Kdrath] IROQUOIS MUSIC AND D.\NCE 43 



and from nuclear to sequential types, and because of combinations 

 and embellishments that recur in all types of songs. 



Manipulation: 



These devices for thematic growth and embellishment defy cate- 

 gorization, except for a few of the most common and evident means. 

 These are cited along with a few examples. 



(a) Repetition: Midwinter Husk Faces, Drum Dance chant. Bear 

 and other monotone antiphony, Chicken Dance 7, Sharpen-a-stick 1. 



(6) Transposition to a lower level: Eagle Dance 1, 8, 9, 18, Drum 

 Dance and Bear Dance 1, Hand-in-hand, Passenger Pigeon, Sharpen- 

 a-stick 6. 



(c) Transposition to a higher level: Yeidos 48, Eagle 10, Bear 4, 

 ga'da§o.t songs. Duck Dance part D, Shaking-a-Bush 4. 



(d) Inversion: Eagle 9 (rhythm), 16, Buffalo 2, 3, Robin 1 (contour). 



(e) Prolongation, notably on a monotone: Eagle 17 B, Changing- 

 a-rib 26, Shake-the-pumpkin 2, all New fskanye and Hand-in-hand. 

 Always terminal. 



(/) Curtailment: Feather 3, Eagle 9, False Face 1, Buffalo 2, 

 Bear 3, 5. 



(g) Expansion of intervals: Eagle 5, 9, 17, Fish 2, Sharpen-a-stick 

 6 (1933). 



(h) Dwindhng of intervals: Eagle 5, Striking-the-stick 4, War 6, 

 ^skanyegowa 14, New eskanye 1. 



(i) Rhythmic mutation: Yeidos V, 1, ff.. Bear 6-9, Corn 6 (1951). 



(j) Shifting of rhythmic figure in a phrase: Eagle 7, War 6, 

 Changing-a-rib 7. 



The first three devices prevail in consecutive types, the rest are 

 common to all kinds of compositions. The examples are so highly 

 selective that no conclusions are feasible as to functional connections 

 or relation to scale types. It is true, yeidos round dance songs 

 specialize in rhythmic mutations, Robin Dance songs frequently 

 invert their themes. But most of the devices are so scattered through 

 the repertory that they would appear to be artistic rather than magical 

 phenomena. 



One or Two Themes: 



The tabulation of musical form shows the prevalence of one theme 

 varied by one or several of the devices just outlined. Two themes or 

 at times three constitute separate sections A and B in most towisas 

 songs, some Fish Dance t3^pe songs, and recent compositions, par- 

 ticularly individual and New fskanye songs. These last may have 

 three themes. Two themes are related and less sharply separated in 

 the extended melodies of Hand-in -hand and Pigeon, and in Fish 

 Dance, where part B may begin with a phrase of part A and then 



