42 BUREAU OF AMERICAN ETHNOLOGY [bull. 53 



on a musical instrument commonly called a flute, but similar in 

 construction to a flageolet, being blown at the end instead of at the 

 side.^ The instrument is called HM'gwUn. (See pi. 2.) This instru- 

 ment was procured at Lac du Flambeau, from a middle-aged woman, 

 who said it had belonged to her grandfather. It is 21^ inches long and 

 1^ inches in diameter. A test of the instrument shows its lowest tone 

 to be about a quarter tone above G, second lino, treble clef; in the 

 octave above this the tones are clear, but in the second octave the 

 instrument does not respond. It is worthy of note that the fourth 

 produced by this instrument was less accurate than other intervals 

 and that the seventh was very faulty and not a clear tone. Uncer- 

 tain intonation on the fourth and seventh is noted in BuUetin 45, 

 pages 4-5. The following melody, played on this instrument, 

 was furnished by Rev. C. II. Beauheu; it is said to be very old. 



fegd^^S^^^ ^JzJ zj dn ^B 



±iz^^=^t=tz±^=^±^E ^^^}^ — '-^Js^J^ 



Attention is directed to the prominence of the subdominant, which has 

 been found to characterize 11 per cent of the love songs (see No. 106). 



The love songs of the Chippewa are plaintive in character, usually 

 expressmg sadness and disappointment. Thirty of these songs have 

 been recorded and only one of this number is inspired by happiness 

 (No. 177). The words of seven are not transcribed. In most in- 

 stances the words, which are continuous throughout the melody, were 

 not accurately repeated in the repetitions of the songs, but it has 

 usually been possible to give a free translation indicating the char- 

 acter of the words. Only one love song expresses a promise and one 

 a request, six concern the departure of a lover, and five concern loss 

 and longing. Two express jealousy and offense, two fickbness, and 

 two relate to an attempt to drown disappointment in drink. It 

 has been already stated that the words of the love songs are some- 

 times impromptu, and that new words are sometimes fitted to old 

 tunes, the general idea remaining the same. Expression by means 

 of a combination of words and music is much more free in the love 

 songs than in any other group, and they may be said to constitute 

 a distinct phase of musical culture and practice. 



Although these songs are indicative of an unhappy state of mind, 

 40 per cent of them are major in tonality. In this group the per- 

 centage of songs beginning on the octave is larger than in -any other 

 except the war songs. Eighty-six per cent begin on either the tonic, 

 octave, or dominant, nearest to this being the songs of the begging 

 dance, which show 85 per cent, and of the moccasin game, 84 per cent. 



1 Contributions to the History of Musical Scales, by Charles Kasson Wead, in Report U. S. National 

 Museum, 1900, p. 426, Washington, 1902. 



