6 BUREAU OF AMERICAN- ETHNOLOGY [bull. 6i 



Sun dance were recorclod. In a few days, on Mr. Higheagle's return, 

 he said: ' 'There is trouble among the Indians. John Grass and other 

 prominent men say they will have nothing more to do with the work 

 if So-and-so is connectcnl with it. He kill(>d a man, and his record in 

 other matters is not good." The matter was carefully considered? 

 and the responsi})nity was plac(^d on th(^ man who introduced hmi. 

 Finally all his material was expunged aiid the writer never saw 

 him again. Such precaution might not be necessary if this work 

 concerned only the social songs, but all the old music is associated 

 with things that lie very close to the heart of the Indian. 



Throughout the work an effort was made to have the informants 

 entirely at ease in discussing a subject, and never to allow the form 

 of a question to suggest a possible answer. Care was taken also to 

 avoid an impression of seeking anytliing sensational or of tracing a 

 similarity to the behefs or traditions of the white race. Indians 

 become confused, even irritated, if questioned too closely, and for 

 that reason it was often necessary to extend an investigation over 

 several interviews, combining the data thus secured. When this 

 was done the result was translated to the Indian for criticism. 



The method of analyzing the Sioux songs is the same as that used 

 in the study of Chippewa songs. The headings of the tables of 

 analysis have not been changed, but a few subdivisions have been 

 added. For instance, in Tables 11 and 12 there is a separation of 

 major and minor sixths and major and minor seconds, the last named 

 being especially interesting, as it shows the minor second (semitone) 

 to be used much less frequently than the major second (whole tone), 

 a fact which has a direct bearing on the question whether Indians 

 habitually and consciously use intervals smaller than those repre- 

 sented by the musical scale of the white race. 



Except for the signs + and — , indicating that certain tones were 

 sung slightly above or below pitch, there is no attempt at showing 

 variations from what is known as the "piano scale." It is, however, 

 repeatedly noted in the descriptive analyses that intervals of the 

 second and of the minor third were sung too small. A similar re- 

 duction was not observed in the larger intervals. In tliis connection 

 the follo\\'ing statement by Prof. Max Meyer, of the University of 

 Missouri, should be noted: 



The result of our experiments [with Doctor Stumpf] made in Berlin was that the 

 Major Third, Fifth, and Octave are preferred a little larger than theoretical inter- 

 vals; the Minor Third, on the contrary, a little smaller. . . . We may therefore 

 state it as an established law that the smaller musical intervals are preferred dimin- 

 ished. . . . that the larger musical intervals are preferred enlarged. . . . and that 

 the point where the curve of deviation passes zero, is situated between the Elinor and 

 Major Thirds.' 



1 Meyer, Max, Experimental Studies in the Psychology of Music, American Journal of Psychology, 

 Srv, pp. 201-200, Worcester, Mass., July-Oct., 1903. 



