DENSMOREl TETON STOTTX MUSIC 25 



to contain a decrease in those having the drumbeat in unaccented 

 eighth-note values, in many instances approaching a tremolo, and 

 a large increase in the proportion having the drumbeat in quarter- 

 note values, this being a sharp, definite stroke and, of course, less 

 rapid than the preceding. The proportion containing one rhythmic 

 unit is the same in the two groups, but the newer songs show a large 

 increase in the proportion having two or more rhythmic units, 

 evidencing a development of the rhythmic sense. A comparison of 

 the metric unit (tempo) of the voice shows no material differences, 

 but in the following table is noted a decided decrease in the metric 

 unit of the drum. Table 22 shows the percentage of old songs in 

 which voice and drum have the same metric unit to be 48, and that 

 of the new songs as 70, a difference of 58 percent. This is the more 

 interesting, as m this table the deduction of the songs recorded 

 without drum causes the percentage to be reckoned on a total of 60 

 in the first and 62 in the second group. 



Summarizing briefl}" the results of a comparison of the old and the 

 more modem Sioux songs, we find in the percentages a reduction in 

 the compass of the songs with an increase of harmonic form and of 

 accidentals; a more direct attack (shown by the increase of songs 

 beginning on the accented part of the measure) an increase of songs 

 beginning in 2-4 time; and also in songs without a change in time. 

 We find a change in the drumbeat from a rapid and somewhat 

 tremolo beat to a quarter-note value, with a reduction in the tempo 

 of the drum and an increase in the proportion of songs in which the 

 tempo of voice and drum is the same. We note further a develop- 

 ment of the rhythmic sense in song construction, shown by the increase 

 in the number of songs having two or more rhythmic units. These 

 contrasts between the two groups of songs may suggest a connection 

 between the Indians' manner of life and the form of their musical 

 expression, or they may be regarded as an effect of contact with the 

 more conventional music of the white race. These and similar obser- 

 vations await further comparative study of Indian songs. 



