAU OF AMERT("AN ETHNOLOGYRhythmic Analysis [bull. 45
hRXS.MOEE]
Voice J? 104Drum J= 120(Drum-rhythm similar to No. 143)
CHIPPEWA MUSICNo. 169Sung by Gi'wita^bines
187(Catalogue no. 142)
#-
-it-
mii^ 3:^EE: r- l~l
=4: #-^-^*^=^S ^F^= ItAnalysis.?This song was sung six times, the pulse of the drumbeing maintained at J =120 while the voice is as steadily held atJ =104. The note values and measure lengths are the same in allrenditions. The tonality of the song is similar to the precedingexcept that the second of the scale is given less prominence, beingused only as a passing tone. No. 170Sung by Gi'wita^bines (Catalogue no. 144)Voice J ? 84Drum J ~ 108(Drum-rhythm similar to No. 143)?.:4=^:
-^ ^1i^ES^E^:, -H- '~=^m^mm^^^^^^ m^^^^JAAnalysis.?In this, as in numerous other instances, there is nomathematical proportion between the metric units of voice and drum,each expression being independent of the other.
188 BUREAU OF AMERICAN ETHNOLOGY [bdll. 45No. 171 (Catalogue no. 148)Sung by Gi^wita'binesVoice J ? 72Drum J=112(Drum-rhythm similar to No. 143)m :^itir?: -m r? ?~n
=4 ^iii ^a^4: iii --
N
r^ztt ;H
Analysis.?For transcription this was one of the most difficultsongs in the entire series. It was sung three times, the essentialpoints of the rhythm being identical throughout but the metric unitparticularly hard to find. In this, as in similar instances, the metricunit, when found, can be readily traced throughout the record.No. 172Sung by Wabezic' (Catalogue no. 171)Voice J=: 120Recorded without, drumi^ilgl; :t==t: ^=t3- =E=f== :t=:m n~ft=L?=: t-t=?=t- ^E^ _t: :Ei3 IAnalysis.?This song contains the tones of the second five-tonedscale on E flat. Its interest lies in the prominence of D flat, givingthe impression of a song containing only the mmor triad with minorseventh added."The peculiar ending of this song gives it a slight resemblance to anegro melody. No. 173Sung by Gi'nawigi'cig (Catalogue no. 174)This song is in minor tonality, the first part comprising only thetones of the tonic chord and the last part containing the tones of thechords on the fourth and second of the scale. This suggests moreharmonic possibilities than most of the songs.
a For a consideration of this tonality, see analysis of song no. 110, p. 130.
DENSMoiilol CHIPPEWA MUSIC 189Voice ,i:r=112DruiM J =112(Drum-rhythm similar to No. 143)
s: :|=: l^5E^tsF= ^t=Fm^: X=:t: it: ^'- -A 1W=i=:^^:=mz=i.^^f== ^=P -iS>?INo. 174Sung bj' William Prentiss (Catalogue no. 150)Voice J =: 84Drum J = 84(Drum-rhythm similar to No. 143)
-^?i*^ ^ H-
=J:
:^:d: V ? -^ -t =t ;BAnalysis.?^Tliis melody is based on the tones of the second five-toned scale. It contains a subdivision of the count by which a shorttone occurs on the accented portion of the count. This peculiarityhas been found only in the sono;s collected at Red Lake.No. 175. "He Gave Us a Double Crack"Sung by Gi'wita^binesVoice J = 80Drum J= 132(Di"um-rhythm similar to No. Ill)
(Catalogue no. 134)
*tfe=i ::1=l:
-?i^
5iti'aTl'i?_
-^Mzjtr:^WORDSKinicono'kiwi^igonun' I say, he gave us a double crack
190 BUREAU OF AMERICAN ETHNOLOGY [BULL. 45Analysis.?These words refer to the skill of the opposino; ])layerand are not sung m a melodic way but spoken rapidly between therepetitions of the song. The term "double crack" is used to indicatea certain score in the game.This song shows the unusual range of the singer's voice.The melody is sung slowly, as will be seen by the metronome mark(J =80), while the drum is rapid (J =132), each beat being precededby an unaccented stroke.No. 176. "I AM Standing till Daylight"Sung by Gi'wita'binesVoice J? 126Drum J= 132( Drum-rhythm similar to No. 143 )
(Catalogue no. 143)
4?^?-^-h^- *-al -TMzMi g=i:^=$ :^^:&' S V
-a-
.^ L 1 . 1 1 m m ^r^.^ ^&=^F
Ke-ga-be-di-bik wa-bun
Kagab^dibik^ I who all night longWa^bunika^baniyan^ Am standing up until daylightAnalysis.?In the^ six repetitions of this song the words occur onlytwice, and are used in two different portions of the melody, showingthe freedom with which words may be omitted from or introducedinto moccasin-game songs. The sharp interjected tones in the sixthand twelfth measures undoubtedly represent the exclamations givenwhen a score is made.In this song the metric unit of the voice is slower than that of thedrum, a peculiarity of many songs which combine the element ofrestraint and control with the element of physical excitement.
DENSMUKK] CHIPPEWA MUSICMoccasin-game Songs?Red Lake ReservationMelodic AnalysisTONALITY
191
Major tonality.Minor tonality - -
Number ofsongs.
None
Catalogue numbers.
133, 134, 142, 143, 144, 148, 15C,171, 174TONE MATERIALSecond flve-toned scaleOctave complete except sixth
.
Other combinations of tones.
.
Total.
133, 134, 142, 148, 150, 151143, 144174
BEGINNINGS OF SONGSBeginning on the twelfth..Beginning on the fifthBeginning on the octave.
.
Beginning on the tonic a .Beginning on the seventh
.
Total ENDINGS OF SONGSEnding on tonic
.
ACCIDENTALSSongs containing no accidentals
.
