148 



BUEEATT or AMERICAN ETHNOLOGY 

 Structural Analysis 



[BULL. 45 



Number 

 of songs. 



Catalogue numbers. 



Harmonic . . 

 Melodic . . . 



Totar 



114,215,230,271,276 

 116, 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 music 

 as a means of expression. It is not uncommon to find the words 

 continuous throughout the song with httle or no repetition. This 

 characteristic has not been found thus far in any other branch of 

 Chippewa music, and shows that in them the expression by means 

 of words is as free as the expression by means of musical tones. 

 These words are seldom transcribed. From observation the writer 

 believes that the words of a certain melody are often impromptu in 

 exact form, though having a general similarity throughout the ren- 

 ditions by various singers. 



The love songs are more free in melody progression than other 



classes of songs. Many of them have traveled far and are known to 



be very old. They constitute a favorite form of music among the 



Chippewa, and are sung with a nasal tone used in no other except the 



songs of the scalp dance. This resembles the cry of an animal, yet 



the interva;ls are given almost as accurately as where a direct singing 



tone is used. 



No. 133 (Catalogue no. 98) 



Sung by Manido^gicigo^kwe (" spirit day woman ")a 



Analysis. — This was said to be a very old song. The peculiar 

 quality of tone assumed bj the Chippewa in singing their love songs 

 renders it impossible to convey a correct impression by means of 

 notation. This quality is nasal, with a slight drawling and a sliding 

 of the voice from one tone to another. 



The range of this song is two octaves, and the intervals are found 

 to be correct, though difficult at first to recognize beneath their dis- 

 guise of mannerism. The remarkable change of pitch in the tenth 

 measure 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 was 

 given 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 each 

 side of her log cabin is a little lake. Back of it stretches the forest, broken only by a wagon road whose 

 single 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 from 

 which she makes love powders to sell to the children of men. In her hand she usually carries a small 

 hatchet. There is a smoldering fierceness in her small eyes, but her voice in speaking is low and musical 

 and she laughs like a child. 



