DENSMORB] TETOX SIOUX MUSIC 9 



intensive view of the subject when the study of Indian music shall 

 have been more fully developed. 



The purpose of the descriptive analysis following each song is to 

 suggest a method of critically observing Indian music. No single 

 analysis is intended to draw attention to every peculiarity of the song. 

 One who becomes accustomed to a systematic observation of Indian 

 songs may detect other peculiarities. It is possible that in some 

 instances another keynote may be regarded as more satisfactory 

 than the one which is designated. Some songs are so strictly har- 

 monic in form that only one tone can be regarded as a keynote, but 

 othei's are so freely melodic that they could be harmonized in more 

 than one key. The melodies are regarded primarily as a succession 

 of vocal sounds fi-oni which by the test of the ear the writer selects 

 one which is reasonably satisfactory as a keynote. If more than one 

 tone can be regarded as keynote, that one is selected which is simplest 

 in its apparent key relation to the song as a whole. In two instances 

 (Nos. 108, 166) the songs are classified as ''irregular." The use of 

 the term "key" throughout this work should be understood as a 

 matter of convenience rather than as an indication that, in the 

 opinion of the writer, there exists a fuUy established ''key" in 

 the sense of the term as used by musicians. It will be noted that in 

 Table 1 the word "tonality" is used in preference to "key." 



As an aid to the singing of these songs the writer would emphasize 

 the importance of rhythm , suggesting toward this end that the rhythm 

 of a song be mastered before the melody is played on a piano or other 

 tuned instiniment. Tap out the rhytimi with a pencil, or, better still, 

 master it mentally, then hum the song softly with intervals as nearly 

 correct as possible. Play the song on a timed instrument in order to 

 test the intervals, but the song, regarded as a native melody, can best 

 be reproduced vocally, either without accompaniment or (if the song 

 is simply harmonic in form) with one or two chords to sustain the 

 voice. 



The musical customs of the Sioux do not differ materially from 

 those of the Chippewa; for instance, there are the same reticence 

 concerning old ceremonial and "medicine" songs, the same acknowl- 

 edged ownership of personal songs, and the same custom of replacing 

 in a war song the name of a half-forgotten hero with that of a new 

 favorite. Among the Sioux, however, there seems to be more freedom 

 in the rhythm of the drum. The Chippewa had drum-rhythms which 

 were invariably used with certain classes of songs, but this feature 

 seems to be more variable among the Sioux, except that the drum 

 is always beaten in a rapid tremolo during "medicine" songs (as 

 in the treatment of the sick), and also by a man when relating his 

 dreams. The several drum-rhythms are shown in connection with 