192 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Woman 's-DANCE SongsThe woman's dance is the favorite social dance among the Chip-pewa at the present time. It is said to have been learned from theSioux. Both men and women engage in it; an invitation to danceis accompanied by a gift, and the first invitation is usually given bya woman, the man returning it with a gift of equal value. Thedancers form a circle, facing the drum and moving clock-wise witha shuffling step.The drumbeat of this class of songs consists of an accented strokepreceded by an unaccented stroke about one-third its length. Thesongs show no general characteristics, but most of them are rathersimple in melody and rhythm.No. 177. " I HAVE BEEN Waiting " (Catalogue no. 132)Sung by Gi^wita^binesVoice J ^^ 200Recorded without drum^Igiin^i^^ii^^li b?e ^?
r
'P^fcr
-si- 4E3: ^:=x^?9)?^ ^-?4=t zMzut -*?
^
m
:l=1: :1=1=t:^=i 3: -^ ^_ ^1^^ ^- ^ -?- -?- -<5*-*3^SiiiBii^iiii^sii^^ilii^?fi ??r^?
?
^- ^. ^ -/i- ^_^ -^ -^- ^ :3: H^-1 ^-^- 4:Sifem-- u. ^ -f- -^ -^-t4: -#?r-?
asteEEr:^fcV _p. -fi. #- ^- ^.EEEE -^-^
^?fi- fi?o iieei^^^=^ ^: a=f=?: s
DENS moke] CHIPPEWA MUSIC 193WORDSNin^imd^ce My sweetheartMewiciV A long timeKibiin' I have been waiting for youGibiic^ayun' To come overImaai'ayan^ Where I amAnalysis.?These words can be recognized on the phonographrecord, but are too indistinct to be readily transcribed. The chiefinterest of the song Hes in the range of the singer's voice and in the factthat the intonation is correct on both the highest and lowest notes.The song was sung twice and the general progression of the melody isduplicated accurately, though some of the note values vary.
Voice J No. 178. ''Come, Dance"Sung by Gi^nawigi^cig (Catalogue no. 175)DnUiM : 108116
( Drum-rhythm similar to No. Ill
)
^Jii ^A A ^ ^ ^ 4LS? ^ S a Um-be ui-nig
Umbe^ ComeNi^mig DanceAnalysis.?A decided syncopation in the last measures marks thissong as different from the others. The words are spoken rapidly ona melodic tone, as though the dancer turned to some one sitting inthe circle and urged him to dance, without interrupting his own song.No. 179 (Catalogue no. 135)Sung by Gi'wita^binesVoice J- 100Drum Jrr 100( Drum-rhythm similar to No. Ill )
Analysis.?If this song were more exact in its repetitions, we mightattach more importance to its beginning with the chord of A minorand ending with the chord of E minor.12692??Bull. 45?10 13
194 BUKEAU OF AMERICAN ETHNOLOGY | bull. 45No. 180 (Catalogue no. 141)Sung by Gi'wita'binesVoice J =132Drum Jrr 132(Drum-rhythm similar to No. Ill)
\=t ^q^:V-i^-# -s>-?
I
1-.--H?d?'?(
?
+fei ^ :=l:^ j/Pi: Jr^_^^?
?
s-?ps^^ No. 181Suug by Gage^binest=^=^=t:i:^E=:S(Catalogue no. 153)Voice J =108Drum J = 120(Drum-rhythm similar to No. Ill )
Fgiyp":E^E3=p"E3=f|SES -?- -^-* ? ?- -? ? -0-=^E==EE?=:EE 2EE^Ep=^
:?^te^ I3i^3=?: :p=p: i=*^i=ii^JJ
densmoue] CHIPPEWA MUSIC 195Analysis.?This song has no words. A rejietition was secured onthe day following the first renditions. On comparison the renditionswere found to be identical in rhythm and in the accuracy with whichthe accidental is sung. A slight difference occurs in the number oftimes which the first and last phrases are repeated. The rhythm isdistinctive and is interestingly shown by "tapping it out" with apencil. No. 182Sung by Gage^binesVoice J-112Drum J = 120(Drum-rhythm similar to No. Ill)
(Catalogue no. 154)
m^=^^ii^^mtt^s^mm^\No. 183Sung by John MarkVoice J:i=;112Drum Jzrll2(Drum-rhythm similar to No. Ill) (Catalogue no. 159)V=^This is the only song given by the singer; it shows a rhythmwhich is simple but very interesting. The only song offered by asinger is usually characterized by peculiarity of rhythm, indicatingthat the rhythm of a song is retained by a mind which does notaccurately retain the melodic progressions.No. 184Sung by Gi'nawigi'cig (Catalogue no. 177)Voice J =92Drum J= 116(Drum-rliythm similar to No. Ill)^ -ft- ?-^?ia -1?r~r^^ =&
"m ^B ii^ -^-F?- zcrf: IB
196 BUBEAU OF AMERICAN ETHNOLOGY [bull. 45No. 185. "Where are You?" (Catalogue no. 86)Sung by Cagan^asiVoice Ji_96Drum J i^ 96(Drum-rhythm similar to No. Ill)t: -t^t ff_ f iiPki - tci - ta to - ki - ya ho kwi ho|;f^?^iEEg|mm :?=^ .t~i= t=r- -^^ ;h
Oki'tcita'' Leader of the warriorsToki^ya Where are you?This is an old melody sung at a woman's dance given in specialhonor of some warrior. In such a case two women would providethe gifts and act as hostesses. At the opening of such a dance thissong would be sung by the men at the drum, calling for the war-rior in whose honor the dance was given. As soon as the songbegan the warrior would rise and begin to dance; then the two womenwould rise, after which the guests would join the dance. When thesong was finished the warrior would relate his principal deed of valor;then the women would distribute the gifts they had provided, itbeing understood that they gave these presents in behalf of thewarrior.Analysis.?The accidental in this song was accurately given in allthe renditions. A sixteenth note accented and followed by a dottedeighth is a rhythmic peculiarity of this song.Woman's-dance Songs?Red LaJce ReservationMelodic AnalysisTONALITY Number ofsongs. Catalogue numbers.
Major tonalityMinor tonality-Total . .
.
