128 



BUREAU OF AMERICAN ETHNOLOGY 



[BULL. r>o 



Aimlysi^. — This melody is characterized by directness and simplic- 

 ity. It begins on the tonic, an unusual beginning m mmor songs, and 

 the minor tonality is fully established in the first two measures. The 

 song contains 12 measures and consists of three parts, the rhythmic 

 unit occurring in the first and last parts and the names in the middle 

 part. The slow metric unit was maintained in the renditions with 

 both Sioux and Chippewa names, suggesting that this was the tempo 

 in which the song was actually sung, a tempo which gives dignity to 

 the song, appropriate to the occasion of its use. 



The Sioux fired their guns into the ah' and did not reload them. 

 The Chippewa did likewise. Nearer they came, the singing women 

 walking to and fro, brave as the wives of warriors should be. Then 

 the tribe which had asked for peace sent forward its pipe bearer. 

 Holding the pipe in his hands, he offered the stem in turn to the 

 opposing leaders, each of whom puffed the pipe. Then the other 

 tribe sent forward its pipe bearer in the same manner. 



The following song was sung by the Chippewa pipe bearer when 

 offering the peace pipe to the Sioux. 



No. 45. Song when Offering the Peace Pipe 



(Catalogue No. 390) 



Voice J = 72 

 Recorded without drum 



V-m- -0-' -»■ 



Sung by Odjib^we 





m^^^E^^m^^^^m 



Nin - do-kidj an nin- 



do - kidj on nin-do - kidj an 



nindo''kidj my pipestem 



Analysis. — This song is in the key of G, yet the tonic appears only 

 once (in the seventh measure) as an accented tone. Harmonic 

 tones are frequently approached from the tone above. (See analysis 

 of No. 53.) The rhythmic unit occurs only twice, the latter part of 

 the song containing a division of the count similar to one which 

 occurs in the unit but not containing a repetition of the unit. The 

 rhythm of the song as a whole is particularly interesting and pro- 

 duces an effect of dignified action well suited to the occasion of its 

 use. The melody tones are those of the fourth five-toned scale. 

 The four renditions recorded are uniform ui every respect. 



