DHNSMORK] CHIPPEWA MUSIC II 45 



tlio entertainment of cliildi'en (38 per cent having a rhythmic unit) 

 ranking next. The rhytlimic unit appears to represent a tlefinitely 

 formed thought and conveys that impression to the hearer. In this 

 connection it will be noted that the chief concern of the moccasm 

 game player is to give no clue to his thought, thus mentally eluding his 

 opponents. A wide range is shown in the speed of both voice and 

 drum, and in comparing the metric units of the two it is found that 

 the drum is faster than the voice in 82 per cent of the songs, the per- 

 centage for the entire series being only 46. 



Thus the moccasin game songs constitute a group which in some 

 phases of analysis shows itself allied to the groups of dance songs (the 

 woman's dance, the pipe dance, and the begging dance), though its 

 songs were never used in dances. This resemblance is in the form 

 of the song, not in the rhythm of the dnmi, which is peculiar to the 

 moccasin game. It will be recalled that many dream songs and war 

 songs were used in dances and that the phonograph records of those 

 songs show a dram-rhythm similar to that of these three groups of 

 dance songs, but many of the war songs and all the dream songs were 

 essentially personal in character. The social element was strong in 

 the moccasin game and in these three kinds of dances. The woman's 

 dance and the begging dance were open to all the men and women, 

 and the pipe dance is said to have been "the })rincipal good-time 

 dance" of the old Chippewa. In similar if not greater degree a 

 moccasin game was a center of interest in the camp; it is said that 

 "the whole tribe" always gathered around the players, watching the 

 game and betting on the result. Thus the social element may be said 

 to be the point of contact between the moccasin game and the dance 

 groups. A resemblance to the love songs may be noted in the 

 seeming discrepancy between the tonality and the character of the 

 intervals. Perhaps it may be said that the-se two groups have in 

 common a certain elusiveness and whimsical changeableness. Direct- 

 ness is shown in the accented beginnings of the songs and their endings 

 on the tonic, but this is contradicted by the small percentage of songs 

 containing a rhythmic unit. The rhythm of the drum is the usual 

 moccasin game rhythm (see No. 125). 



The rhythmic units occurrkig in the moccasin game songs are given 

 on pages 327-328. 



woman's dance songs (ikwe'nimiwin' na'gumowi'nun) 



This group comprises Nos. 177-185 of Bulletin 45 and No. 164 of 

 the present work. 



The woman's dance is a social dance in which an invitation is 

 usually accompanied by a gift. This dance is described in Bulletin 

 45 (p. 192) and is illustrated in plate 45 of the present work. The 

 dance is said to have been acquired long ago from the Sioux, but the 