86, 132, 159135, 141, 153, 154, 175, 177
DUNS moke] CHIPPEWA MUSIC 197Melodic Analysis?Continued.TONES COMPRISED IN THE SONGS
198
Harmonic.Meloilic . .
.
BUREAU OF AMERICAN ETHNOLOGYStructural Analysis I BULL. 45Number ofsongs.None9
Catalogue numbers.
Unclassified SongsNo. ISC). Song REFERRING TO AN Historical Incident (Catalogue no. 139)Sung by Cti'wita^binesVoice J= 120Drum J - 120( Drum-rhythm similar to No. Ill )
Nin -ga-gi - we- wi -ni - gog ma- ni - dog we we we nin
-
?S ??-"='?
^
4^: ^z ^^X^.ga - gi-we- wi-ui ma-ni - dog*?^-i^-i*- 3=^^-#T-#-|^m
^^
:lt :^:-2^
4:
^?t?^
?
^-^^^1^^ ifcr^:
Nin^gagiwe^winigog' They will take me homeManidog^ The spiritsThe free translation of the words as given by the singer was asfollows: "The thunders will take me home whenever I mind to gohome, my friends, and the wind it will take me home, too."Narrative.?This song is based on an historical incident which was related on boththe Red Lake and White Earth reservations.The story as given at Red Lake was as follows:Many, many years ago a Chippewa Indian named Djige^weckun^ (" traveling on thebeach of the water") killed the trader's son and was taken to St. Paul for trial. At
DENSMORE] CHIPPEWA MUSIC 199that time there was only one house in St. Paul. The man was condemned to be hanged,but just as they were going to hang him a terrible storm arose. The clouds were rightover the tree where he was going to be hung. Lightning struck the tree and the rainpoured down so that everybody went home. They did not try again to hang theIndian and he was allowed to go back to the reservation, where he was made a chief.He composed this song while he was a prisoner at St. Paul.Analysis.?This song contains only the tones of the fourth five-tonedscale on G flat, and ends on D flat, the dominant of the key. The sev-enth of the scale, which is the essential tone of the dominant chord, isnot present in the song and no portion of the song affiliates easily withthe dominant chord as an accompaniment. Indeed, the only cliordssuggested by the melody, or seeming to be desired by it, are the tonicand submediant, thus showing a feeling for the descent of theminor third. The repetitions of this song filled an entire cylinder,giving ample time for noting its peculiarities. The transcription isfrom a rendition about midway of the cylinder.No. 1S7. Song of the Begging Dance (Catalogue no. 149)Sung by William Prentls.sVoice J ? 84Drum J- 112(Drum-rhythm similar to No. Ill
)
^W=^m&
-^-^^-^
Analysis.?This is the begging song which was sung on the eveningof July 4. Its chief interest lies in the fact that the pulses of voiceand drum are so dissimilar, each being steadily maintained. Thepulse of the voice is J =84; that of the drum J =112, precededby an unaccented stroke. The only correspondence is that threemetronome beats at 84 are about equivalent to two beats at 112.If the song were in double time this would be an ordinary rhythmof "three against two," but the fact that the melody is in tripletime makes this too complicated for analysis; one can only recordthe fact that these are the actual metronome measures of the pulses.(Compare analysis of song no. 1.)The slight prolonging of the tones marked (? is the same in all therepetitions. It is not sufficient to be indicated by a note value, butgives a peculiar eflPect of pleading. This is one of the mannerismsof Indian singing which can not be accurately transcribed.
200 BUREAU OP AMERICAN ETHNOLOGY [bull. 45No. 188. Song of the Begging Dance (Catalogue no. 170)Sung by Wabezic'VoiCK ^ = 200Drum J = 88(Drum-rhythm similar to No. Ill
)
^=1
-8^
?
[ ^-^=tf^-t^^^^li 3=^?3|^=i?SEE hz
^n ii:lii:
~^'' r- hz d=sfAnalysis.?This song is of special interest as the ])hrase rhythm ofthe first six measures is repeated in measures 6-12 and the remain-der of the song contains fragments of the same rhythm. In therepetitions of the song the rhj^thm of the first twelve measures isaccurately repeated, but there is a slight variation in the length ofsome unimportant notes near the close.In transcribing the song it was difficult to find the metric unit;however, this unit was finally found to be / = 200. By this meas-urement the song was very accurately divided, certain tones havingexactly one beat, others two or three, after which the tones readilygrouped themselves into measures. The drum was next tested andfound to be beating very regularly a triple time with an accentedbeat on the first and an unaccented on the third count of the tripletof eighth notes. The metronome showed the ])ulse of the drum tobe J =88. The accent bell of the metronome was then set at a tripletime and the indicator at 200 and the time space noted between theaccents as given by the bell. This time space was almost exactly88; therefore if the song were in triple time throughout, the drumand voice would coincide, but this synchronism is broken by theintroduction of measures in double time while the drum continues tobeat in triple time.It is worthy of note that the A sharp in the fifth measure wasalways given correctly, but that the intonation on the fourth of thescale was flat, thus dragging down the third when reached.The intonation of the octave was clear and correct.
DENS more] CHIPPEWA MUSIC 201No. 189. Song of Thanks for a Gift (Catalogue no. 168)Sung by Wabezic'Voice ^ =: 72Drum J =72? :fi fi^miSi^^"^'*f^ -^+^-^- -0- -m-^F^^ t: 633^" -#?^-
=F=P= -f2?- -s)?
f
Tci'wawicSnMum I am very gratefulEn'dodawid^ For what he is doing for meAnalysis.?These words were not sung but were spoken betweenthe repetitions of the song. The drum was struck only once in ameasure and always followed the voice.The long notes were sometimes held an extra count. This isunusual, as the long notes are usually found more uniform than theshort notes in the repetitions.The record is not entirely clear, but it is evident that the first partis major and the last part minor in tonality. The B fiat is alwaystaken firmly and accurately, the first E flat being slightly too highand the second one on true pitch. It is interesting to note that thechange from major to minor is made on B flat instead of E flat.
a^.
