DENSMoRB] MANDAN AND HIDATSA MUSIC 133 
Analysis —Two rhythmic units occur in this song, which is un- 
usually interesting in rhythmic form. The first period of the melody 
comprises six counts divided into three measures; the second period 
comprises five counts divided into two measures; the third period 
comprises three measures, the second of which is in triple time; and 
the fourth period contains four measures, ending the first portion 
of the song. The opening measure of the second portion contains an 
exact reversal of the count divisions of the second rhythmic unit, 
which is followed by the second unit in its original form. This por- 
tion of the song comprises three periods containing, respectively, 
two, three, and three measures. Forty-five progressions occur in the 
song, a majority of which contain three or four semitones, being 
major seconds or minor thirds. The song is minor in tonality, has a 
compass of 11 tones, and contains all the tones of the octave except 
the sixth. 
Doc Society Sones 
This group comprises four songs, Nos. 65 and 68 being war songs 
and Nos. 66 and 67 being serenades. No. 100 is also a war song of 
this society. No songs of the Young Dog or Foolish Dog Society 
were said to be used in war, and a comparison of the songs of these 
three societies indicates the differences in the age and character of 
their members. 
Holding Eagle, who recorded Nos. 65, 66, and 67, said that he 
learned these songs from his father, who bought them from an 
older man. As Holding Eagle was a reliable informant and died 
at the age of about 65 years, the songs evidently are very old. The 
words of No. 66 refer to the following incident: A young woman 
was thrown from her horse in battle and called for assistance. A 
man went to her rescue, defended her at the risk of his life, and 
found that she was his daughter-in-law. 
