156 BUREAU OF AMERICAN ETHNOLOGY [BULL. 80 
Analysis —The tempo of this song is very slow, which is interest- 
ing in connection with the occasion of its use. An Indian once said 
that when excited they sang louder but not faster. In tonality this 
song is minor and more than half the intervals are minor thirds. 
In the dances that followed the return of a victorious war party a 
man might sing his personal war song, as he related some deed of 
valor. 
No. 88. Butterfly’s War Song (Catalogue No. 897) 
Recorded by BUTTERFLY 
VOICE d = 50 
DRUM @ = 50 
Drum-rhythm similar to No. 32 
Analysis —The fourth and seventh tones of the octave do not occur 
in this song. These are the tones of the complete octave which are 
omitted in the fourth five-toned scale, but that scale is major in 
tonality, while the present song is minor in tonality, the third tone 
being a minor third above the keynote. (Cf. Bull. 53, Bur. Amer. 
Ethn., p. 188, and Bull. 61, Bur. Amer. Ethn., p. 141.) This song, 
like No. 87, is very slow in tempo. Drum and voice were synchro- 
nous on the first of each measure, the double drumbeat being steadily 
maintained through the measures in triple time. With the exception 
of two ascending fourths the intervals are minor thirds and major 
seconds. 
It is the custom of many Indian tribes to honor their successful 
warriors by inserting their names in “ praise songs.” Some tribes 
insert the name of a new hero in an old song, the former name 
being withdrawn. The Mandan appear to have used the same 
song for several warriors, the different names being used in con- 
secutive renditions. Thus a war song was recorded by Crow’s Heart, 
which contained, in consecutive renditions, the names of Two Bull, 
Runs-after-eagle, Spotted Weasel, and Sitting Crow. these being 