No. 190. Song of Thanks for a GiftSung by Wabezic^Voice ,^ = 160Drum J , = 80(Drum-rhythm similar to No. Ill
)
-^- -0- ^'
(Catalogue no. 169)
3 ?^:?1=?t- r ,r -r-M:
=9^.^ -#?^- -^? n?:^p=t= S __,c
?
m ^
-^^j^"-r?F?t-
202 BUREAU OF AMERICAN ETHNOLOGY [bull. 45Analysis.?This song; was sung four times, the rhythm being exactin the repetitions. The pulse of the voice is ^ = 160 and is steadilymaintained in both double and triple measures, while the diTim assteadily beats a triple time at J. (dotted quarter note) =80, givingan accented beat on the first and an unaccented beat on the thirdcount of a triplet of eighth notes, regardless of the voice. The songhas no words and is similar to no. 189.No. 191. Song of Thanks for a Pony (Catalogue no. 136)Sung by Gi'wita^binesVoice ^= 76
= 96Drum(Drum-rhythm similar to No. Ill)
Analysis.?This song has an interesting rhythm, suggesting, thoughsomewhat remotely, the galloping of an Indian pony. It is of minortonality though lively in general character, showing that the rhythmof a song marks its character more strongly than does the tonality.The tones of the minor triad in ascending progression constitute anunusual opening for a song.No. 192. Friendly Song (a)Sung by Wabezic' (Catalogue no. 160)VoiceDrum 8080giS^^l^^il^giiiSf ^=r^^ :f5: ??!^i :r^-?^-^-?^^?I- ?ii^? I w *=3fe3t 4z^HThis is one of four "friendly songs," the others being nos. 193,194, and 195. The singer said that they were used in the old timesamong the Pembina Chippewa, when a company of people went toa dance, to show that they came as friends. The singer had him-self sung these songs in the old days. He said that some of thevisiting Indians smoked their pipes and that back of them stood themen who sang these songs to assure the people to whom they hadcome that they were friendly. There were no words, but he saidthe people would know the song was meant to be friendly by theway in which it was sung; he said also that there was a "friendly
densmoreI CHIPPEWA MUSIC 203way to beat the drum." It was stated further by the singer thatthis song was pure Chippewa and that no Sioux songs were usedby the Pembina band.Analysis.?Too much importance must not be attached to thefact that this song begins in the minor and merges into the major,for, although given accurately in the first rendition from which thisis transcribed, the intonation is faulty in the other renditions. Therhythm in the last eight measures is always accurately repeated.The drum is in even beats of the same pulse as the melody but alwaysstruck slightly after the tone is sung. The chief interest of the songlies in the occasion of its use and in the accurate repetition of apeculiar rhythm in connection with a much less accurate repetitionof the melody. (('atalogue no. 162)
Voice J ? 92Drum J = 92
No. -193. Friendly Song (h)Sung by Wabezic'
mi^^^^^swU-=^L?J=| gI-we-di ffi - cig - oil ni-ioe-ca - we-ni - nu go
'-^pi-^ f2^Wr E^ i-? ^ n-^ ^
:94 ?-^?^ d=d= IWORDSIwe^di Over thereGicigoiV In the skyNi^cawe'nimigo' They have taken pity on meThis song is a march and is sung while the visiting Indians walkaround the drum. It is used directly after song no. 192. The drumis in single beats to mark the time as the men march and has thesame metric unit as the voice.Analysis.?This song has a wild freedom about it and is veryinteresting. It was sung four times, the rhythm being repeatedexactly but the melody varying slightly. The intonation is good andthe song aggressively major in character. The descent of the minorthird is conspicuous throughout this melody and there is no intervalin the melody which is larger than a major third. It is also worthyof note that the second of the scale is treated as a passing tone,except in the third measure from the last, where it receiver, an accent.
204 BUREAU OF AMERICAN ETHNOLOGY [bcll. 4.",No. 194. Friendly Song (c) (Catalogue no. 163)Sung by Wabezic'Voice 116Drdm J- 116(Druin-rhytlim similar to No. Ill)
lii^^ :p=p: _^_^>: J 1?
I
y?L_? I fj 1
ISl! iU?^ ^ ^-^'?^ ? ^^ g
Ci - clg ni - mi-no-ta - gwfiu0?p-~0
--& =S==^-=FQ PI
Gi'cig The skyNiminota^gwftn Loves to hear moThis song follows no. 194, the visiting Indians beginning to danceas they sing this.Analysis.?Emphatically major in tonality, this song is character-ized b}^ the frequent descent of the minor third. There is no descend-ing interval larger than the major third. Like the two precedingexamples, this melody contains an indefinable element of freedom.The quadruple time is unusual, and the 5-4 rhythm unmistakable.No. 195. Friendly Song (d) (Catalogue no. 164)Sung by Wabezic'This is the same kind of song as the preceding, and as the Indianswould dance while singing it, the record was made with the samevibration of voice, adding to the difficulty of transcription.The intonation in this song is uncertain, 3^et the prevailing descentof the minor third is unmistakable and the song contains no descend-ing intervals larger than the major third. There are three completerecords of the song and in each there is a feeling toward a majortonality in the first half and a minor in the last half, but the A^oiceis too unsteady to permit analysis of this.In one of the records there are two counts in the third measurefollowed by three in the fourth. This change is immateiial except as
dknsmoke] CHIPPEWA MUSIC 205
it shows that the singer felt it necessary to put five counts into thesetwo measures. Throughout this song the drum is very perceptiblybehind the voice.This song is of value chiefly because of the frequent descent ofthe minor third and of the clearness with which the drum follows thevoice.Voice J= 120Drum J? 120^?^^=g=t---^- -?- -<z-. n-'^ft-^.H: it*: t2: 1^ -? ? ? ?^^^S
?f.^Ste^tt^E*^ 'r^^^- is w^^=w -^fT^ F=T--&
^i m^?/?-#--^^3: -^-^^-f?- ^-^g^^flmi9^E3^St t?d: :EipDi=pz=p=Efzzpi=pEliE^:tij: =^ ?-h^y-^No. 196. Song Referring to a Vision (Catalogue no. 138)Sung by Gi'wita^binesVoice J =116Drum Jz= 116(Drum-rhythm similar to No. Ill)
-?- -?-3S^^- feniEEEt ^?? f?m 0- ?tSi ??
