DKNSMORE] CHIPPEWA MUSIC — II 41 



movement. The average interval is one-tenth of a semitone below 

 the average interval of tlio entire series of songs. Fifty-one per cent 

 of the songs begin in double time, but this is not steadily maintained, 

 66 per cent of the songs containing a change of time. The triple 

 rhythm is said to be the drum-rhythm of the victory dance, com- 

 monly known as the scalp dance; but this is found in only 35 per 

 cent of the war songs, 42 per cent showing the even beats which 

 characterize the JVIide' (see footnote, p. 10). Seventy-one per cent 

 contain a rhythmic unit, the largest proportion except in the ^iide'. 

 The metric unit of the voice is rapid, and that of the drum is of 

 medium rapidity; the drum is faster than the voice in only 44 per 

 cent of the songs, the same proportion as in the begging dance and 

 the woman's dance, and much less than in the Mide' and the dream 

 songs. 



The group of war songs is probably less homogeneous than any 

 other, and its correspondences to other groups are diverse. The 

 relation to the Mde' songs seems stronger than any other, being both 

 melodic and rhythmic; there is also a melodic correspondence with 

 the dream songs, the relation to these two groups being attributable 

 to the common element of communication with the supernatural. 

 Both the Mide' and war songs are principally melodic in structure, 

 but the feehng is for the domiiiant in the former and for the tonic and 

 its octave in the latter. Definiteness of idea and assurance of success 

 are suggested by the prominence of the rhythmic unit and the major 

 tonality. The correspondence with the woman's dance may come 

 from the fact that this dance was a favorite one during the periods of 

 peace between the Chippewa and the Sioux. It was said to have 

 been given to the Chippewa by the Sioux. The begging dance also 

 was received from the Sioux, and with that group the war songs 

 show both melodic and rhythmic correspondence. The relation to 

 the moccasin game songs is only in the compass, which may be 

 attributed to the element of excitement in both groups; this element 

 does not affect, however, the tempo of the war songs or the relative 

 speed of voice and drum, as it appears to do in the moccasin game 

 songs. Regarded as a whole, the characteristics of the war songs 

 are control, definiteness, and a strong centralization, the melody 

 tones being referable to a keynote in a greater degree than in many 

 other groups of songs. 



The rhythmic units occurring in the war songs will be found on 

 pages 318-325. 



LOVE SONGS (SA'GirDIWIN' NA'guMOWi'nUN) 



This group comprises Nos. 133-141 and 163-167 of Bulletm 45 and 

 Nos. 105-113, 157-160, 170, 177, and 178 of the present work, the 

 "love-charm songs " of tlie Mide' not being included. The love songs 

 were unaccompanied by any instrument, but lovers frequently played 



