DENSMOKE] CHIPPEWA MUSIC — II 39 



widely in structure from the Mide' songs, 49 per cent being harmonic 

 and 16 per cent melodic with harmonic framework (a class in which 

 many songs are harmonic except for one measure) ; thus, 65 per cent 

 of the dream songs arc harmonic in feeling, compared with 23 per 

 cent in the Mide' and 44 per cent in the war songs. In the proportion 

 of songs beginning with a downward progression this group is next to 

 the Mide', 77 per cent beginning thus. In total number of down- 

 ward progressions this group shows 66 per cent, the same as the 

 woman's dance songs and the songs connected with gifts. The pro- 

 portion of mmor thirds in both ascending and descending progression 

 is much larger in this than in any other group . The average interval is 

 the same as in the woman's dance — 3.1 semitones, this being also the 

 average interval of the entire series. The beginnings of these songs 

 are more du-ect than in the Alide', 74 per cent beginning on the 

 accented part of the measure, contrasted with 47 per cent in the 

 Mde', while the proportion of songs beginning in double time is 

 larger than in either the IVlide' or the war songs, comprising 55 per 

 cent of the number. The time is more variable in this than in any 

 other group except the unclassified songs, 94 per cent of the songs 

 containing a change of time. A triple drum-rhythm is found in 62 

 per cent, the same percentage as in the songs connected with gifts. 

 A rhythmic unit occurs in a majority of the songs. Both voice and 

 drum have in general a rapid metric unit; in 52 per cent the drum is 

 faster than the voice, a larger proportion than in any except the 

 moccasin game songs. 



The structure of the dream songs is more centralized than that of 

 the MIde' songs, the harmonic form and the large percentage of songs 

 on the five-toned scales referring the tones distinctly to a keynote. 

 In a general sense it may be said that the Mide' songs were used for 

 the purpose of affecting persons other than the smgers, while in the 

 dream songs constituting this group (with the exception of the 

 "doctor's songs") the purpose was to secure an advantage more or 

 less personal. The analysis shows that in some respects this group 

 resembles the Mide' songs and in other respects shows similarity to 

 the songs of the woman's dance and the songs connected with gifts. 

 The dream songs are even more strongly marked by major tonality 

 than are those of the Mide', wMchthey resemble in the prominence 

 of the dommant, but they are different from the Mide' and allied to 

 the songs of the woman's dance and the songs connected with gifts, 

 in the harmonic form, the proportion of songs on the five-toned scales, 

 the proportion of upward and downward progressions, the average 

 interval, the accented begmning, and the triple drum-rhythm. 



The rhythmic imits occurring in the dream songs are given on 

 pages 314317. 