d
mU lf=0 :eeee atjt i
Wa^wia^weye^gancut' Round-hoofedGicawe^nimik^ Had pity on meAnalysis.?The singer said that he learned this song from a MilleLac Chippewa many years ago. The record was played for an Indianat White Earth, and he recognized the song at once . The words referto a vision of a round-hoofed animal which probably appeared to the
206 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
singer in a dream. The words are crowded into the first two measuresof the music. They can be recognized, but contain many interpolatedsyllables, and are too indistinct for transcription.No. 197. Song of We'nabo'joSung by Ga'tcitcigi'cig (Catalogue no. 272)Voice ^i 208Drum j^:= 116(Drum-rhythm similar to No. Ill)
r*f>; ^ A :tr-=tr- -(ft. ^.G6 - go - a - HI - a - a - bi - ke-gwGu ge - go - ma - mic - kfic
=9Sit=fe#?
^
-^?
^
:fcb--b=p: :^pf :t=P:1: A ->"-gi -cig-wen a yu we he he yu we he he yu we he heWORDSKe^goinabikegwiii/ Don't lookGe'gamamic'kwuc Or your eyesGi'cigwen' ., Will always be redThis song is connected with a favorite folk-story in which We'na-bo'jo invites the ducks to dance, telling them to keep their eyes shut,and then wrings their necks one after another. The phonographrecord is supposed to reproduce the event, even the cries of the ducksbeing given by the singer. Before beginning the song the singersaid: "I am arranging to have a dance, my little brothers and sisters."After the first rendition he said, "Dance, dance, dance faster, mylittle brothers and sisters, but don't open your eyes." After the sec-ond he said, ''How, how, take warning, my little brothers and sisters."This is mentioned to show the Indian custom of interspersing therenditions of the song with short speeches.Analysis.?This is one of the few songs in 5-4 time. It isplainly distinguishable from a triple measure followed by a doublemeasure. The metric unit is unusually rapid. Repetitions of thissong by other singers are found to be identical.Unclassified Songs?Red Lake ReservationMelodic AnalysisTONALITY
Catalogue numbers.
Major tonalityMinor tonalityBeginning minor and ending majorBeginning major and ending minorTotal
139, 162, 163, 169136, 138, 149, 164, 170, 272160168
densmoke] CHIPPEWA MU;5lC 207Melodic Analysis?Continuod.TONE MATERIAL
208 BUREAU OF AMERICAN ETHNOLOGYStructural Analysis [BL'LL. 4 7^
DENS moke] CHIPPEWA MUSIC 209Two renditions of this song were secured from Ki'ose'wini'ni, oneivithout the drum, and, after a lapse of several months, another withthe drum. The rhythm of the song is identical, but the less impor-tant melody progressions vary slightly as the singer was inspired to?laborate somewhat. This transcription is from the first record andis believed to be more correct than the second.No. 199. Song of Thanks for a Pony (Catalogue no. 137)Duplicate of no. 152 (Catalogue no. 92)Sung by Gi'wita^binesVoice J= 96Drum J = 96
-^- :1=:1:
-^?^-
-g?z^-Uj!tp^^igpj5^ip|iggE^^g|ggi|
bi-ii: =F' :t =t==F=F IThis duplication was made by a singer on the Red Lake reservationwho was particularly free in his manner of singing. The original wasmade at Leech Lake. The song is evidently the same, the principaldifferences being due to the personality of the singer.No. 200. Love SongDuplicate of no. 138 (Catalogue no. 107)Sung by Gi^wita^bines (Catalogue no. 145)Voice Jr= 116Recorded without drum
.-^^=5'^m^^^^^^^^m^Ge ken go
:9!b3: ken l:#; -f2- IThis and the two preceding songs are not included in the anal3^sis ofRed Lake songs, as they have been analyzed in a previous section.Comparison of the two transcriptions will show the differences tobe very slight, although the records were made on widely separatedreservations.12692??Bull. 45?10 14

I]:^DEX
(For a list of the songs contained in this volume, see pages xi-xix.)Accents? Pagein drum rhythms of dances 6tones slightly prolonged 57variations on first words of songs 58Accidentals?characteristics of, in MIde' songs 19classification explained 10comparison with diatonic tones 5in dream songs 137in love songs
?
Red Lake res 185White Earth res 156in moccasin-game songs
?
Red Lake res 191White Earth res 160in unclassified songs
?
Red Lake res 207White Earth res 166in war songs-Red Lake res 181White Earth res 147in woman's-dance songs 197rare in MIde' songs 18tabulated analyses 10,117Acknowledgments by author 8,15A'gwitO'wigi'cIg, songs by, 79, 80, 145Aki'waizi', songs by 138,158Ata'diwIn'ina'gCmo'wIn. See Moo c a s i n -game songs.Awi'hinedja', teacher and leader in Mlde'-w^wTn 27Bear, associated with MIde' 38Beaulieu, G. II., acknowledgment to 8Beaulieu, Rev. 0. II., acknowledgment to. 8Be'cIgwiwi'zans?song-drawings made by 15songs by 37, 39, 45, 46, 47, 83-86Begging dance, character of 171Beginnings of songs?love songs-Red Lake res 185White Earth res 156moccasin-game songsRed Lake res 191White Earth res 160tabulated analyses 9,116unclassified songs
?
