DENSMORE] MANDAN AND HIDATSA MUSIC oF 
preceding and also to present comparisons between the several 
classes of Mandan and Hidatsa songs, these comparisons not being 
shown in tabulated form. 
‘Taste 1.—Tonality—On comparing the tonality of Mandan and 
Hidatsa songs with that of songs previously analyzed we note that 
the proportion of major songs is 20 per cent larger than among the 
Sioux and 12 per cent smaller than among the Ute, while it is about 
_ the same as among the Chippewa. 
A comparison of the several groups of Mandan and Hidatsa songs 
shows that the major tonality predominates im the garden songs, 
in the songs of women’s societies, and in those of the Stone Hammer, 
Buffalo, and Horse Societies. Major and minor are almost equal in 
songs of the Dog and Fox Societies. 
Tastes 2 anv 3.—Beginning and ending of songs.—Forty-seven 
per cent of the Mandan and Hidatsa songs end on the fifth, con- 
trasted with 26 per cent of the combined Chippewa and Sioux, and 
31 per cent of the Ute songs. Thirty-one per cent begin on the 
octave and 12 per cent on the keynote, contrasted with 21 per cent 
and 5 per cent in the combined Chippewa and Sioux songs, and with 
28 and 8 per cent in the Ute songs. This suggests a stronger feeling 
for a fundamental tone and its principal upper partials in the Man- 
dan and Hidatsa songs than in those previously analyzed. 
The ending on the fifth is especially marked in Mandan and Hi- 
datsa songs of the Stone Hammer and Fox Societies. 
Taste 4.—Last note of song—its relation to compass of song.— 
The principal interest of this table is in the proportion of songs in 
which the final tone is the lowest tone. In this peculiarity the Man- 
dan and Hidatsa songs show a larger proportion than any previously 
analyzed. This is a further indication of the feeling for a funda- 
mental tone, mentioned in connection with the table next preceding. 
Taste 5.—Number of tones comprising compass of song—The 
Mandan and Hidatsa songs contain neither the extended compass 
found in certain Sioux songs (15 and 17 tones), nor the very small 
compass of certain Ute songs (three and four tones). They differ 
from the preceding songs chiefly in their large proportion of songs 
with a compass of five tones. 
Comparing the several groups of Mandan and Hidatsa songs, we 
note a large compass (an octave or more) in the songs of societies, 
in the garden songs, and in songs of war. An average compass 
(about an octave) occurs in songs of the Buffalo and Horse Socie- 
ties, and a small compass (less than an octave) is found in the 
songs connected with eagle catching. 
