DENSMoRE] MANDAN AND HIDATSA MUSIC 103 
centrate her mind on the singing. The second form of the melody 
is undoubtedly the correct form, as it has a rhythmic coherence which 
did not vary in the four repetitions of the song. It will be noted 
that the record made in 1912 contains no rhythmic unit, while that 
made in 1915 contains two rhythmic units. No drum was used when 
the songs were recorded in 1912 but in the later recording a drum 
was used, the drum and voice maintaining the same tempo. 
Attention is directed to the compass of the melody (13 tones), 
the extreme intervals of which were sung with good intonation, 
though the lowest tone was sung softly. The song is harmonic in 
structure and contains only the tones of the major triad and sixth. 
Two-thirds of the progressions are downward and 71 per cent are 
major and minor thirds. 
No. 40. “The Missouri Women” (Catalogue No. 801) 
Recorded by SCATTERED CoRN 
VOICE d = 152 
DRUM @ = 152 
Drum-rhythm similar to No. 37 
WORDS (MANDAN) 
CHA EA Ch oti hd On Oe See PUNE eae a the Missouri (River) women 
SMG OTM EG see ae eee ee es are the best 
Analysis.—In the analysis of this song as recorded in 1912 it was 
stated that “the intonation is wavering in the latter portion of the 
song but the tone transcribed as B natural is always kept in semitone 
relation to the tones which precede and follow it.” The intonation 
was good throughout the four renditions of the song recorded in 
1915, the singer having a poise and confidence which was lacking on 
