26 BUREAU OF AMERICAN ETHNOLOGY [RULL. 80 
RHYTHMIC ANALYSIS—continued 
TABLE 18—RHYTHM OF DRUM, MORACHE, OR RATTLE—Continued 
: Mandan 
. Sioux songs 
pee id & | recorded by | Sioux songs} Ute songs Taree Total 
8S = | Chippewa 2 phe . 
Num-| Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per |Num-| Per 
ber | cent | ber | cent | ber | cent | ber | cent} ber | cent | ber | cent 
Half notes unaccented ®.... ese pe 2 10 2 2: |. soe 1 2 6 1 
Each accented beat pre- 
ceded by an unaccented 
beat which corresponds 
approximately to the 
third count of atriplet §..| 96 43 6 30 22 18 5 8 7 9| 136 29 
Each accented beat followed 
by an unaccented beat 
which corresponds ap- 
proximately to the second 
count ofa triplet 7........ 2 1 
Each accented beat pre- 
ceded by an unaccented 
beat which corresponds 
to the fourth member of a 
group of four sixteenth 
notes oie 2. aL eee 14 6 
Tremolo drum beat in open- 
ing measures, followed by 
drum beat in qtarter- 
MOLE WealIOs 22 owe foes ae ee a ee 
Two drum beats in each 
measure, the voice being 
in triple time 10 Eo eee 
Drum not recorded 1.......| 116 
5 See No. 5. 9 See Bull. 75, Bur. Amer. Ethn., No. 72. 
6 See No. 50. 10 See No. 3. 
7 See Bull. 53, Bur. Amer. Ethn., No. 11. ' 11 Excluded in computing percentage. 
8 See Bull. 53, Bur. Amer. Ethn., No. 125. 
ANALysIs oF Curprpewa, Sioux, Urr, Mannan, anp Hipatsa Sones “ 
The purpose of this chapter is to present in descriptive form the 
more important data contained in the tabulated analyses immediately 
** Attention is directed to the impossibility of presenting in a graphic manner the exact 
pitch or tone lengths of all Indian singing. (Cf. tone photographs of Indian singing in 
Bull. 75, Bur. Amer. Ethn.) Ordinary musical notation is here used, with a few special 
signs, because it is approximately correct in a large majority of songs, and is readily 
intelligible to students of this subject. The same notation is used by Fox Strangways 
in his work upon the music of Hindostan with this explanation: “It is but little, in any 
case, of language, whether spoken or chanted, that symbols can recreate for us.... 
One caution with regard to these tunes. It would be a mistake to play them on a keyed 
instrument ; they should be played on the violin, or sung, or whistled, or merely thought. 
Not only because there is then a hope of their being rendered in natural intonation and 
of getting the sharp edges of the tones rounded by some sort of portamento, but also 
because the temperament of a keyed instrument in Europe the piano, in India the har- 
monium, has a unique power of making an unharmonized melody sound inyincibly com- 
monplace.” Fox Strangways, op. cit., p. 18. 