Red Lake res 207White Earth res 105war songs-Red Lake res 181White Earth res 147woman's-dance songs (Red Lake res.) ... 197
Bois Fort res.? Pageas source of songs 1conditions on 13Bones, use of in curing sick 120Bureau of American Ethnology, deposi-tory of song records 27Cagan'asi, songs by 164, 165, 196Carl, John C, translation by 24Ce'deSns', Chippewa juggler 123Celebration on Red Lake res. (July 4, 1908),description of. 166-173Ceremonial songs (MIde') 62-82characteristics of certain songs 75difficulties of translation 62,63major triad with sixt h added 63, 67partially formed flve-toned scale 67, 71principal interval descending minorthird. 63Ceremony (MIde') for dying chief. 51-55Charms (MIde')?love-charm songs 88-92method of working 20-21song to bring back runaway wife 97CniPPEW.i-religion. See MIde'.significance of music to 1See also Mille Lac Chippewa.Chippewa reservations, description of 1Cici'gwIn?description 11, 12use in initiation ceremony 48CIm au'ganIc, named in war song 145Classification of material, explanation of. . . 7Costumes, Fourth of July celebration 168-169Courting flute. See Flute.Dahomey songs, reference to 130Dances?at end of initiation ceremony 50-51drum rhythms of 6during ceremonial song 65Fourth of July celebration-begging dances 171war dances 168-170woman's dances 171-172in ceremony for dying chief 54social
?
ceremonies on opening 145-146drum used in liDance songs of MIde'?description 19principal interval of descent 31reference to 15, 40211
212 INDEXDe'bwawEx'dOnk? Pageacknowledgment to 25on rendering of MIde' song 13songs by 55-62song-drawings made by 15Deda'bicaC, songs by 113De'dadj, reference to 79Diatonic tones. See Tones.Dja'sakid?meaning of term 20, 119rattle used by 12See also Doctor, Juggler.Djige'weckOn, song by 198-199Doctor, songs of the 119-123See also Dja'sakid.Dog?eaten in ceremonial feast 37, 40eaten in ceremony for dying chief 52-53Drawings for Mide' songs, general descrip-tion of 15-18Dream songs?afterward used as war songs or other-wise 12G-130associated with certain animals 126minor triad with minor seventh. . 130, 132general description 118song and performance of juggler 123-125songs of the doctor 119-123tabulated analyses 8-11,136-137Drum?as an accompaniment of voice 5, 6, 20, 58description of 11-12, 54independent of voice 5-6, 15, 20in dream songs 118in moccasin-game songs 12, 156-157in war songs 137, 177principal rhythmsSee also Mltl'gwaklk'.Ellis, on the flve-toned scales 3Endings of songs?indefinite in primitive music 59love songs
?
Red Lake res 185White Earth res 156moccasin-game songs
?
Red Lake res 191White Earth res 160tabulated analyses 10, 116unclassified songs
?
Red Lake res 207White Earth res 166war songs-Red Lake res 181White Earth res 147woman's-dauce song ( Red Lake res.) 197English, Mrs. Mary Warren?acknowledgment to 8as interpreter 21song by 150Evil charms. See Charms.Feasts?at ceremony for dying chief 52, 53, 55at end of initiation ceremonies 48at Fourth of July celebration 171Fillmore, Prof. J. C, cited on tonality inDahomey songs 130
First progression. See Progressions. PageFivE-TONED scale. See Scale.Flat Mouth (father), reference to 51Flat Mouth (son), last hours of 51-55Flute, description of 11.12Flying man, story of ysFuneral ceremony for chief 54-55Ga'Gandac', songs by 125, 126-133, 139-141. 159Gage'bInes-account of 175songs by 182, 183, 184, 194, 195Ga'tcitcigi'cIg, songs by.. 142-144,154-155,162,206GEGWE'miWE'BlNCfJ', soDgs by Ill, 112Ge'miwOnac'?leader in ceremony 51songs by 95-96, 114-] 16Gi'ciBANs', song by 146Gifts exchanged at dance 172Gilfillan, Rev. J. A., acknowledgment to. . 8Gi'nawigi'cIg?account of 175songs by 177, 178, 188-189, 193, 195Gl'WITA'niNfiS?account of 173-174songs by 176,177, 178, 179, 186, 187, 188, 189, 190,192, 193, 194, 198, 202, 205, 209Grand Medicine. See MIde'.Grand Medicine Society. See MIde'wIwIn.Grave of chief, description of 55Hand, Dr. Ferdinand, on singing fourthand seventh of scale 4Harmonic, explanation of term 8, 11Healing songs, rhythm of 18Helmholtz?on scale terminology 7reference to 3HtraTiNG at night, use of light in 86Indian music, general character of 3Initiation into MIde'wIwIn
?
first degreecombination of song and ejaculation.concluding ritescouncil of initiatorsdecorations of medicine poledetails of " shooting" candidatedifferences for several degreesfeasts ,instruction of candidatepreliminariespreparations forprocedure in sweat lodgesongs used while "shooting" candi-datesource of informationtransition from ceremonial speech tosong, etcsixth degree, songs forto cure illnessInterpreters, acknowledgment toIntervals?major third, largest interval in certainsongminor third-descending, frequent In Chippewasongs
24-5145-4646-48293643-442533,4832,072532.332.5-26
1924
4355-8292
84
4-5
INDEX 213Intervals?Continued. Pageminor third?continued.in ceremonial songs 63in war songs 141largest interval in certain songs. 85,141,178most frequent interval of progressionin certain song 30principal interval of descent in certainsong 31second, in war song 138simple in MIde' songs 18standard of measurement 4whole tone between seventh and eighth. . 164Intonation?general discussion 4-5variations in MIde' songs 19,20Invitations?to ceremony for dying chief 52to initiation ceremony 37JiWA'BiKiTO', acknowledgment to 25Juggler?performance described 123-125song of the 125-126Sec also Dja'sakid.Key. See Tonality.Keynote, relation of tones to 7Ki'ose'wini'ni, songs by 153, 162, 208Ki'TCiMAK'WA, songs by 49,50,81,87,152,161Krehbiel, II. E., cited as to tonality inAmerican negro songs 130Leech Lake res.?condidonson 1scene of ceremony for dying chief 51social songs on 118-106songs (ISO) of, tabulated analysis 8-11Light for hunting at night 86Location of Chippewa 1Lodges for use in MIde'?arrangement in ceremony for dyingchief 52arrangement in initiation ceremony 39construction 36Sec also Mlde'wlgan.Loon clan or totem , reference to 142Love charms. See Charms.Love-charm songs 88-92Love songs?Red Lake res 182-186tabulated analysis of ISO songs 8-11White Earth res 148-150Main'.\ns (elder)?diagram of path of life drawn by 24initiation ceremony described by 25on leader of initiation ceremony 37-38Main'ans (younger)?doctor songs recorded by 119,121,122Initiation ceremony described by 25narrative of song by 126-127on origin of his "special medicine" songs. 119songs by . 30, 31,34, 35, 40-43, 81, 106-110, 138, 157story of 119Major third. See Intervals.Major triad in ceremonial songs 63
Manido'? Pageforms assumed by 14, 02in origin legend of MIde' 21-24invocation to 37, 57of thunder, significance to Indians 129-1.30reference 15song of the 30Manido'gicIgo'kwe?songs by 91,92,148-149song-drawings made by 15Mark, John?account of 175song by 195Measure-beginnings, pulse of 173Medicinal herbs, songs connected with use of 92
.Medicine bag. See MIde' bags.Medicine Pole and stone?description of 36disposition of 51use of pole in ceremony for dying chief. . . 52, 53Medicines?songs connected with 15,20,21,96,109use in MIde' 20-21Mee. Mrs. Charles?
