NAMES OF SINGERS XVII 
The intonation of these tones was not such as to suggest the inten- 
tional use of “ fractional intervals ” by the singer. 
— placed above a note shows that the tone was sung slightly 
lower than the indicated pitch. 
( placed above a note shows that the tone was prolonged slightly 
beyond the indicated time. This and the following sign are used 
only when the deviation from strict time is less than half the time 
unit of the song and appears to be unimportant. In many instances 
the duration of the tones thus marked is variable in the several 
renditions of the song. 
) placed above a note shows that the tone was given slightly less 
than the indicated time. ; 
[——] placed above a series of notes indicates that these tones 
constitute a rhythmic unit. (See footnote to Table 19.) 
PHONETIC KEY 
Vowels have the Continental pronunciation— 
a as in father 
1 as in marine 
1 as in writ 
e as in they 
é as in net 
o as in note 
u as in rule 
ti as in but 
Consonants have the usual sounds except— 
~§ is pronounced sh 
i represents a strong guttural resembling the Arabic ghain. 
g& represents a deep sonant guttural resembling the Arabic 
kha. 
NAMES OF SINGERS 
It should be understood, in connection with the following lists, 
that Mandan is practically an unwritten language and that Hidatsa 
varies as spoken by different individuals; words belonging to one 
tribe are also used by the other tribe to some extent. The Mandan 
words and terms herewith presented were written by James Holding 
Eagle (pl. 2, a), the son of one of the few remaining full-blood Man- 
dans. He is the only Mandan who can write his own language to 
any extent and probably speaks it more correctly than anyone else 
who can understand English. It was the language of his home 
when he was a child and he learned at that time what is known as the 
“old Mandan.” The spelling of the Hidatsa words is that given by 
Mr. Fred Huber, the writer’s principal Hidatsa interpreter. Work 
2118°—23——2 
