110 BUREAU OF AMEEICAN ETHNOLOGY [bull. 53 



Analysis. — The rhythmic unit of this song is short but interesting. 

 It occurs tliree times and comprises the entire song except that 

 part which contains the words. (See Nos. 1, 8, 12, 13, 39, 40, 

 81, 105.) The song was recorded four times, the renditions being 

 uniform except that in the fourth from the last measure the pro- 

 gressions vary sliglitly. It is worthy of note that this is the only 

 measure whose principal tones are not those of the chord of F minor. 

 The melody is strongly harmonic in feeling, although classified as 

 melodic because of the accented B flat. 



The difference in intonation between the first and second E flat 

 in measures 1 and 3 is interesting, as it appears in all the renditions. 

 The song contains ten measures and is divided into four parts. The 

 metric unit is slower than in most Chippewa songs. A slow metric 

 unit is found in other songs of self-control under excitement (see songs 

 Nos. 51, 52, 103, 161). As a rhythmic whole this song is particularly 

 complete and satisfactory. 



During a fight a man frequently sang his dream song or a song 

 which he had composed concerning a former victory. Odjib'we 

 stated that in time of great excitement a man would sing louder 

 but probably no faster than was his usual custom. It is said that 

 the following song was composed and sung on a field of battle by a 

 woman named Omiskwa'wegi'jigo'kwe ("woman of the red sky"), 

 the wife of the leader, who went with him into the fight singing, 

 dancing, and urging liim on. At last she saw him kill a Sioux. 

 Full of the fire of battle, she longed to play a man's part and scalp the 

 slain. (Custom forbade that Chippewa women use the scalping knife, 

 although they carried the scalps in the victory dance. 



