38 BUREAU OF AMERICAN ETHNOLOGY [bull. 58 



nected with gifts. One of the principal features of the woman's 

 dance is the presenting of gifts, an invitation to dance being accom- 

 panied by a gift. Frequently these gifts are valuable articles, as 

 ponies, rifles, and beaded garments, and the dancers wait with pleas- 

 urable expectancy to know what presents will be bestowed on them. 



At this dance tlie writer has often observed the interest with wliich 

 the Indians watcli a man who rises and walks across the dancing 

 circle with an attractive gift in his hand. The feeling is exj^ressed in 

 song No. 177, Bulletin 45, wliich contains tlie words, ''I have been 

 waiting a long time for you to come over." There is some similarity 

 between this and tlie mental state of the man who patiently awaits the 

 coming of a suj)ernatural visitant. The songs connected with gifts 

 are sung at the social dances and are frequently interspersed with 

 woman's dance songs. If the gift is so large as to require special 

 celebration these gift songs are used. Some of them accompany 

 the giving and some the receiving of the gift, but all concern an actual 

 event and have not the element of expectancy associated with many 

 of the woman's dance songs. 



Among the dream songs the proportion in major tonality is 4 per 

 cent larger than in any other group, comprising 76 per cent, the 

 songs of the Mdc' and of the beggmg dance each showing 72 per cent. 

 This group is largest also in songs begmning on the twelfth, the group 

 of love songs ranking next in this respect. The Mde', however^ 

 contains the highest percentage of songs beginning on the dommant, 

 comprising a largo number of songs beginning on that interval but 

 having a compass of less than 12 tones. The number of dream songs 

 beginning on the octave is 1 per cent greater than in the ^Mide' but 

 less than half the proportion shown by the war songs. Further 

 resemblance to the Mide' is shown in the ending of the songs, 63 per 

 cent ending on the tonic, as in the Mde', though seven other groups 

 show a larger percentage. Thirty-seven per cent of the songs have 

 a compass of 12 tones, as in the Mde', the highest proportion except 

 m the woman's dance songs, 40 per cent of which have this compass. 

 In tone material this group shows a difference from the Mide' and a 

 similarity to certain other groups, 51 per cent of the songs being 

 based on the five-toned scales while the Mde' shows only 33 per 

 cent based on these scales; the allied groups are the woman's dance 

 songs, the songs connected with gifts, and the songs for the enter- 

 tamment of children, 50 per cent of each being on the five-toned 

 scales. The proportion of songs containing only the tones of the 

 major triad and sixth is the largest except in the pipe dance, consti- 

 tutmg 26 per cent of the number. The proportion of songs con- 

 tainuig the octave complete except the seventh is only 2 per cent, in 

 contrast with 14 per cent in the Mide'. The dream songs differ 



