De.xsmoke] CHIPPEWA MUSIC 11 9 



The next feature to be observed is the number of counts in the first 

 measure (Table 16). Deducting the number of songs transcribed in 

 outHne, it is to be noted that 50 per cent of the remainder begin in 

 double time and 40 per cent in triple time. In songs indicated as 

 having more than two or three counts in the first measure, there is no 

 secondary accent; thus a measure transcribed with 5 or 7 counts is 

 clearly a unit and could not properly be indicated by a triple measure 

 followed by a double or a quadruple measure. Similar instances of 

 measures containing 5 counts have been recorded by other students 

 of primitive music/ and in the music of the Omaha there occur also 

 songs with 7 counts in a measure. 



Table 17 shows, however, that the rhythm of the first measure is 

 rarely continued throughout the song. Forty-two songs were tran- 

 scribed in outline, without time-indication, but in 77 per cent of the 

 remainder the rhythm (or number of counts) in the first measure 

 does not continue throughout the song. The transcriptions show in 

 many instances a change of time with almost every measure. In No. 

 121 the measures in double and triple time alternate throughout the 

 song. No. 39 contains double, triple, and quadruple time. In No. 81 

 the double rhythm is interrupted by only one triple measure, which 

 gives character and a certain "swing" to the rhythm of the song as a 

 whole. This wide variation in measure-lengths might suggest 

 improvisation, but these measure-lengths were determined by accents 

 that were unmistakable and that showed no change in the several 

 renditions of the song, even when slight changes were made in the 

 melody. A single exception occurs in a song recorded at White 

 Earth (No. 144), which so closely resemble;^ one recorded at Waba'cmg 

 (No. 176) that it may be inferred they are different versions of the 

 same song, though one is in double and the other in triple time. 



Turning to the rhythm of the drum (Table 18), the accented double 

 rhythm is found not so prominent as in the vocal expression. One 

 hundred and sixteen of the songs were recorded without the drum. 

 Deducting this number, 43 per cent of the remainder are found to 

 have a triple rhythm. This characterizes a, large majority of the 

 dream songs and the songs of various dances and is closely allied to 

 the drum-rhythm of the moccasin game song. The songs showing a 

 triple drum-rhythm are songs which aroused little mental or physical 



» Among the Omaha: A Study of Omaha Indian Music, by Alice C. Fletcher, aided by Francis La 

 Flesche. With a Report on the Structural Peculiarities of the Music by John Comfort Fillmore, A. M.; 

 Archxological and Ethnological Papers of the Peabody Museum, Harvard University, Cambridge, Mass., 

 1893, vol. 1, No. 5; songs Nos. 6, 111, 137, 140. 



Among the Kwakiutl: Franz Boaz in Journal of American Folk-lore, vol. 1, 1888, pp. 51, 59. 



Among the Hopi: Benjamin Ives Oilman, Hopi Songs, Boston, 1908, p. 117. 



Among the Creek and Yuchi: Frank G. Speck, Ceremonial Songs of the Creek and Yuchi Indians, in 

 Anthropological Publications of the Museum of the University of Pennsylvania, Philadelphia, 1911, vol. 1 

 No. 2, pp. 169, 170, 178, 226. 



Also among the Sudanese: Heinrich Zollner, Einiges fiber sudanesische Musik, Musikalisches Wochen- 

 blalt, Leipzig, 1885, p. 44(i. 