[
acknovledgment to 8
I songs by 151 , 163Melodic analysis?dream songs (White Earth res.) 136-137love songs-Red Lake res 185-186White Earth res 155- 156MIde' songs (90) 115miscellaneous songs (180) 8-10moccasin-game songs
?
Red Lake res 191White Earth res 159-161unclassified songs-Red Lake res 206-208White Earth res 165-166war songs-Red Lake res 180-181White Earth res 146-148woman's-dance songs (Red Lake res.).. 196-198Melodic, e.xplanation of term 8,11Melody of songs, importance of 2-3,14Metric unit?method of indicating 5seldom similar in drum and voice 6slow in love-charm songs 91MIde'?behefs 13-14, 15ceremony for dying chief 51description of lodge 22diagram representing path of life 24emblem 14ethics 14, 24, 32initiation ceremony of first degree 24-51mediums of exerting power 20mnemonic system 15-17, 18origin 21-24purpose 59, COrattles used in 12ritual exactness not essential 13symbolism 16, 81treatment of sick 12,51-55,92,11S-120use of "medicine" 20-21use of vermilion paint 113
214 INDEXMIde' bags? Pagecontents 51description 85use in " shooting" ceremony 4.V44,53MIde' drum, in ceremony for dying chief 54MIde' lodge. See MIde'wIgan.MIde' shells. See Mi'gls.Mide' songs?affirmation characteristic of S7drawings 15-18ejaculations interpolated 41general description 14-20healing song, peculiar features of 95none from Red Lake res 1origin 70ownership 20register of women's voices 89,94smallest range in song 1 09song sung during preparation of "medi-cines" 109tabulated analyses 8-11, 115-118to a rattlesnake 85tones discussed 67, 75translation of words 8,15used in sixth degree initiation 58-59MIde'wIgan?arrangement for initiation ceremony 38-39building of 36explanation of term 30Mide'wIkwe', meaning of term. 13MIde'wIni'nI-meaning of term 13. 98use of charms by 21MIde'wiwIn, description of 13Miga'diwIn'ina'gOmg'wIn. See War songs.Mi'gIs-emblem of MIde' 14" medicinal " use 53, 74-75, 80. 92" miracle" of 7;;l-80use in initiation ceremony 39, 48Mi'jakiya'cIg, songs by 92-93MiLLE Lac Chippewa?on initiation into MIde'wiwIn 1 24song from 205Minor third. See Intervals.Minor triad with minor seventh. . 130, 132, 142, 188MiTi'GWAKiK'?description 11-12use in MIde' initiation ceremony 20See also Drum.Mnemonics?MIde' songs recorded in 15ether uses of system 16-17Moccasin game?description 157drum used in 6,12Moccasin-game songs?Red Lake res 186-191tabulated analysis 8-11White Earth res 156-101Moulton, Charles, story of MIde' shells by. 79Musical instruments, description of 11-12Nae'tawab', account of 108,170,171,172Na'jobi'tOS, ceremonial songs by 62-78Na'joi'se, oc'kabe'wis or herald 51
Narratives of songs? Pagechild's song of owl 135concerning fire 103dream (war) song 126-127, 133scalp dance 99song of crab medicine-bag 102
I song of deserted warrior 134-135song of good medicine 101song of historical incident 198the flying feather 97-98two hunting-medicine songs 104-106Nass River Indians, reference to 130Na'waji'bigo'kwe-acknowledgment to 25drawings of songs made by 15, 68narrative by 21songs by 88-92translator of song 71Negro m usic, reference to 130Ne'mIta'maOn', functions of 29, 43, 48Nigan'IbInes', last hours of 51-55Ni'miwCg'. See Dancing songs.Niogi'cIg, reference to 95Nita'miga'bo, song by 158No'dinOk'wum, account of 135Notation, musical, Hmitations of presentsystem 3Oc'KABE'WiS?functions 25. 33, 36, 37, 39, 42, 48in ceremony for dying chief 51O'deni'gOn?doctor's rattle procured from 119drawings of song made by 15narrative by 27songs by 27,32,94,96-106Pembina Chippewa, song used by 202Pentatonic scales, terms used for 7Pequette, Rev. Frank H., songs translatedby 55Phonograph, songs recorded by 3-4, 5, 27Pillager band of Chippewa, reference to.
.
51"Pillager outbreak," reference to 1-2Pitch, approach to accuracy in 4Prentiss, William?account of 175songs by 189, 199Progressions, first?downward and upward 10dream songs 136love songs-Red Lake res 185White Earth res 156moccasin-game songs
?
