DENSMORB] MANDAN AND HIDATSA MUSIC 15 
the pitch on which it ends, is not sufficiently definite for musical 
transcription. A peculiarity not observed in the songs of other 
tribes is the ending on an unaccented part of the measure, the tone 
not being prolonged into the following measure. This appears in 24 
per cent of these songs. A duplication of songs by different singers 
was more frequent than among other tribes, suggesting that only a 
limited number of the old songs remain at the present time. The 
duplication of words was also more frequent, the same words being 
used with different melodies (see analysis of No. 58). 
The “special signs ” used in the transcriptions are the same as in 
previous works, and the custom of writing the final measure as a 
complete measure is continued, except in songs which begin with 
an incomplete measure and have no break in the time between the 
renditions. 
The analysis of the songs according to their key has been discon- 
tinued.** The chief purpose of this analysis was to test the range 
_ of the singers’ voices. From the 720 songs analyzed in this manner ** 
it was found that A was the tone most frequently used as keynote, 
next in frequency being G and F. Other tables discontinued are 
those treating of the tempo of voice and drum.*® From the analysis 
of 710 songs *° it appears that the largest proportions of voice tempo 
were J=72 to J=96, and that the largest proportions of drum tempo 
were slightly faster, being J=92 to J=120. The tempo of the voice 
is slower than that of the drum in 32 per cent and faster than that of 
the drum in 16 per cent of these songs. 
The form of graphic representation of melody by means of a 
“plot ” on coordinate vertical and horizontal lines‘! is used in this 
volume only briefly for the purpose of comparison.*? Two slightly 
different forms have been devised and are here introduced, the first 
omitting all coordinates and showing the path of the accented melody 
tones (pls. 11, 12), and the second using the horizontal coordinates 
and showing the progressions of unaccented as well as accented 
tones.** 
In order to simplify the presentation of analyses the serial num- 
bers of the songs in their several classifications are placed at the 
conclusion of the text (pp. 178-184) instead of at the end of each 
group of songs. 
37 See analytical table No. 14 in Bulls. 53, 61, and 75, Bur. Amer. Ethn. In these 
works the term “ key’”’ was “ used in its broad sense, as applicable to nonharmonic mu- 
sic, inclusive of modes,” 
%8 Bull. 75, Bur. Amer. Ethn., pp. 42, 43. 
39 See analytical tables 20, 21, and 22, Bulls. 53, 61, and 75, Bur. Amer. Ethn.; also 
Bull. 45, Bur. Amer, Ethn., p. 11. 
© Bull. 75, Bur. Amer. Ethn., pp. 48-51. 
“See Bull. 61, Bur. Amer. Ethn., p. 53. 
42 See p. 34. 
48 See analyses of songs 72 and 92. 
