48 BUREAU OF AMERICAN ETHNOLOGY [bull. 53 



three classes of songs is a strong element of ])leasure and simple 

 amusement. The woman's dance, with its exchange of gifts, is 

 greatly enjoyed by the Chippewa, much interest surrounding the 

 ''return present," as ever^^one who is given a present is expected to 

 return one of equal value. The pipe dance is a ludicrous pantomime, 

 and the songs for the entertainment of children usually end in 

 laughter. The element of pleasure is equally strong in the begging 

 dance. The writer has seen a merry party going from tent to tent, 

 singing the begging dance songs. This dance forms the great recrea- 

 tion in a camp. There is the discomfiture of the people who are 

 not prepared with proper gifts of food (the recollection comes to the 

 writer of a woman running after a begging dance party mth a pail 

 of maple sugar wliich she could not find when they were at her tent), 

 and there is the pleasure of forcing people to give who are not disposed 

 to be generous. Added to these factors is the delightful uncertainty 

 as to the nature of the food to be bestowed and the pleasant anticipa- 

 tion of the varied feast to follow. No one acquainted with a Chippewa 

 or a Sioux camp would be surprised at the resemblances shown in this 

 analysis. 



The rhythmic units of the begging dance songs are given on page 329. 



PIPE DANCE SONGS (oPWA'gUNINi'mININ NA'gUMOWI'nUN) 



This group comprises Nos. 171, 172, and 173 of the present work. 



The pipe dance was performed solely for the merriment of the tribe. 

 In its original form it passed out of existence long ago and only a few 

 of its songs remain. The number of songs in this group is so small 

 that the percentages are less significant than in other groups, but some 

 general characteristics of the songs are shown by their analysis. 



Most of the songs are major in tonality and begm on the third, 

 but aU end on the tonic. One song has a range of but four tones, 

 the only one having a similar range being a dream song. The major 

 triad forms the framework of two-thirds of the songs, none contain 

 an accidental, two-thirds are purely melodic, and the downward 

 progressions are much greater in number than the upward. The 

 average interval is the same as in the moccasin game songs and the 

 element of excitement was probably almost as great in one as in the 

 other. All the songs begin on the accented part of the measure, 

 all begin in double time, and all show a change of time. Two-thirds 

 of the songs contain a rhythmic unit. Considermg the element of 

 excitement in the dance, it is surprising to find the metric unit of 

 voice and drum the same in all the songs, none of the other groups 

 sho^\dng a percentage of more than 56. This can scarcely be regarded 

 as an original feature of the pipe dance music, but may suggest the 

 mental attitude of the Indian at the present time. 



For the rhythmic units occurring in these songs see page 329. 