Red Lake res 191White Earth res 160unclassified songs
?
Red Lake res 207White Earth res 166war songs-Red Lake res 181White Earth res 147woman's-dance songs (Red Lake res) 197Property rights in songs 2Punishment of offenders in MIde' 14
INDEX 215Range of singers' voices. See Voice. PageRange, exceptional, of songs analyzed 94, 109Rattles?description 11, 12used by doctor 119used in ceremony for dying chief 52Rattlesnake, song to a 85Recording songs, methods of 3^, 15Red Lake kes.?not a source of MIde' songs 1peculiarities in songs from 123, 176, 189singers 173-170social songs on 166-208tabulated analysis of 180 songs S-URegisters of songs by female tenors. SeeVoice.Religion. Sec MIde'.Rests, unusual in hunting songs 86Rhythm?correspondence with idea of song 131general discussion of 5-6in magic songs 18in MIde' songs, characteristics of 18-19of dream song 127of healing song : 95of war songs 127, 139peculiarity in Red Lake war song 178principal rhythm of songs unvarying ... 3suggestive of Scotch and negro music 176Rhythmic analysis?dream songs (White Earth res.) 137love songs
?
Red Lake res 186White Earth res 150MIde' songs (90) 117miscellaneous songs (ISO) 11moccasin-game songs
?
Red Lake res 191White Earth res 160unclassified songs
?
Red Lake res 207White Earth res 106war songs-Red Lake res 181White Earth res 147woman's-dance songs (Red Lake res.) 197Sa'gii'diwIn'ina'gOmo'wIn. See Love songs.Scale, five-toned
?
explanation of term 7in ceremonial songs 63,67,71limitations as notation system 3Scotch music, reference to 176Secondary accent, rare occurrence of 5Selkirk, Henry, songs by 133-135,154Shells. See Mi'gls."Shooting" of candidate for initiation. . . 29,43-44Signs, special, used in songs, e.xplanationof XIX, 5-6Singers, Indl'VN?mannerisms 199of Red Lake res 173-176Sioux, war songs learned from 139,142Smith, Rev. George, account of 130Social dance, ceremonies on opening 145-146Social songs. Sec Songs.Song and ejaculation, combination of 45
Songs? pagecommon form of Chippewa songs 151general description-intonation 4-5introduction I-4rhythm 5-6structure gtone material 7-8important events celebrated by 1list of?by catalogue numbers xv-xi.xby serial numbers xi-xvmanner of closing 59MIde' songs
?
additional songs 106-115ceremonial songs 62-78connected with cure of sick 73,92-96connected with rare medicines... 18,96-106for initiation into sixth degree 55-62general characteristics 14-20in ceremony for dying chief 53love-charm songs 88-92tabulated analyses 8-11, 115-118to insure success 82-88translation gsocial songs-dream songs 118-137Fourth of July celebration 166-173love songs 148-156, 182-180moccasin-game songs 156-101, 180-191singers 173-170, 199unclassified songs 101-106, 198-208war songs 137-148, 176-181woman's-dance songs 192-198See also the various groups of songs, asCeremonial songs. Dream songs. Lovesongs, MIde' songs, etc.
"Spirit power," explanation of term 15Sweat lodge, structure and use of 25-26Syncopations rare in Chippewa songs 57Tonality'?dream songs (White Earth res.) 136general discussion 7-8love songs
?
Red Lake res 185White Earth res 155major key for plaintive melody 183MId6 songs (90) 115moccasin-game songs-Red Lake res 191White Earth res 159tabulated analysis ( 180 songs) 8unclassified songs
?
Red Lake res 206White Earth res 165war songsRed Lake res 180White Earth res 146woman's-dance songs (Red Lake res.) ... 196Tone material?accented tones in MIde' songs 57certain MIde' songs, discussion of 75diatonic tones compared with accidentals. 5dream songs (White Earth res.) 136general discussion 7-8
216 INDEXTone material?Continued.love songs
?
Red Lake res 185White Eartli res 155moccasin-game songs-Red Lake res 191White Earth res 160relation to keynote or tonic obscure 7tabulated analysis (180 songs) 9unclassified songs
?
Red Lake res 207White Earth res 165war songsRed Lake res 181White Earth res 147woman's-dance songs (Red Lake res.) - - - 197Tones. See Tone material.Treatment of sick in Mlde' 12,51-55,119-120Unclassified songs?Red Lake res 198-209tabulated analysis 8-11White Earth res 161-166VfERMiLiON PAINT used in Mlde' 113Vibrato in Chippewa singing 4, 106Voice?in Mlde' songs, an independent metricunit 5-6, 15,20range
?
female 89,94,146male 174Wabezic'?singer of Red Lake 174-175songs by... 179,180,182,188,200,201,202,203,204War dance?celebration (July, 1908) 168-170one of principal drum-rhythms 6War drums, description of . . , 11War party, ceremonies on return of 143-145Warren, William?anecdote of 142
Warren, William-Continued. Pageon Loon clan or totem isoreference to 21War songs?Red Lake res 176-181tabulated analysis 8-11White Earth res 137-14&classification 137intervals 140,141learned from Sioux 139, 142minor triad with minor seventh 142object of certain song 139'principal melodic feeling for second.. 138Wa'wiekOm'ig?acknowledgment to 25reference to 36Wfi'DAKED'?explanation of term 29functions 43, 47We 'nabo'jo, character in Chippewa folklore. 92,206White Earth res.?conditions on 1peculiarity of songs from 123social songs on 1 18-166tabulated analj^ses of songs (180) from. .. 8-11Wilkinson, Major, U. S. A., reference to. . 1-2Woman's dance?description 172, 192one of principal drum rhythms 6Woman's-dance songs?Red Lake res 192-198rhythmic peculiarity 19f>tabulated analysis 8-1
1
Women as assistants at initiations 2GWords of songs?in love songs 148in Mlde' songs 14-15,58translation 8, 33variations 2, 14, 33Za'gim AG', functions of 37, 40, 41, 42o



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