DEXSMORE] CHIPPEWA MUSIC II 35 



nected with special "medicines." The latter are sung by members 

 of the Mide'wiwin in connection with the use of medicines for the 

 curmg of the sick or the working of cliarms, and also in the dances 

 which follow the meetings of members, either for a feast or an initia- 

 tion. Throughout these songs the element of affirmation is very 

 strong; indeed, many have a triumphant tone. The idea underlying 

 them all is the securing of a definite result through supernatural power, 

 the music being an indispensable factor. In the initiation the desired 

 end was the transference of "spirit power" to the candidate by the 

 men and women who were initiating him, also the renewal of the same 

 power in the members of tlie order who witnessed the ceremony, and 

 the prolonging of their lives to old age. In the songs connected with 

 special "medicines" the purpose to be accomplished was the healing 

 of the sick and the producing of a certain effect on one or more per- 

 sons, as in the use of various "charms." Thus it is seen that this 

 purpose was usually objective, the effect on the singer being only 

 secondary, that the means of securing benefit was supernatural, and 

 that the singer had full confidence in its bestowal as well as in its 

 efficacy. 



In the first table of analysis it is noted that 72 per cent of the 

 Mide' songs are major in tonality, this proportion being the same as 

 in the songs of the begging dance, and exceeded only by the group of 

 dream songs, which contains 76 per cent of major songs. The propor- 

 tion of songs beginning on the dominant (either the twelfth or the 

 fifth) is 70 per cent, the largest of any except the begging dance songs, 

 which contain 71 per cent, the dream, the love, and the moccasin 

 game songs ranging from 52 to 56 per cent. Of songs beginning on 

 the octave, however^ the Mide' songs contain only 12 per cent, which 

 is less than the proportion of most groups, and about half that of the 

 dream and the war songs. Sixty-three per cent end on the tonic, 

 six groups showing a larger proportion. The feeling for the dominant 

 is again made evident in the compass of the songs, 50 per cent having 

 a range of either 12 or 5 tones, wliicli is much larger than in any other 

 group. In songs having a range of an octave, however, the Mide' 

 songs show only 22 per cent, while the love songs contain 37 per cent 

 and the pipe dance songs 67 per cent 



In tone material the Mide' songs are below most other groups in the 

 number of songs on the five-toned scales, showing only 33 per cent, 

 while other groups range from 39 to 51 per cent. The Mide' songs 

 show the largest percentage, with one exception, in the songs having 

 the octave complete except the seventh, namely, 14 per cent of the 

 number, the allied groups being the war songs with 13 per cent, and 

 the begging dance songs, which show 28 per cent. In purely melodic 

 structure this group contains 77 per cent, a larger percentage than any 



